Photo Comparison: Rome and Istanbul

Modern Displays of Identity

The first photo above is of a typical fountain found along the streets of Rome, supplied by an aqueduct and constantly flowing with cool water. This particular fountain is in the Campo de’ Fiori, and is frequently used for refilling water bottles on a hot day, or rinsing off fresh fruit from the market. The second photo is of an inside archway at Hagia Sophia in Istanbul, a cathedral turned mosque, and eventually turned museum. In this picture three different “layers” of Hagia Sophia can be seen—the base of the building, early Christian mosaics, and plaster with painted Islamic designs.

Both of these photos were particularly striking as images of how Rome and Istanbul display their history and identity. Although practical, the fountain is a physical and symbolic manifestation of Roman history—a history Romans are still very connected to and proud of. Carved on the front of almost every public fountain is the modern day Roman coat of arms containing the acronym S.P.Q.R., or Senatus Populus Romanus, which was the signature of the ancient Roman Republic. Every time someone bends down for a sip of water, they see this acronym and are reminded of Rome’s infamous history. Even more significant, the water they are drinking is connected directly to antiquity—the fountains are fed by ancient aqueducts, some of the crowning achievements of the early city. So, these fountains are both a physical display of ancient Roman history, and a symbolic connection to Rome’s past greatness. Throughout Rome, even trivial items, such as these fountains, are connected to a defined and absolute history that all Romans still uphold.

Conversely, Istanbul is a city that has been historically occupied by great, yet decidedly different, empires. The different layers visible in Hagia Sophia are tangible representations of these different occupations; these layers also show that for the city of Istanbul, its history is not as clear-cut as that of Rome. Religiously, Istanbul identifies with the Ottoman Empire, the most recent to rule in Istanbul. But, the city cannot deny it was the capital of the Roman and Byzantine Empires for more than one-thousand years, both Christian empires. The question of how to display this diverse history becomes a complicated one. For instance, remnants from the triumphal arch of Theodosius (the last Eastern Roman emperor) are left unprotected on the side of the road, but there is a plaque explaining what they are. At Hagia Sophia, some of the Christian mosaics have been uncovered, but many are left painted over. There are only spots throughout the building that look like the image above. All though Istanbul, there is this issue of how to display its mixed history, and reconcile it with the modern city and its residents. Walking around the city, it was impossible to pinpoint one history to connect to, or how the people of Istanbul relate to their history. This was a very different experience than walking around Rome.

These small details of both cities convey the overall identity each city seems to project. For Rome, this is a proud and certain identity that is still upheld today. For Istanbul, this is a powerful yet highly diverse identity that may still be difficult to unite.

The Acqua Paola: Displays of Papal Power and Promotion

In the early 16^th century, Protestants called for a reformation of the Catholic Church due to the corruption they saw within its hierarchies. The church responded to this call with the Council of Trent—a series of deliberations over the internal reform of the church that lasted from 1545 though 1563. After these long and often contentious debates, the Catholic Church needed a means through which it could reassert its power and portray a positive image. With much of Rome lying in ruin and disrepair after the passage of the Middle Ages, the city became the papacy’s blank canvas, a way in which to display both its authority and generosity through the renovation of the city.

The first pope to have a major hand in the restoration of Rome was Pope Sixtus V (1585-1590), who set a precedent for urban renewal that carried through to the seventeenth and eighteenth centuries. His projects included the building of new roads, clearing of city squares, re-erection of ancient obelisks, rearrangement of ancient statues, and construction of new monuments. In 1605, Camillo Borghese, a cardinal of Sienese descent and non-aristocratic origins, was elected pope, taking the name Paul V. Despite the reputation he soon garnered as unyielding and contentious, he was the next pope to match the urban renewal standard set by Sixtus V in rebuilding Rome and projecting a positive image of the church. In fact, Paul’s goal was often to exceed Sixtus’ projects in size and grandeur, for instance, “Sixtus had built the dome of St. Peter’s; Paul added the nave and façade. Sixtus had erected a huge funerary chapel in Santa Maria Maggiore; Paul built a more lavishly decorated twin across the aisle. Sixtus had built a great aqueduct, the first since antiquity, which was terminated by an impressive display of water, the Acqua Felice. Paul built a second aqueduct and an even grander fountain, the Acqua Paola,” (Hibbard 163). Paul’s aim to both parallel and surpass his predecessor Sixtus in building projects is apparent.

