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I no longer remember in which nineteenth century French book about fountains I read of the old and wise practice by which anyone accompanying strangers to view the venerable arches of the Colosseum and her magnificent fountains for the first time used to take a route that would ensure that, instead of approaching it gradually, the visitor would suddenly be faced with the entire monument, surrounded by fountains, so that the impression would be unforgettable. With all due regard to the different proportions, I think something similar should apply to anyone who has not yet seen the celebrated fountain in little Piazza Mattei, known as the "Tortoises" because of the four creatures (added to the original around 80 years later) that are about to climb into the upper basin of the fountain. There is perhaps no other fountain in Rome that has been so much praised, loved and, I could almost say, so greatly fondled as this one, especially by those well known "lovers of all things Roman". This time, I cannot blame them for, when you come upon the square where the fountain resides from Via de' Funari (which I believe gives the best view) you suddenly find yourself in front of a very beautiful little fountain. At least, that's the first impression.
The Congregation for the Fountains
The list established by the diligent "Congregation for the Fountains" in 1570 of 18 new fountains to be supplied with the Aqua Vergine, made no mention of any fountain for Piazza Mattei. It therefore seems strange that on 28 June 1581 the usual "Officers for the fountains, on behalf of and in the name of the Illustrious Roman People" drew up detailed "Clauses and conditions for the work of [constructing] a fountain in Piazza Mattei" with the Florentine sculptor Taddeo Landini. Landini promised "the above-mentioned gentlemen, on behalf of the Roman People as above, to work on the completion of the said fountain in Piazza Matthei throughout the forthcoming month of April in the year 1582 in the manner and style contained in the said clauses". The decision, which ran contrary to the previous program, is however explained by an earlier document (1580), which mentions the diversion of the new conduits being constructed for the Aqua Vergine to "piazza delli Matthei, in which square the fountain is to be built that was destined for piazza Giudea, provided that Mr Mutio Matthei undertakes to have the square paved at his own expense and to keep the fountain clean". Evidently, it was that same noble Muzio who, by putting pressure on the Capitoline authorities (a bad habit that has, thank goodness, now fallen into disuse), succeeded in having the previous decision altered and ensured that the water supply would arrive right outside his front door in the form of the fountain.
The water could also be (and in fact was) routed into his residence (which still exists) and I think good old Muzio might well have had something to do with the fountain's artistic appearance as well. There is no question at all that this fountain is also the work of Jacopo della Porta because, as we shall see as we go along, all the fountains of this period were entrusted to him. Furthermore, the "clauses and conditions" just mentioned state, at one point, "that all the above measures are to be observed more or less in accordance with the judgement of Master Fountain Maker Jacomo della Porta". Landini had already carved one of the tritons and one of the "masks" for the fountain in Piazza Navona, both in accordance with Jacopo's models and, this time too, his contribution was limited to executing the designs and sketches by the City Architect, which he did superbly. At the same time, he also undertook and was paid for "cleaning the drains" of the fountain. Nevertheless, on this occasion, the presence and the assistance of such a noted Florentine fountain artist as Landini persuaded della Porta to deviate from his customary and none too varied designs for the fountains he was scattering all over Rome.
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