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Any experts who may find themselves reading this article may find themselves smiling ironically, thinking this article is ludicrous, and unfounded and uninformed. However, if those same experts were asked to draw the Pope’s coat of arms drawn by Bernini would they be able to come up with it? They would draw a strange animal-like creature crossed by a bend sinister, which as already pointed out, is a rare thing to have. Next if they are asked to copy the whole Bernini drawing, or one by his pupils, do you think they would draw a dove topped with a bend sinister? So therefore, it is totally possible that the person who copied the design by Bernini misrepresented the entire Pamphili crest that was sketched by the great artist.

So without the bend sinister, the coat of arms also features the prince’s coronet, which Bernini designed for Cardinal Camillo Pamphili. This coat can still be seen above the porch of the church of Sant’Andrea al Quirinale. The composition and arrangement of the crest is practically identical to the crest in the sketch of interest. So where was this intense fountain to be built? The answer is much simpler that everything else we have discussed so far. The Palazzo della Stamperia, in the street that runs along the right hand side of the Trevi Fountain, this is opposite of the old Palazzo Carpegna, which belonged to the Cornara family until 1647 when the Lady Olimpia Pamphili bought it for 19,000 scudi. The architecture matches that in the drawing perfectly, and remains so to this day. So in comparing the Bernini design with this facade we understand why the first story windows are at ground level and why there is such a large space between the top of the second story windows and the pediment. It is because the architect wanted to remove the third story and use the space for the cornice, basically for the long balustrade for the statues.