The Acqua Paola, one of Paul’s greatest constructions in mirroring his predecessor Sixtus, was built from the remains of an ancient aqueduct erected by Trajan in the beginning of the second century. The aqueduct was restored, and a large fountain—the Fontana Paola—was added at the end of the aqueduct to commemorate its restoration. To accomplish this Paul employed Flaminio Ponzio, architect to the Borghese, in the design of the Acqua Paola, and commissioned it to sit atop the Janiculum Hill in Trastevere. The waters brought to this region of Rome in ancient times by Trajan’s aqueduct were extremely pure waters from springs around Lake Bracciano, some thirty-five miles away. With Romans of the seventeenth century not particular about the quality of their water—Pope Paul III is even rumored to have preferred murky Roman water from other aqueducts, carrying it with him when he traveled—Paul V was free to expand the source of the Acqua Paola to include the original springs, Lake Bracciano itself, and Lake Alsietina. Although diluting the quality of the water, this increased the force and water supply of the aqueduct, as today it feeds several other fountains in Rome such as:

fountains in the Piazza Navona

fountains in the Piazza Farnese

fountain in front of Santa Maria in Trastevere

fountains of St. Peter’s and the Vatican

The Fontana Paola (Fig. 1), built starting in 1611, is indeed very similar in design to Sixtus’ counterpart, the Fontana dell’Acqua Felice (Fig. 2). It consists of five arches, separated by six ionic columns of red granite, with separate streams of water flowing from underneath each arch. The three streams in the middle flow into baths that then overflow into a large pool below, and the two outer streams shoot out of the mouth of the Borghese dragon. Originally all of the streams were caught by separate basins, but in a final completion of the fountain under Pope Alexander VIII in 1690, the architect Carlo Fontana replaced these basins with one large pool. The three larger arches in the middle support an inscription, atop which sits the papal coat of arms flanked by two angels (Fig. 3). Interestingly, the two arches on each side of the fountain are closed in, but the central arch has been left open so that the viewer can see through it, with this openness giving the fountain a triumphal arch-like appearance (Fig. 4). Materials for the fountain include marble from the Temple of Minerva in Nerva’s Forum, and granite columns from the Old St. Peter’s Basilica (constructed by Constantine). The Borghese eagles and dragons can also be found at the tops of the arches, flanking the inscription, and around the outer perimeter of the pool.

Figure 1: The Fontana Paola

Figure 2: The Fontana dell’Acqua Felice

Figure 3: Papal coat of arms on the Fontana Paola

Figure 4: Open archway of the Fontana Paola

The inscription on the Fontana Paola (Fig. 5) reads, “After having restored the old channels of the Aqua Alsietina and having added new ones, Pope Paul V brought, from a distance of 35 miles, water in the territory of Bracciano drawn from most wholesome springs,” (Bruun 299). This inscription contains one large, glaring error—the name of Trajan’s aqueduct that Paul restored was not the Aqua Alsietina, but instead the Aqua Traiana. The Aqua Alsietina is a different ancient aqueduct in Trastevere, constructed by Augustus around the year 2 BC, that has never been restored. This error can be attributed to the fact that the papal administration was using De Aquae Ductu Urbis Romae, a record of ancient waterways made by Sextus Iulius Frontinus before the Aqua Traiana was even built by Trajan. Of the eleven ancient Roman aqueducts known today, only nine are included in De Aquae Ductu, with the Aqua Alsietina being listed as the only aqueduct in the Trastevere region of Rome, resulting in the error that has been inscribed on the fountain for centuries.

