Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome
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Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome G. Caneva1 · A. Altieri2 · A. Kumbaric1 · F. Bartoli1 Received: 13 June 2020 / Accepted: 1 August 2020 © The Author(s) 2020
Abstract The use of symbols in architecture of the past centuries is evident, even if sometimes cryptic. The reasons behind the representation of plants in artistic and architectural contexts are of great interest as they help in their understanding. We analysed the plants carved in the Fountain of Four Rivers (Rome), designed by G.L. Bernini (mid-seventeenth century), through iconographic and historical documents. The carved plants (about 34 species) creates a natural and symbolic association with the selected rivers and continents. Some species are chosen to characterise various geographic contexts or fluvial and rupestrian habitats or are referred to the papal coats of arms (Innocent X Pamphilj). A certain number has auspicious connotation and takes a strong symbolic salvific meaning and protective against the evil’s threat. The Kircherian influence emerges in several iconographic choices, as well as the river selection and orientation, in a philosophical-religious logic linked to the Papacy and Christianity role. Keywords Phytoiconology · Plant symbolism · Baroque fountain · Flora representation · Plant and sculpture
1 Introduction Plants in architecture are often interpreted for their decorative functions. Indeed, the use of symbols in architecture of the past century is evident, even if sometimes cryptic (De Naeyer 2019). The portrayal of plants in art can take on various functions which vary in relation to the purpose of the work itself and the historical period to which it belongs (Moggi 1987; Pacini 1995; Caneva et al. 2005). In particular, the type, meaning and method of representation are elements of particular significance when interpreting the intention of their inclusion in a work of art (Mattirolo 1911; Levi D’Ancona 1977; Mangiavacchi and Pacini 2002; Franchi and Pacini 2017). The symbolic intent, i.e. that of a connection with the transcendent meanings of the object of representation itself was predominant in ancient times (Baumann 1993, 2000; Amigues 2002; Caneva and Bohuny 2003; Caneva 2010; * F. Bartoli [email protected] 1
Department of Science, University Roma Tre, Viale G. Marconi 446, 00146 Rome, Italy
Istituto Superiore per la Conservazione e Restauro, via di S. Michele 23, Rome, Italy
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Caneva et al. 2014; Kumbaric and Caneva 2014), in the Middle Ages (Baltrušaitis 1993; Kandeler 2006; Kandeler and Ulrich 2009a, b, c, d, e, f, g, h, i, j; Signorini et al. 2011, 2017; Signorini and Zucchi 2018; Metusala et al. 2020), in the Renaissance and up to the Age of Enlightenment (Levi D’Ancona 1977; Janick and Caneva 2005; Kandeler and Ulrich 2009a, b, c, d, e, f, g, h, i, j; Fărcaş et al. 2015; Savo et al. 2016). This connection was due to magical–religious beliefs attributed to plants as an expression of the gods or divine will found in cl
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