Includes two crests of Innocent X
Moreover, if the well known sketch was really the design Borromini had in mind for the four rivers fountain, it would certainly not have been difficult for Bernini to outdo him with the spectacular theatricality of his inventive scenes. After Borromini had completed the work on the conduits in November 1647, the handover of power to Bernini was officially recognised in a manuscript dated 10 July 1648. In his own handwriting, Innocent gave instructions to erect [the obelisk] in the said Piazza and arrange it for use as a fountain, decorating it as a showpiece for the said water in accordance with the design made to our order by Cav. Gio. Lorenzo Bernino Architect.... So as early as the first half of 1648 the ambitious artist must have been working to great effect, not only in his studios but perhaps and that most importantly through his contacts. Now let’s examine the two designs and Bernini’s model and see if we can find the source of his inspiration (as usual, it was from someone else). It has been said, and it is quite correct, that until the very moment work began and maybe even after it had started, the artist continued to make alterations and you will see, if you look at the clay model, that it is very different and certainly more lively than the final product. However, it’s not that I want to talk about just now, but the two famous preparatory sketches. The first is undoubtedly the oldest and is in the private Chigi archive. Beneath the obelisk there is a bust of an old river (or sea) deity emerging from a cave in the rocks; the arms are raised and hold, to right and left, two crests of Innocent X. The water gushing from the cave falls into a large shell of the four rivers fountain with its sides resting on the rocks, and then into a huge round shallow pool (which was in fact made). It’s not easy to say from this sketch whether there are one or two deities or how many crests they are holding; however, it may be that the artist was thinking of four figures with two crests highlighting the fountain. The second sketch is in the Windsor Collection. Although the basic idea is similar, it has little in common with the previous one: the four figures are full-length and each sits on its own group of rocks, with water also falling into four separate large shells beneath. The shells resemble the one in the earlier drawing, but this time are supported by four enormous fish spouting water into the air. A ring of posts (also made) surrounds the fountain pool, again very shallow. Since the obelisk appears in both these designs, it is clear that they date from some time after April 1647, when the pontiff decided to have it erected.
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