Figure 5: Inscription on the Fontana Paola

Along with accomplishing the practical goal of providing the Vatican and St. Peter’s, Janiculum Hill, and Trastevere with a sufficient supply of water, the construction of the Acqua Paola also aided in advancing Paul’s political goals. Following the deliberations of the Council of Trent, the Catholic Church needed to reassert its power and wealth—the leader of the Catholic Church erecting a magnificent monument helped to accomplish this. More specifically, with the insufficient water supply in Rome at this time, and water being essential to the health and daily activities of the people, giving the gift of water to the Roman people was giving the gift of life. As these waters physically flowed through the Fontana Paola for everyone to see, loudly gushing into a large pool of water below, with the Papal arms and inscription directly above, the Roman people were blatantly reminded who gave them this gift—Paul V and the church—and how important this gift was.

Additionally, restoring an aqueduct was symbolic of the potential to restore Rome to its former glory, as one of the most impressive aspects of the ancient city was its water infrastructure. Ancient Rome had eleven aqueducts, hundreds of fountains, and a large sewer system, so reviving one of these aqueducts and erecting a large fountain to commemorate this act emphasized Rome’s potential for greatness. The specific design of the Fontana Paola also displayed connections to antiquity, as the open passage through the central arch gives the fountain a triumphal arch-like appearance. Triumphal arches were used in ancient Rome to announce the return of a victorious general of war; the arch of the Fontana Paola announces the return of water to the Roman people, and even the return of the glory of Rome. Thus, as the church restored the water system of Rome, they were also restoring Roman supremacy through connections to antiquity, which in turn increased the authority of both the city and the church.

But, the Acqua Paola was not only constructed by Paul V to advance the image of the church—he used it to promote his family name as well. Paul was not from a noble Roman family, in fact, he was the first generation of the Borghese to be born in Rome, with previous generations living a middle class life in Siena. But, with his father Marcantonio marrying into a noble Roman family, and Paul becoming pope, the Borghese quickly ascended the social classes of Rome. The only problem: the Borghese were still from relatively humble origins in comparison to their new position. Therefore, Paul utilized his public restoration projects as a way for Rome to remember Paul and his family for their power, wealth, and generosity (instead of their modest background). For instance, the Roman people greatly respected Sixtus V for his construction projects; Paul attempted to surpass Sixtus’ Acqua Felice with the Acqua Paola to garner similar admiration. Additionally, as the Acqua Paola symbolically links the church to ancient Rome and its former glory, it also connects the Borghese name to this impressive history, as the Fontana Paola is adorned with Borghese eagles and dragons, and Paul’s name is included in the prominent inscription. The splendor of ancient Rome is a more powerful and admirable past than a middle-class life in Siena, so this implied connection was important for the promotion of the Borghese name. It has even been proposed that the error in the inscription (referencing the restoration of Augustus’ Aqua Alsietina instead of Trajan’s Aqua Traiana) was instead intentional, meant to ally Paul with the great Roman emperor Augustus. This is supported by the fact that there were other inscriptions along the length of the aqueduct directly including both Paul’s and Augustus’ names, visually linking the two. Also, there were documents available to Paul at the time of the Acqua Paola’s construction, although in much less use than Frontinus‘ De Aquae Ductu, that told of the existence and location of the Aqua Traiana. Although there is speculation about this theory, there is no doubt that Paul used the design and construction of Acqua Paola for the promotion of himself and the Borghese name.

In the context of the time period as a whole, the Acqua Paola was a significant piece that perpetuated the use of monuments as political tools for the Catholic Church and self-promotion. But, it also had lasting effects for the future of the city. For one, as evident in the magnificent view of the city available from the Janiculum Hill, the location of the Fontana Paola was chosen as a focal point, likely to best display its propagandistic messages. The path of the renovated aqueduct was also chosen to maximize the water distribution to areas in need. This placement strategy was at the core of the urban planning revolution taking place in the city during this time, as the use of monuments as focal points to connect major roadways, and the tactical placement of water sources, was becoming increasingly important. This trend still affects Romans today as they use these structures. In addition, the tradition of commemorating the completion of an aqueduct with a large fountain was continued in the 1900’s, when three more aqueducts were constructed to serve the city; the Acqua Peschiera, the Acqua Vergine Nuovo, and the Acqua Marcia Pia were all given a terminal fountain. Thus, the construction of the Acqua Paola still resonates throughout the city today.

