Young Brunette Girl Posing At The Water Fountain

The Piazza Navona became a grand theater of water, with three fountains, built in a line on the site of the Stadium of Domitian. The fountains at either end are by Giacomo della Porta; the Neptune fountain to the north, (1572) shows the God of the Sea spearing an octopus, surrounded by tritons, sea horses and mermaids. At the southern end is Il Moro, possibly also a figure of Neptune riding a fish in a conch shell. In the center is the Fontana dei Quattro Fiumi, (The Fountain of the Four Rivers) (1648–51), a highly theatrical fountain by Bernini, with statues representing rivers from the four continents; the Nile, Danube, Plate River and Ganges. Over the whole structure is a 54-foot (16 m) Egyptian obelisque, crowned by a cross with the emblem of the Pamphili family, representing Pope Innocent X, whose family palace was on the piazza. The theme of a fountain with statues symbolizing great rivers was later used in the Place de la Concorde (1836–40) and in the Fountain of Neptune in the Alexanderplatz in Berlin (1891). The fountains of Piazza Navona had one drawback- their water came from the Acqua Vergine, which had only a 23-foot (7.0 m) drop from the source to the fountains, which meant the water could only fall or trickle downwards, not jet very high upwards.
The Trevi Fountain is the largest and most spectacular of Rome's fountains, designed to glorify the three different Popes who created it. It was built beginning in 1730 at the terminus of the reconstructed Acqua Vergine aqueduct, on the site of Renaissance fountain by Leon Battista Alberti. It was the work of architect Nicola Salvi and the successive project of Pope Clement XII, Pope Benedict XIV and Pope Clement XIII, whose emblems and inscriptions are carried on the attic story, entablature and central niche. The central figure is Oceanus, the personification of all the seas and oceans, in an oyster-shell chariot, surrounded by Tritons and Sea Nymphs.
In fact, the fountain had very little water pressure, because the source of water was, like the source for the Piazza Navona fountains, the Acqua Vergine, with a 23-foot (7.0 m) drop. Salvi compensated for this problem by sinking the fountain down into the ground, and by carefully designing the cascade so that the water churned and tumbled, to add movement and drama. Wrote historians Maria Ann Conelli and Marilyn Symmes, "On many levels the Trevi altered the appearance, function and intent of fountains and was a watershed for future designs."