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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 symbolise 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 Four Rivers
What was Bernini’s fee for the Four Rivers Fountain project?
What is the fine for swimming in the Four Rivers Fountain?
Is drinking water from the Fountain of the Four Rivers in Rome possible?
What animals are in the Four Rivers Fountain?
How old is the obelisk in the centre of the Fountain of the Four Rivers?
Is it true that scenes from Angels and Demons were filmed at the Fountain of the Four Rivers?
In which famous films can you see the Fountain of the Four Rivers?
What are the four rivers represented in the Fountain of the Four Rivers?
History
Bernini is one of the most renowned sculptors in history. However, Pope Innocent X initially preferred to collaborate with Francesco Borromini, whereas Bernini had previously enjoyed the support of Pope Urban VIII. Interestingly, Popes Urban VIII and Innocent X had a contentious relationship. Bernini created a model for the fountain, and Innocent X approved it, awarding the project to him instead of Borromini.
The fountain was originally designed to serve as a source of potable water before the advent of indoor plumbing.
Pope Innocent X chose to surround a slender Egyptian obelisk with sculptures representing four major rivers from across the known continents. A dove, symbolising both the Church and the Pamphilj family, was placed atop the obelisk.
See also a Guide to Borromini’s Masterpieces in Rome.
Design
The fountain’s statues symbolise 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 metres (16 to 18 ft) tall and represents one of the four continents known during Bernini’s time. Symbolically, the composition is crowned by an Egyptian obelisk mounted on a monumental travertine plinth, rising to about 35 metres (115 ft) in height.
The River Ganges of Asia
The figure representing the Ganges River bears a solemn expression, deliberately turning his gaze away from the Church of Sant’Agnese in Agone.
Symbolically, this gesture reflects spiritual enlightenment in contrast to worldly ignorance—interpreted at the time as a comment on the perceived hedonism associated with Eastern cultures. Bernini’s anatomical precision and intricately carved drapery vividly portray muscular tension and expressive gestures, hallmarks of Baroque dynamism.
It is worth noting that the Church of Sant’Agnese in Agone was constructed after the Fountain of the Four Rivers; therefore, this symbolic gesture is likely coincidental rather than intentional.
The Rio de la Plata of America
The figure symbolising the Rio de la Plata dramatically throws his arms upward in surprise or astonishment, representing the newly discovered and evangelised 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 symbolises 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, symbolising 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 characterised by a cloth entirely concealing its face, symbolising Europe’s ignorance of the river’s true 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 skilful 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 symbolising 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 centre 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 favour. 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 to the creation of the fountain. At the time of its construction, Italy was in the grip of a severe famine, and citizens struggled to support their families. The imposition of additional taxes to fund the fountain provoked widespread anger.
Nonetheless, Pope Innocent X proceeded with construction between 1646 and 1648, a period marked by frequent unrest and riots among the Roman populace.
In September 1648, protesting writers declared: “We don’t want Obelisks and Fountains! It is the bread we want. Bread, bread, bread!”—carving this message into the stones designated for the obelisk’s foundation. Innocent X swiftly had the authors of these inscriptions arrested and deployed spies to monitor and protect the area around the fountain.
The Obelisk
At the heart of Piazza Navona stands the Obeliscus Pamphilius, a Roman-era monolith originally commissioned by Emperor Domitian (reigned 81–96 AD) for the Temple of Isis and Serapis.
Crafted from red granite in Egypt, the obelisk stands approximately 16.53 metres (about 54.2 feet) tall. When mounted atop the Fountain of the Four Rivers, the total height reaches around 30 metres (approximately 98.4 feet). The obelisk’s weight is estimated at over 100 tonnes.
Following its original erection, Emperor Maxentius relocated the obelisk in the early 4th century to his circus on the Via Appia. There it fell into disrepair, until Pope Innocent X arranged for its fragments to be brought to Piazza Navona, directly in front of his family’s residence, the Palazzo Pamphilj. Jesuit scholar Athanasius Kircher was tasked with overseeing its relocation and interpretation, while Gian Lorenzo Bernini was commissioned to design the fountain over which it would stand—now known as the Fontana dei Quattro Fiumi.
The fountain’s design features a hollow travertine base supporting the obelisk—an audacious engineering feat for its time. Contemporary critics expressed fears that the structure might collapse. Bernini, unperturbed, is said to have mocked these doubts by sculpting ropes around the obelisk’s base—a witty artistic gesture suggesting it was now “securely fastened,” if only with string.
The Latin Inscription on the Obelisk’s Pedestal
One of the most curious and often 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 reimagines the obelisk—once a symbol of Roman imperial power and Egyptian deities—as a Christian emblem of peace and virtue. This reinterpretation aligns closely with Pope Innocent X’s vision and reflects the broader aims of Baroque papal propaganda.
If you wish to stay near this masterpiece in one of the city’s most iconic squares, explore the best hotels in the Piazza Navona.
