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The Fountain of the Four Rivers (Fontana dei Quattro Fiumi) by Gian Lorenzo Bernini was inaugurated in 1651. It was commissioned by Pope Innocent X and is located in the Piazza Navona in Rome. Statues of the fountain symbolize four significant rivers of that time: the Nile, the Ganges, the Danube, and the Rio de la Plata. Bernini’s masterpiece stands in front of the church of Sant’Agnese in Agone, a work of Borromini.
Things to Know Before Visiting the Fountain of the 4 Rivers
What was Bernini’s fee for the 4 Rivers Fountain project?
What is the fine for swimming in the 4 Rivers Fountain?
Is drinking water from the Fountain of the 4 rivers in Rome possible?
What animals are in the Four Rivers fountain?
How old is the obelisk in the center of the Fountain of 4 Rivers?
Is it true that scenes from Angels and Demons were filmed at the Fountain of the 4 Rivers?
In which famous films can you see the Fountain of 4 Rivers?
What are the four rivers represented in the Fountain of the Four Rivers?
History
Bernini is one of the most famous sculptors in history. However, Pope Innocent X preferred to collaborate with Francesco Borromini, while Bernini received support from Urban VIII’s pope. Interestingly, Popes Urban VIII and Innocent X conflicted with each other. Bernini created a fountain model, and Innocent X agreed with it and assigned the project to him instead of Borromini.
The fountain was originally designed to serve as a source of portable water before the age of indoor plumbing.
Pope Innocent X decided to surround a slim Egyptian obelisk with sculptures representing four significant rivers throughout the major continents. A dove, a symbol of the church and the Pamphilj family, surmounted the obelisk.
See also a Guide to Borromini’s Masterpieces in Rome.
Design
The fountain’s statues symbolize the Nile, the Ganges, the Danube, and the Rio de la Plata rivers. Each sculpture, meticulously carved from white Carrara marble, stands approximately 5 to 5.5 meters (16 to 18 ft) tall and embodies one of the four continents known during Bernini’s time. Symbolically, the composition culminates in an Egyptian obelisk placed atop a monumental travertine plinth, reaching approximately 35 meters (115 ft) in height.
The River Ganges of Asia
The figure depicting the Ganges River features a solemn expression, purposefully turning his gaze away from the Church of Sant’Agnese in Agone.
Symbolically, this represents spiritual enlightenment contrasted with worldly ignorance—interpreted as a commentary on the perceived hedonism associated with Eastern cultures at the time. Bernini’s anatomical precision and intricately carved drapery vividly illustrate muscular tension and expressive gestures characteristic of Baroque dynamism.
It is important to note that the Church of Sant’Agnese in Agone was built after the Fountain of the Four Rivers; thus, this symbolic gesture is likely coincidental rather than intentional.
The Rio de la Plata of America
The figure symbolizing the Rio de la Plata dramatically throws his arms upward in surprise or astonishment, representing the newly discovered and evangelized American territories (explored primarily during the late 15th and early 16th centuries, beginning with Columbus’ landing in 1492).
Bernini’s skill in capturing dynamic movement and emotional intensity is evident. At the base of the statue, a meticulously carved serpent symbolizes both the perceived dangers of the new world and anxiety surrounding the potential loss of newfound riches.
The Danube of Europe
The statue representing the Danube is portrayed as the most culturally sophisticated and spiritually enlightened of the four river gods.
It confidently faces the Church of Sant’Agnese in Agone, symbolizing Europe’s embrace of Christianity and divine illumination. Bernini masterfully sculpted this figure with exceptional anatomical realism, capturing precise muscle definition, expressive detail in the hair, and a serene facial expression.
The Nile of Africa
The Nile River statue is uniquely characterized by a cloth entirely concealing its face, symbolizing Europe’s ignorance of the river’s trustworthy source during Bernini’s era.
Historically, Europeans only fully explored and confirmed the Nile’s source in the late 19th century (John Hanning Speke identified Lake Victoria as the source in 1858). This symbolic blindness also metaphorically reflects the perceived spiritual ignorance of Christianity attributed to Africa at the time. Bernini’s skillful craftsmanship is evident in the intricate carving of the veiled face, precise drapery folds, and expressive anatomical details.
Surrounding the four river gods are carefully sculpted flowers and animals carved from marble and travertine, vividly representing the diverse fauna and flora associated with each continent.
Notable details include a horse symbolizing Europe, a crocodile for Africa, a serpent denoting America, and a dolphin representing Asia. Lions, palm trees, and other botanical elements enrich the composition, enhancing the narrative complexity of Bernini’s masterpiece.
