An Era of Change
Bernini's Inspired Counterpart Creation to Michelangelo's Monumental Archway
The fountain probably remained unchanged until the 18th century. Change was looming on the horizon but, before continuing with its history, I should first mention a grand scheme for the whole area of Monte Cavallo. Recorded on a small piece of paper in the handwriting of Pope Alexander VII, who kept a model of Rome in his apartments so that he could keep an eye on all the new building going on in the city, dates the change to the spring of 1667. It was undoubtedly this scheme that occasioned the drawing from Bernini's workshops and it provides us with the following somewhat cryptic description: "This fountain at Monte Cavallo to Piazza dei Santi Apostoli. The Spire at Campo Marzo to be erected here at Monte Cavallo. Take the horses to this and that side of the gateway with water as sketched, cutting off the corner of that wall. Refinish Porta Pia so that the said water is facing it."
With regards the proposal to move the fountain, I need add only one thing: Bernini intended to replace this fountain with one of his own inventions which would, nonetheless, as is evident from the drawing in question, be very similar to the existing design.
The "Spire" at Campo Marzio refers to the second of the two obelisks that had been lying near the Mausoleum of Augustus ever since the days of the ancient Romans (Fontana had erected the first in Piazza dell'Esquilino in 1587). As we shall soon see, Bernini's idea was finally implemented at the end of the 18th century.
The last part of the note is so short that it is difficult to interpret, but it seems certain to me that the suggestions relate to a spectacular "terminus" for Strada Pia at the point where it reaches Monte Cavallo. This would involve the construction of a colossal triumphal arch which would house, in one of its pillars, the cistern for the Aqua Felice that Sixtus V had had built at the back of the huge Castor and Pollux statues. The top of the arch would be surmounted on one side by the crest -- the hills and star -- of Pope Alexander VII. The colossal statues of Castor and Pollux, each with its respective horse, would be placed one on each side of the archway, with the fountain between them, so that they would no longer be in line, as Fontana had arranged them, but would be facing in different directions.
Bernini's intention is clear throughout the fountain's scheme. He wanted to create an inspired arrangement that would provide a counterpart to Michelangelo's monumental archway at Porta Pia, at the opposite end of the long street.
