The Trevi Fountain (Fontana di Trevi), completed in 1762 CE, is widely considered the most iconic Baroque fountain in Rome and a consummate synthesis of architecture, sculpture, and urban design. Its architectural composition exemplifies the late-Baroque fascination with theatricality, allegory, and the unity of the arts. Designed principally by Nicola Salvi and completed by Giuseppe Pannini, the fountain occupies the rear façade of the Palazzo Poli, transforming an urban intersection into a monumental stage for symbolic representation and hydraulic spectacle.

circa 1600s CE - Modern Period

Origins
The Trevi Fountain, located at the convergence of three streets (tre vie), serves as the terminal point of the modern Acqua Vergine—a revived form of the ancient Roman aqueduct known as the Aqua Virgo. This aqueduct was originally constructed in 19 BCE, during the reign of Emperor Augustus, and is traditionally associated with the discovery of a pure water source by Roman engineers, reportedly aided by a virgin—an episode that is depicted in relief on the current fountain’s façade. The original spring was situated approximately 13 kilometers (8.1 miles) from the city of Rome. However, due to the indirect routing necessitated by the terrain and engineering considerations, the total length of the aqueduct ultimately extended to about 22 kilometers (14 miles). The Aqua Virgo delivered water to the Baths of Agrippa and played a crucial role in sustaining Rome’s public and private water needs for over four centuries.

By the 6th century CE, the maintenance of Rome’s aqueduct network had significantly declined. The city’s fourteen functioning aqueducts suffered extensive damage during the Gothic Wars, particularly under the siege of Rome by the Ostrogothic king Vitiges in 537 CE. Despite this deterioration, the Acqua Vergine continued to function throughout the Middle Ages. Restoration efforts are documented as early as the 8th century and were further undertaken by the municipal authorities in the 12th century. During this later phase of repair, the aqueduct was supplemented by connections to additional water sources situated nearer to Rome, in an area then referred to as Trebium.

In its present form, the Acqua Vergine aqueduct channels water to the Trevi Fountain from a source approximately 10 kilometers (6.2 miles) outside Rome. Despite undergoing several periods of maintenance and partial suspension—during which the fountain temporarily ceased to function—the aqueduct remains operational to this day. Notably, the water it conveys is low in calcium content, a characteristic believed to contribute to the enduring clarity and preservation of the fountain’s hydraulic features.

Construction of Modern Structure
In 1629, Pope Urban VIII, judging the existing fountain at the terminus of the Acqua Vergine aqueduct to be insufficiently impressive in both scale and aesthetic grandeur, commissioned the eminent Baroque architect and sculptor Gian Lorenzo Bernini to propose a new design. Bernini produced preliminary sketches for the project; however, the initiative was abandoned following the Pope’s death in 1644. Although Bernini's design was never executed, elements characteristic of his style—such as dynamic spatial composition, theatrical use of architecture, and fluid integration of sculpture and setting—are evident in the present fountain, indicating the enduring influence of his vision on later developments.

In the decades that followed, several alternative proposals were conceived, reflecting the evolving architectural discourse of the late Baroque and early Rococo periods. An early and influential model by Pietro da Cortona, a major figure of the Roman High Baroque, survives in the Albertina Museum in Vienna. In addition to this, a number of sketches dating from the early 18th century, many of them unsigned, have been preserved. Among the attributed designs are one by Nicola Michetti, one by Ferdinando Fuga, and a French neoclassical proposal by Edmé Bouchardon. These diverse contributions underscore the prominence of the site and the fountain in architectural imagination throughout the period.

Architectural competitions had become a popular practice during the Baroque period, serving as a method to determine the design of prominent civic monuments such as churches, staircases, and fountains—including the famed Spanish Steps. In 1730, Pope Clement XII organized such a competition to select the final design for the new fountain. Though the commission was initially awarded to Alessandro Galilei, a Florentine architect, his selection provoked a backlash among Romans who objected to the appointment of a non-Roman. As a result, the commission was reassigned to Nicola Salvi, who had originally lost the competition. Construction commenced in 1732 under Salvi’s direction.

At the time of Salvi’s design intervention, the location was already occupied by a structure—now identified as the Palazzo Poli. Rather than displacing the existing building, Salvi ingeniously integrated the fountain into the palace’s rear façade. This architectural choice not only preserved the urban fabric of the site but also exemplified the Baroque aesthetic of dramatic integration between architecture and monumental sculpture.