Pamphili Family Coat of Arms
At the center of the fountain, just below the obelisk, lies an ornate marble coat of arms of the Pamphili family — the papal dynasty of Pope Innocent X, who commissioned the fountain in 1651.
The shield is supported by two dolphins, crowned with the papal tiara, and backed by the crossed keys of Saint Peter, signifying papal authority.
The coat of arms prominently displays a dove holding an olive branch in its beak, the heraldic symbol of the Pamphili family, which represents peace and divine favor. Lush garlands surround the shield, cornucopias of fruits and flowers, and exuberant Baroque flourishes reinforce the themes of abundance and power. The visual weight and sculptural prominence of the coat of arms assert the political and religious dominance of the Pamphili family in 17th-century Rome.
This section, richly detailed in travertine, also demonstrates Bernini’s masterful use of allegorical symbolism and theatrical illusionism. It seamlessly integrates heraldry into an architectural and sculptural narrative without interrupting the flow of the fountain’s composition.
Since its unveiling, the Fountain of the Four Rivers has stood as the epitome of Baroque dynamism and theatricality, admired for its complex allegorical symbolism and exceptional sculptural finesse.
The fountain’s circular base ensures that each figure narrates its distinct yet interconnected story, inviting viewers to engage with the work from multiple perspectives.
Opposition
There was opposition from the Roman people because of the creation of the fountain. At the time of its construction, Italy was in the grip of a severe famine, and citizens could hardly support their families, while additional taxes for the fountain made them angry.
However, Pope Innocent X built the fountain from 1646 to 1648, during which time there were many riots among the Romans.
In September 1648, protesting writers announced: “We don’t want Obelisks and Fountains! It is the bread we want. Bread, bread, bread!” on the rocks dedicated to the obelisk’s building. However, Innocent immediately found and arrested the authors of the inscriptions. Moreover, he placed spies to monitor the area of the fountain and protect it.
The Obelisk
At the heart of Piazza Navona stands the Obeliscus Pamphilius, a Roman-era monolith commissioned initially by Emperor Domitian (reigned 81–96 AD) for the Temple of Isis and Serapis.
Crafted from red granite in Egypt, the obelisk measures approximately 16.53 meters (about 54.2 feet) in height. When placed atop the Fountain of the Four Rivers, the total height reaches around 30 meters (approximately 98.4 feet). The obelisk’s weight is estimated to be over 100 tons.
After its initial erection, Emperor Maxentius relocated the obelisk in the early 4th century to his circus on the Via Appia. There, it fell into ruin until Pope Innocent X decided to have its broken parts brought to the Piazza Navona in front of his family’s palace, the Palazzo Pamphilj. He commissioned Jesuit scholar Athanasius Kircher to oversee the relocation and interpretation of the monument and Gian Lorenzo Bernini to design a fountain above which the obelisk was to be placed — now known as the Fontana dei Quattro Fiumi.
The fountain’s design, featuring a hollow travertine base supporting the obelisk, was an audacious engineering challenge. Critics at the time questioned the structure’s stability, fearing collapse. Bernini, unfazed, reportedly mocked these concerns by attaching sculpted ropes to the obelisk’s base—a clever artistic gesture implying that it was now “securely fastened,” even if only by string.
The Latin Inscription on the Obelisk’s Pedestal
One of the most curious and overlooked features of the obelisk is the Latin inscription added during its 17th-century reinstallation.
The dedication reads:
NOXAE AEGYPTIORUM MONUMENTA
INNOCENS PREMIT COLUMBA
QUAE PACIS OLEAM GESTANS
ET VIRTUTUM LILIAS REDEMITA
OBELISCUM PROTROPHEVM TRIUMPHI
ROMAE TRIUMPHANTI INSTAURAVIT
This translates roughly to:
“The dove, innocent, bearing the olive branch of peace and crowned with lilies of virtue, overcomes the guilt-marked monuments of the Egyptians and restores the obelisk as a trophy of triumph to triumphant Rome.”
The inscription is a classic example of 17th-century Christian reinterpretation of pagan monuments. It reframes the obelisk—once a symbol of imperial Roman domination and Egyptian deities—as a triumph of Christian peace and virtue, aligning perfectly with Pope Innocent X’s ideology and the Baroque papal propaganda of the time.
If you want to live near this masterpiece in the city’s famous square, read more about the best hotels in the Piazza Navona.
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