Interesting, the city of Rome is fortunate to still have the Fontana Paola. During the years of Risorgimento—the unification of Italy—one of the most important battles in Garibaldi’s defense of the Roman Republic was fought upon the Janiculum Hill. During the nine days of fighting against the French, nearly every other building or monument, such as the Church of San Pietro in Montorio, the Villa Savorelli, and the Villa Corsini, were devastated by the battle. But, surrounded by all the ruins, the Fontana Paola stood unscathed, its water still flowing. Besides its lasting artistic and social presence, the Fontana Paola’s physical presence has also persevered throughout history, even in battle.

Whether its water be a practical gift, a tool for propaganda, or a resilient force during a long battle, the Acqua Paola has endured though time, providing the Roman people with water and a remembrance of their history. It is still viewed as an example of papal displays of power, as well as an important public works project, especially for its time. But maybe most importantly for modern Romans, it is appreciated as a beautiful piece of work accompanying the views from the Janiculum Hill, overlooking the city of today.

Bibliography

Aicher, Peter. “Terminal Display Fountains (“Mostre”) and the Aqueducts of Ancient Rome.” Phoenix 47.4 (1993): 339-352. JSTOR. Web. 28 June. 2010.

Bruun, Christer. “Fronttnus, Pope Paul V and the Aqua Alsietina/Traiana Confusion.” Papers of the British School at Rome 69 (2001): 299-315. JSTOR. Web. 28 June. 2010.

Freiberg, Jack. “Paul V, Alexander VII, and a Fountain by Nicolo Cordier Rediscovered.” The Burlington Magazine 133.1056 (1991): 833-843. JSTOR. Web. 27 June. 2010.

Heilmann, Christoph. “Acqua Paola and the Urban Planning of Paul V Borghese.” The Burlington Magazine 112.811 (1970): 656-663. JSTOR. Web. 13 June. 2010.

Hibbard, Howard. “Scipione Borghese's Garden Palace on the Quirinal.” Journal of the Society of Architectural Historians 23.4 (1964): 163-192. JSTOR. Web. 12 June. 2010.

Macveagh, Mrs. Charles. Fountains of Papal Rome. New York: Charles Scribners Sons, 1915. Print.

Marchetti, Francesca. Squares and Fountains of Rome. Milan: Mondadori Electa, 2007. Print.

Wentworth Rinne, Katherine. “Hydraulic Infrastructure and Urbanism in Early Modern Rome.” Papers of the British School at Rome 73 (2005): 191-222. JSTOR. Web. 27 June. 2010.

OK, I am not a blogger, but I figure that today is a good day to write my very first post! (and I think I might be the only one who hasn't posted yet . . .) But seriously, I couldn't pick a better day to start my blog.

This morning we went to Ostia Antica, the port city of ancient Rome, and viewed the ruins. The ruins were pretty, and fun to explore (like a maze!), but what I really found interesting was what could be inferred about daily life in ancient Italy. Looking at the size of the ancient bath complexes, and the number of different chambers, they must have spent forever at the bath house every day. And bathing was a social event--both in ancient times and now Italians seem to be very social in their daily routine. If it's no longer bath houses, it's going to the market, running errands, or grabbing coffee--they seem to work socializing into their day much more naturally than Americans. Americans seem to work all day, do some one-stop shopping by themselves, and then have to plan to meet up with friends. The Italian lifestyle is really different, and the social attitude started in ancient times has seemed to carry on . . .

After exploring the ruins, we went to the beach at Stella Polare. It was probably the best time I have ever had at a beach; somehow the water was the perfect temperature, but so was laying on the sand. Is there anywhere like this in the US? It really could not have been better. The one downside: I've been living in Seattle too long now and my skin is no longer used to the sun, so I am burnt!

More posts soon . . .