Fountains and Squares Walking Tour (Self Guided), Rome

Atop the Viminal Hill, the smallest among Rome's Seven Hills, lies the charming Republic Square. This semicircular piazza occupies the space that was once the exedra of the Baths of Diocletian, and the surrounding porticos were constructed between 1887 and 1898 by Gaetano Koch as a homage to the ancient structures that once adorned this site.

An exceptional attraction within the square is the St. Mary of the Angels and the Martyrs, a church built inside the ruins of the frigidarium of the Roman Baths of Diocletian. Within this small basilica, visitors can discover a Meridian Line, commissioned by Pope Clement XI in 1702 and created by Francesco Bianchini. This line served as a means to verify the accuracy of the Gregorian Calendar and predict the exact dates of Easter for future centuries, as Easter is celebrated on the Sunday following the first full moon after the Spring Equinox.

At the center of the square stands the captivating Fountain of the Naiads. The focal point of the fountain is Glaucus, a mortal fisherman transformed into a sea god, depicted wrestling a dolphin that spouts a powerful jet of water, symbolizing humanity's triumph over natural forces. Surrounding Glaucus are four naiads, water nymphs each representing different water sources. These include the Naiad of the Oceans riding a horse symbolizing waves, the Naiad of the Rivers riding a river monster, the Naiad of the Lakes holding a swan, and the Naiad of the Underground Waters riding a dragon.

The sculptural ensemble was created by Mario Rutelli, a Sicilian artist who, interestingly, was also the grandfather of Rome's former mayor, Francesco Rutelli. When unveiled to the public in 1901, the naiads' nudity and seductive poses caused a sensation, as they stood completely naked, drenched by water flowing from a large nozzle behind them, shimmering in the sunlight with provocative allure.

They say, good things come in pairs. Well, in the case of Via delle Quattro Fontane, they seem to double that. Just as the name suggests, the "Street of Four Fountains" proudly showcases four late Renaissance fountains, commissioned by Pope Sixtus V between 1588 and 1593. The quartet of represents the Tiber River, symbolizing Rome; the Arno River, symbolizing Florence; the Goddess Juno, symbolizing strength; and the Goddess Diana, symbolizing chastity.

Domenico Fontana is credited with the creation of the fountains depicting the two rivers and Juno, while Pietro da Cortona sculpted the statue of Diana. Adjacent to these captivating fountains stands the Baroque-style Church of St. Charles (San Carlino alle Quattro Fontane) designed by the renowned Francesco Borromini.

A comprehensive interpretation of the fountains' statues aligns them with Bernini's Four Rivers Fountain (Fontana dei Quattro Fiumi). In this theory, each statue represents a nymph or river god symbolizing a generic river from one of the four known parts of the world during that time. This notion finds further support in the alignment of the statues with the four cardinal points, adding a conceptual depth to the symbolism they embody.

Piazza Barberini takes its name from one of Rome's most powerful Renaissance-era families, who claimed the square as part of their residential palace from 1625 onwards (the palace now houses the National Gallery of Ancient Art). Notably, one of the Barberini sons later ascended to become Pope Urban VIII, known for his controversial persecution of Galileo Galilei, the inventor of the telescope and advocate of the heliocentric model.

Despite this historical context, Pope Urban VIII had an ambition to embellish Rome with several fountains. In 1642, he entrusted Gian Lorenzo Bernini with the task of designing and constructing the fountain located in Barberini Square, now counted among Bernini's masterpieces. Bernini closely adhered to the Pope's instructions, drawing inspiration from a passage in Book I of Ovid's renowned work, "Metamorphoses." The passage described Triton, a mythical sea god, commanding the waters to recede after the Deluge, ushering in a sense of order and peace.

Crafted from travertine, a type of limestone formed by hot springs, the fountain portrays the majestic Triton as a merman, kneeling atop the tails of four dolphins. He holds a conch shell to his lips, as if playing it like a trumpet.

The central base of the fountain features four intertwined dolphins, encircling the Papal Tiara and crossed keys, while below, the Barberini family's heraldic symbol of bees can be observed.

This fountain stands out as the first freestanding thematic fountain to be sculpted outside of private gardens. During that time, public fountains were typically plain and unremarkable. However, Pope Urban VIII desired something more striking outside his family's residence. The Triton Fountain immediately imparted a sense of grandeur to the entire square, serving as a beacon for those approaching from the city center.

The Spanish Square is one of Rome's most popular destinations, known for its blend of historical and cultural significance. Dominated by the iconic Spanish Steps, the square also serves as a hub for high fashion, with designer boutiques lining the surrounding streets.