Salvi died in 1751, with the fountain only partially completed. Demonstrating attention to visual harmony, he took care to conceal a barber’s unsightly commercial sign that intruded upon the fountain’s ensemble by designing a sculpted vase to obscure it. This ornamental feature, humorously dubbed the asso di coppe or "Ace of Cups" by locals, bears a resemblance to the suit symbol found in traditional Tarot cards. To complete the fountain’s decorative program, four sculptors were appointed: Pietro Bracci—who executed the central statue of Oceanus seated in the main niche—Filippo della Valle, Giovanni Grossi, and Andrea Bergondi. The architectural oversight of the final phase of construction was entrusted to Giuseppe Pannini (1718–1805), son of the celebrated vedutista Giovanni Paolo Panini.

The Trevi Fountain was ultimately completed in 1762 under Pannini’s direction. In a departure from the original program, Pannini substituted allegorical figures in place of the planned sculptures of Marcus Agrippa and the Roman maiden Trivia, who had been associated with the legend of the aqueduct’s discovery. The fountain was officially inaugurated on 22 May 1762 by Pope Clement XIII. The structure is primarily composed of Travertine stone, a durable limestone quarried near Tivoli, located approximately 35 kilometers (22 miles) east of Rome. The name "Trevi" is derived from the Latin word trivium, meaning "a meeting of three streets", a reference to the fountain’s location at the junction of Via De’ Crocicchi, Via Poli, and Via delle Muratte.

Modern Restorations
The Trevi Fountain has undergone several significant restoration campaigns in the modern era, each reflecting evolving approaches to the preservation of historic urban monuments. The first major refurbishment occurred in 1988, prompted by concerns over discoloration and surface deterioration caused primarily by atmospheric pollution and smog accumulation. This intervention involved comprehensive surface cleaning and stabilization efforts aimed at mitigating the visual and structural impacts of environmental degradation.

A subsequent restoration took place in 1998. During this campaign, skilled artisans undertook detailed conservation work that included scrubbing the stone surfaces, repairing visible cracks, and addressing localized deterioration of the travertine masonry. Importantly, the fountain was also outfitted with a modern recirculating water system to improve hydraulic efficiency and reduce water waste—an intervention consistent with broader trends in sustainable conservation practice.

In January 2013, the Italian luxury fashion house Fendi announced its sponsorship of an extensive restoration project, marking a pivotal moment in the relationship between private patronage and public heritage conservation. The proposed 20-month initiative, with an estimated cost of 2.2 million euros, was the most comprehensive restoration in the fountain’s documented history. Actual restoration work commenced in June 2014 and concluded in November 2015. This effort not only involved meticulous conservation of the fountain’s sculptural and architectural elements but also incorporated significant technological upgrades.

The project culminated in an official reopening ceremony on the evening of 3 November 2015. One of the most notable additions was the installation of over 100 LED lights, which dramatically enhanced the aesthetic visibility of the monument at night, reinforcing its role as both an artistic landmark and a symbol of Rome’s enduring civic identity.

circa 1650 CE

Integration with Surrounding Urban Fabric
Rather than being conceived as an isolated fountain, the Trevi Fountain is architecturally integrated into the rear elevation of the Palazzo Poli, a Renaissance palace whose central section was reconfigured to serve as the fountain’s architectural backdrop. This integration achieves a seamless dialogue between architecture and sculpture, dissolving the boundary between building and fountain in accordance with the scenographic principles of Roman Baroque design. The use of a pre-existing palatial structure allowed Salvi to construct an architectural triumphal arch as a central motif, anchoring the composition both vertically and symbolically. This central triumphal arch not only frames the principal sculptural figure of Oceanus but also evokes Roman imperial iconography, thereby embedding the fountain within a broader historical and ideological continuum.

Iconography
The central axis of the fountain is dominated by a massive niche framed by four Corinthian columns and topped by an entablature and attic. Within this niche stands Oceanus, the personification of the all-encompassing world-ocean, sculpted by Pietro Bracci. He is shown commanding a shell-shaped chariot drawn by two hippocamps (mythical sea horses), one restive and one docile, representing the contrasting moods of the sea. Each hippocamp is guided by a Triton, the lesser sea deity, adding a dynamic and muscular rhythm to the composition.

