Baroque Rome: Fountains, Obelisks, and Papal Power
Baroque Rome: Religious Symbolism and Urban Planning
In Baroque Rome, focal points with religious connotations were emphasized through the strategic placement of obelisks and the two great Roman commemorative columns in the forum. Crosses were placed on the obelisks, symbolizing the triumph over ancient religions, and statues of St. Peter and St. Paul were placed atop the columns, signifying the triumph of the Church of Christ over the ancient Roman world. From the height of these focal points, a dynamic space was created, designed to impress pilgrims. For instance, one could view the obelisk leading from the Strada Felice to Santa Trinità dei Monti, whose obelisk would then guide you to Santa Maria Maggiore, and another placed at the foot leading to the Holy Cross in Jerusalem. The creation of open spaces was crucial as it fostered a dynamic urbanism, unlike the static nature of Renaissance urban planning. In Baroque Rome, there was an internal movement, encouraging constant exploration.
The most significant difference between the two periods is that the Renaissance was characterized by stasis and closure, while the Baroque embraced dynamism and movement. The section of the street between the Piazza del Popolo and Santa Maria dei Monti exemplifies this shift. In the 18th century, a grand staircase was added to heal the unfinished space, culminating in the steps of the Piazza della Barcaccia.
Domenico Fontana and the Urban Vision of Sixtus V
Domenico Fontana, working from Santa Trinità dei Monti to Santa Maria Maggiore, encountered an important crossroads where Pope Gregory XIII had already established a retreat palace. Pope Sixtus V recognized the significance of this location and adorned the four corners with fountains and monuments, interconnected in parallel. Sixtus V also undertook the ambitious project of redirecting water from the hills, utilizing aqueducts to supply monumental fountains throughout the city, rather than opting for smaller, less prominent sources. This area was connected to the Quirinal and included the Villa Montalto, which belonged to Sixtus V. He planned an avenue that connected Santa Maria degli Angeli to San Lorenzo, which was located outside the city walls.
These projects underscored the religious spirit of the Counter-Reformation, where Rome stood as the center of the Catholic world, constantly striving to spread the spirit of the Council of Trent.
Acqua Felice Fountain by Domenico Fontana
The Acqua Felice Fountain, designed by Domenico Fontana, is a prime example of Baroque design. It is attached to a building, resembling a large triumphal arch. Its structure consists of three spans, topped with an attic bearing an inscription of Sixtus V. The design incorporates broken lines and curves, with buttresses ending in a spiral, reminiscent of Renaissance Doric architecture. Mannerist elements are also present, breaking up the verticality. Obelisks flank the sides, emphasizing verticality at the ends, while Corinthian columns, decorated with scrolls and garlands, mark a horizontal line. The pier, laterally positioned on the attic, attempts to disrupt the Renaissance horizontality of the obelisk, further emphasizing the Baroque verticality.
Individual fountains were used to decorate important points, such as those designed by Giambologna. As the Acqua Felice Fountain was commissioned by the Pope, its decoration is purely religious: Moses is depicted in the center, flanked by two water-related stories – Aaron searching for water in the desert and Joshua helping the people cross the Red Sea. As an attached fountain, the view is frontal, a key aspect of Renaissance design. The figure of Moses is curved in the style of Praxiteles, with stout arms influenced by Michelangelo. Two rays appear on his head, symbolizing divine influence or burning rays.
Giambologna’s Neptune Fountain
Giambologna’s Neptune stands in the water, surrounded by Nereids, representing the water world (mythology used ornamentally). Neptune is depicted fully naked, showcasing a detailed study of anatomy. As a Mannerist work, the forms are embellished and exaggerated. Unlike the frontal view of Moses, Neptune’s figure revolves around the fountain, offering multiple perspectives.
The Mannerist composition, offering multiple viewpoints, foreshadows the Baroque style.
Santa Maria Maggiore: Papal Chapels
Santa Maria Maggiore is a basilica that incorporated funeral chapels in modern times. Notably, the Sistine and Pauline chapels, belonging to Popes Sixtus V and Paul V, respectively. These two chapels are very similar in plan, both featuring a centralized Greek cross design, a common layout for funeral chapels due to its symbolic character. Each chapel culminates in a large dome.