At the base of the Spanish Steps lies the "Fountain of the Longboat," an Early Baroque masterpiece created between 1627 and 1629. Commissioned by Pope Urban VIII as part of a project to install fountains in Rome’s major squares, it was designed by Pietro Bernini, possibly with assistance from his son, Gian Lorenzo. The fountain’s design, a half-sunken boat overflowing with water, was inspired by a local legend. During a devastating flood of the River Tiber in 1598, a small boat was reportedly carried to the square and left there as the waters receded. The fountain’s water flows gently due to the low pressure of the Acqua Vergine aqueduct, adding a soothing charm.

The fountain also features symbolic details, such as the Barberini family's papal coat of arms, honoring Pope Urban VIII’s ancestry. Its intricate design includes water flowing from seven points, with streams emerging from central balusters, human-faced suns inside the boat, and external spouts. This harmonious blend of engineering and artistry reflects the Baroque era's grandeur.

The Spanish Square is steeped in literary history as well. Adjacent to the fountain is the former residence of English poet John Keats, who died there in 1821. Now a museum, the house preserves memorabilia of the Romantic generation. Keats found solace in the sound of the fountain’s water, which inspired the epitaph on his tombstone: "Here lies one whose name was writ in water."

On the right side of the square stands the Ferrari di Valbona Palace, once home to Cardinal Lorenzo Cybo de Mari. The building, remodeled in 1936 under Fascist-era designs, showcases modern terraces that complement the surrounding Baroque architecture.

Spanish Square invites visitors to relax, bask in the sun, and enjoy its timeless beauty. The gentle gurgle of the Longboat Fountain and its rich history make it a serene yet captivating centerpiece of Rome.

The Trevi Fountain is one of Rome’s most iconic landmarks, drawing visitors to the eponymous Trevi Square all day long. Surprisingly, the fountain was not initially built in the heart of the city; instead, the city grew around it. Its name derives from the Latin word "trivium," which means “three streets,” as it sits at the junction of three streets: De Crocicchi, Poli, and Delle Muratte.

The fountain’s history dates back to 1629 when Pope Urban VIII commissioned Gian Lorenzo Bernini to redesign it, though his plans were never realized. Later, Pope Clement XII organized a competition in 1730, leading to Nicola Salvi's selection for the project, who incorporated the fountain into the rear of the Poli Palace. Salvi passed away before its completion. Giuseppe Pannini and other artists finalized the work in 1762.

Measuring over 26 meters in height and 49 meters in width, it is the largest Baroque fountain in Rome.

The Trevi Fountain features a Corinthian façade and bas-reliefs depicting the origins of the Acqua Vergine aqueduct, constructed in 19 BC. According to legend, a virgin guided Roman engineers to the aqueduct’s source, an event depicted in the fountain’s bas-reliefs. The aqueduct, which survived the Gothic invasions and was restored during the Middle Ages, still supplies water to the fountain today.

At the heart of the fountain is Oceanus, depicted riding a shell-shaped chariot drawn by two horses and guided by Tritons. The horses symbolize the sea’s contrasting moods—calm and turbulent. Flanking Oceanus are the statues of Abundance and Salubrity, representing prosperity and health. The symmetrical Rococo design combines dynamic artistry with Baroque grandeur, reflecting 18th-century European trends.

The Trevi Fountain is also known for the tradition of tossing coins, which promises a return to Rome. Popularized by the 1954 Hollywood film "Three Coins in the Fountain," visitors toss coins over their left shoulder with their right hand, generating daily about €3,000. This money, collected by municipal authorities, is donated to charity.

Celebrated in films like Roman Holiday and La Dolce Vita, the Trevi Fountain’s global fame is further evidenced by replicas worldwide. Access to the fountain is now limited to 400 visitors at a time, ensuring a more enjoyable visit to this timeless masterpiece. Surrounding the fountain are charming shops, restaurants, and gelaterias, making it a delightful spot to soak in Rome’s vibrant atmosphere.

Tip:
The fountain holds particular allure at night, especially after 10 pm when it is beautifully illuminated and the crowds dissipate, allowing you to enjoy the site almost exclusively.

Column Square in Rome derives its name from the monumental Column of Marcus Aurelius. Erected in 193 AD, it commemorates the emperor's wars against Germanic tribes along the Danube River. Modeled after Trajan’s Column, this 39.7-meter Doric column features intricate spiral reliefs depicting scenes from these military campaigns.

At a closer look, binoculars or a long-lens camera can reveal intricate images, including a depiction of the so-called "Miracle Rain" attributed to divine intervention. At a desperate moment during one of Marcus Aurelius' battles, the surrounded Romans suffering from heat and thirst were saved by a rainstorm. According to legend, the rain was invoked by an Egyptian magician, and while the Romans drank and regained strength, the storm unleashed fire and thunderbolts upon their enemies. This event reinforced the Romans' belief in their divine right to overcome barbarianism and marked a pivotal moment in the campaign.

