Trevi Fountain

The largest and most famous fountain in Rome

Built on the facade of Palazzo Poli by Nicola SalviThe competition announced by Pope Clement XII in 1731 was initially won by the French sculptor Lambert-Sigisbert Adam. The commission subsequently passed to Salvi. It is said that the change was due to the fact that the pontiff did not want to entrust the work to a foreigner. Another version explains that Adam had to return to France. Begun in 1732, it was completed thirty years later by Giuseppe Pannini; stylistically, it belongs to the late Baroque period.

The fountain at the crossroads of three roads marks the end of the "modern" Aqua Virgo. It is the reborn Aqua Virgo, one of the aqueducts that supplied water to ancient Rome. In 19 BC, presumably with the help of a virgin, Roman engineers located a source of pure water about 13 km (8,1 mi) from the city. This scene is depicted on the façade of the current fountain. However, the aqueduct's possible indirect route reached its length of about 22 km (14 mi). This Aqua Virgo brought water to the Baths of Agrippa. It served Rome for over 400 years.
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Regarding the project design by Nicola Salvi

Nicola Salvi (Rome 1697-1751), Project for the Trevi Fountain: elevation of the facade, 1733, pen, brown ink and black pencil, watercolour in grey and bistre, 397x557 mm
This is perhaps one of the most representative drawings in the collection held at the Municipal Prints Cabinet. It concerns the final design for the Acqua Vergine Exhibition in Piazza di Trevi. It was created by the architect Nicola Salvi, an Accademia di San Luca, architect of the Sacred Apostolic Palaces and of the Archconfraternity of Oration and Death.

The project won the competition announced by Clement XII in 1732. Salvi devoted much of his work to the fountain's construction. The Acqua Vergine aqueduct, which ended at the Pantheon, was extended to Piazza di Trevi by Urban VIII. Many architects, including Bernini and Pietro da Cortona, attempted to renovate the fountain. An initial competition was announced in 1731, but no winner was selected.

Three other drawings by Salvi are known for the 32 competition, known from descriptions by Milizia and the architect himself. The one reproduced here, which already represents the final design, is not a presentation drawing. Rather, it is a working sheet likely used by Salvi to outline the development of the complex's sculptural elements.

The fountain's distinguishing feature, one of the most famous and significant Roman constructions of the first half of the 18th century, is the relationship between the architectural structures of the Poli Palace, which serves as its backdrop, and the sculptural decoration. These interact perfectly. The statues, the cliff, and the figures in the foreground descend from the greatest Roman Baroque tradition.

In the right and left niches are Fertilitas and Salubritas. The central statue of Oceanus on a chariot drawn by seahorses, created in 1762 by Pietro Bracci, is from a later period. Finally, the attic features depictions of the four seasons.

The Museum of Rome also houses a large wooden model of the Trevi Fountain, carved and painted by Camporese in 1735, based on Salvi's drawing.
Source: http://www.artleo.it/