This kinetic central group is flanked on either side by two smaller niches containing allegorical statues sculpted by Filippo della Valle: Abundance (left) and Salubrity (right). These personifications reference the life-giving and healthful qualities of water—reinforcing the aqueductic origin of the structure, namely the Acqua Vergine, which still supplies the fountain.

Above the lateral niches are high-relief panels depicting the legendary origins of the aqueduct. On the left, the Roman virgin points to the source of water (a scene which gave the aqueduct its name), while the right panel shows Agrippa approving the aqueduct’s construction for his baths in 19 BCE. These narrative elements root the fountain in Roman antiquity while aligning its message with papal claims to civic beneficence and continuity with the ancient past.

Architectural Style and Materials
Architecturally, the fountain is emblematic of High Baroque design, characterized by dramatic scale, theatrical expressiveness, and the fusion of various artistic media. The classical architectural language—Corinthian columns, entablatures, and sculptural pediments—is deployed not for compositional order but for dramatic framing and narrative emphasis.

The material palette reinforces this theatricality. The fountain is constructed primarily from travertine stone, sourced from nearby Tivoli, known for its light color, porous texture, and historical association with Roman construction. Carrara marble, finer and smoother in grain, was used for sculptural elements requiring detail and polish.

The sound and motion of cascading water play a critical architectural role. The basin at the base of the fountain, with its irregular rocky formations, simulates a natural grotto and blurs the distinction between built and organic form. Water pours from multiple sources in continuous motion, producing not only visual animation but an immersive auditory environment, central to the Baroque aesthetic of sensory engagement.

The architectural composition is strongly axial and hierarchical, organized along a dominant vertical axis centered on the figure of Oceanus (Neptune). The verticality of the design draws the eye upward from the tumultuous waters at the base to the sculpted pediment and attic register above. Oceanus, created by Pietro Bracci, occupies the central niche in a triumphal arch motif, flanked by Corinthian pilasters and engaged columns that create a rhythmic architectural frame.

The triadic structure is reinforced by two smaller side niches that house allegorical figures representing Abundance (left) and Health (right), personifications that embody the life-sustaining and medicinal powers of water. These flanking statues are housed in aediculae, and their positioning contributes to the visual symmetry of the whole.

circa

An architectural replica of the Trevi Fountain, measuring approximately 11 metres in height (36 feet) and 20.6 metres in width (68 feet), was constructed in 2023 in Serra Negra, a municipality in the state of São Paulo, Brazil. This reproduction was designed as a monumental façade installation, emulating the grandeur and sculptural detail of the original fountain in Rome. The initiative was part of a broader urban and touristic development effort aimed at enhancing cultural attractions in the region, which has increasingly embraced themed installations inspired by European landmarks.

A notable reproduction of the Trevi Fountain also exists in Las Vegas, Nevada, situated near Caesars Palace, one of the city's most iconic hotel-casino complexes. This version, while smaller than the original, is positioned at the entrance of the Forum Shops at Caesars and serves as both a decorative and thematic element in the resort’s Roman-inspired aesthetic. It functions primarily as a tourist attraction, often photographed by visitors due to its proximity to the luxury retail area and its resemblance to the original baroque masterpiece.

Another replica is located within the Seoul Metropolitan Subway system, specifically at Jamsil Station, which is a major transit hub connected to the Lotte World Tower and Lotte World Mall in Songpa District, Seoul, South Korea. This version is a part of the station’s artistic and cultural design elements intended to enrich the commuter experience and has been noted for its incorporation of classical Western motifs within a modern urban setting. However, detailed technical specifications or design provenance for this installation remain undocumented in major scholarly or architectural databases.

Yet another imitation of the Trevi Fountain is found at the Xetulul Theme Park, located in the Retalhuleu Department of Guatemala. Xetulul, operated by the Institute for the Recreation of Private Industry Workers of Guatemala (IRTRA), is one of Latin America's largest theme parks and features several architecturally inspired zones based on world cultures. The replica of the Trevi Fountain is part of the park's European Plaza, where it contributes to the educational and entertainment goals of the park by presenting scaled interpretations of iconic structures from European heritage. This version, like the others, does not function as a working aqueduct terminus but aims to visually approximate the form and style of the original Roman fountain.