The column houses an internal staircase leading to a platform at the top. Originally part of the Field of Mars, possibly situated near the Temple of Marcus Aurelius (now gone), it also served as a funerary monument. In the 16th century, Pope Sixtus V restored the column, placing a statue of Saint Paul on top of it. The latter was done perhaps to Christianize the site or emulate Trajan’s Column, where the same pope had a statue of Saint Peter installed.

The surrounding square evolved over centuries, bordered by prominent structures from different eras. One such is the Chigi Palace. Built in 1562, it now serves as the residence of Italy’s Prime Minister. Another one, Wedekind Palace, constructed in 1838, incorporates Etruscan columns sourced from the ancient city of Veii, which the Romans conquered in the 4th century BC. Other significant buildings include Ferrajoli Palace, once a Papal post office, and Galleria Alberto Sordi, formerly known as the Colonna Gallery, a 19th-century addition.

The square also features a fountain constructed in 1577 to provide clean drinking water to the residents of Rome, restored in 1830. Crafted from pink marble sourced from the Greek island of Chios, it features an oval basin adorned with 16 intricately carved white-marble lion heads. At each end of the basin, two groups of dolphins entwine their tails around seashells, spouting water from their mouths, adding further to the site’s aesthetic appeal.

As with so many of Rome's wonderful squares, upon arriving at the Rotonda Square you will find a sea of people enjoying themselves: some sitting almost up against the fountain, some kids running around, tourist families orienting themselves and deciding whether to venture into the monumental ancient Pantheon.

The Pantheon itself needs no introduction, as its fame is recognized worldwide; however, if you're exploring Rome's fountains, you'll find delight in admiring the Fontana del Pantheon, appreciating its artistic merits, and seeking the best angle to observe its intricate details.

Originally built in 1575, the fountain acquired its current appearance in 1711 under the direction of Pope Clement XI. Atop a lofty pedestal, a magnificent 20-foot red marble Egyptian obelisk was placed. This obelisk, brought to Rome from ancient times, was once part of a pair created for the Temple of Ra in Heliopolis (the other obelisk can still be found in the Minerva Square – or Piazza della Minerva – located behind the Pantheon).

In addition to the ancient obelisk, the Baroque-style art adorning the fountain is playful and distinctive. Take note of the whimsical dolphins, adorned with teeth, which were a popular feature of Baroque design during that period. These dolphins possess cartoon-like expressions and even seem to sport eyebrows, adding a touch of charm and humor to the fountain's overall aesthetic.

In Rome, many of the significant fountains were dedicated to mythological water gods and nymphs as a token of gratitude for the arrival of fresh water through the aqueducts. The Fountain of Neptune, situated on the northern end of Navona Square, exemplifies this tradition. The ancient Aqua Virgo Aqueduct was restored in 1453, and by 1570, numerous pipes connected to it supplied water to different parts of the city. The quantity of public fountains in a particular area was determined by the size of its population, and as evidenced by the three fountains within, Navona Square was densely inhabited.

Commissioned by Pope Gregory XIII in 1574, the Fountain of Neptune was created by Giacomo della Porta. The lower basin is crafted from white marble, while the upper basin is made of Pietrasanta marble. When initially constructed, the fountain did not feature any statues, as public fountains of the time were predominantly utilitarian and adorned sculptures were reserved for private gardens. As the 19th century approached, public fountains lost their significance as water suppliers due to the advent of interior plumbing. Nevertheless, they retained their "status symbol" importance, and in 1878, Antonio della Bitta and Gregorio Zappala won a competition to embellish the fountain with statues. Della Bitta sculpted the central piece, depicting Neptune engaged in a battle with an octopus, while Zappala contributed sculptures of the Nereids, cupids, and walruses.

The focal point of Navona Square, the Fountain of the Four Rivers has been in place since the 17th century. While Rome has a longstanding affinity for fountains, dating back to antiquity, the Baroque era brought a new dimension to these water features, showcasing the generosity of the papacy.

In the case of the Fountain of the Four Rivers, Pope Innocent X, whose family seat – the Pamphili Palace – overlooks the square, entrusted the task to one of the most groundbreaking artists of the time, Gian Lorenzo Bernini. Created in 1651, the fountain was Rome's pinnacle achievement in fountain design, a symbolic masterpiece brimming with the dynamic and dramatic elements sought after by Baroque artists. Its central Egyptian obelisk is crowned with the Pamphili emblem, a dove with an olive twig.

Pope Innocent X chose Bernini after being secretly shown his model. The fountain was innovative, combining sculpture and architecture in a way unmatched by previous Roman fountains.

Here, the travertine base supports sculptures of four river gods, representing the major rivers of the continents over which papal authority had extended at that time. These include the Nile (for Africa), the Danube (for Europe), the Ganges (for Asia), and the Río de la Plata (for the Americas). Each figure conveys symbolic details: the Ganges is depicted holding a long oar, symbolizing the river's navigability; the Nile's veiled head signifies its unknown source; the Danube, the largest river near Rome touches the Pope's coat of arms; and the Río de la Plata sits atop a pile of coins, reflecting America’s wealth.

The fountain's unveiling on June 12, 1651, was marked by grand celebrations orchestrated by the Pamphili family. Allegorical figures of Fame and Curiosity paraded the streets, urging Romans to witness the reveal. The crowd marveled at the lifelike sculptures and water features, described as naturalistic and astonishing.

However, the project faced significant public opposition. Critics condemned its expense during the famine of 1646–48, expressing their discontent through pasquinades demanding "Bread, not fountains." Street vendors and Roman Jews lamented their displacement from the square's market, which was closed to enhance its splendor.

Despite the controversy, the Fountain of the Four Rivers remains a cornerstone of Rome’s cultural and architectural legacy, blending mythology, artistry, and historical narrative.

Tip:
To capture the essence of this fountain in photographs, it is recommended to shoot from various angles and positions, so as to get as much detail as possible. With ample space surrounding the fountain, take your time to find the perfect shot—or perhaps even multiple perfect shots.

Situated on the southern end of Navona Square, the impressive Fountain of the Moor is one of the three magnificent statues adorning the square. The original fountain, crafted in 1575 by Giacomo della Porta, features Pietrasanta marble, also known as "holy stone" because of its usage in parts of St. Peter's Basilica. While della Porta allowed his students to add four tritons blowing shells and four masks around the basin's border, the fountain lacked a centerpiece, as public fountains during that era were not intended for embellishment.

An amusing anecdote surrounds the history of the fountain: In 1652, Olympia Maidalchini resided in a house overlooking the fountain and found it unsatisfactory, believing it did not match the grandeur she desired. Determined to rectify the situation, she implored her brother-in-law, Pope Innocent X, to take action. The pope provided a small sum of money to Bernini, instructing him to create something worthy of his rather assertive sister-in-law. Allegedly, the modest payment offended the esteemed artist, and he assigned the task to one of his students, who produced three dolphins holding a shell. Both Bernini and "Donna" Olympia were unimpressed with the student's work. Consequently, Olympia voiced her discontent to the Pope, who dug deeper into his coffers, prompting Bernini to produce the exquisite statue of the Moor holding a dolphin. However, Bernini may have gone slightly overboard, as the statue was so large that the basin had to be enlarged to accommodate it.

During a restoration of the fountain in 1874, the original statues were relocated to the Galleria Borghese and replaced with copies. In September 2011, the fountain suffered damage when a vandal attacked it with a hammer. This unfortunate incident occurred on the same night that the Trevi Fountain was also targeted by the vandal.

Navona Square, one of Rome’s most iconic places, is built on the site of the ancient (1st-century AD) Stadium of Domitian. The stadium’s elongated oval shape defines the square’s layout, originally designed for Roman games (or agones). Over time, the name evolved from Circus Agonalis (which means “competition arena”) to Navona. After the fall of the Roman Empire, the stadium fell into ruin and was quarried for materials, leaving few remnants today.

In the late 15th century, Navona Square was designated a public space when the city market moved there from Capitoline Hill. It became a celebrated example of Baroque architecture and art during the mid-17th century under Pope Innocent X, whose family property, the Pamphili Palace, overlooks the square. The latter also features several masterpieces, including Gian Lorenzo Bernini’s Fountain of the Four Rivers at its center, crowned by the Obelisk of Domitian. The renowned Church of Saint Agnes in Agone with its impressive dome further highlights the area's artistic significance. Also noteworthy is the Braschi Palace, presently home to the Museum of Rome, and the Cupis Palace, which now offers pre-booked accommodations.

Navona Square is also home to two additional fountains. The Fountain of the Moor, at the southern end, was originally sculpted by Giacomo della Porta in 1575, with Bernini adding a statue of a Moor wrestling a dolphin in 1673. At the northern end, the Fountain of Neptune, also by della Porta (created in 1574), gained its central Neptune statue in 1878.

The square has a rich cultural history, hosting theatrical performances and festivals, including a popular Christmas market held annually, from December to January.

Navona Square made an appearance in several movies, including “Angels & Demons” (of 2008, starring Tom Hanks), “Yesterday, Today and Tomorrow” (with Sophie Loren, made in 1964), and “The Talented Mr. Ripley” (directed in 1999 by Anthony Minghella, featuring Matt Damon). The atmosphere in Navona Square exudes a cool and relaxed vibe which, complete with its cinematic and architectural appeal, makes it an ideal spot for photography.

Tip:
In the evenings, when the central fountain is illuminated, the square becomes particularly scenic.
If looking for more intimate and more value-for-money meals and refreshments, consider venturing onto one of the side streets adjacent to the square, filled with multiple eateries and cafes.