GARDENS OF THE OUIRINAL, AND SOME STREET FOUNTAINS IN ROME. 85 
origin of its design has 
been much disputed. 
The art of constructing 
these grandiose foun- 
tains seems to have died 
with Bernini, making it 
difficult to believe that 
we do not here see his 
inspiration. It has all 
his fantastic impetuos- 
ity, his vigour, and his 
feeling for decoration. 
It is satisfactory that the 
researches of Signor 
Fraschetti have gone far 
to establish Bernini’s 
claims to its conception. 
More than one diary of 
the time records that 
Bernini was planning a 
great fapade for Pope 
l.Tban’s new fountain ; 
and Prince Doria pos- 
sesses a sketch signed 
by Bernini and stamped 
bv Innocent X, which 
has evidently been the 
original idea of the de- 
sign for the central 
group. It has the figure 
of Neptune grasping the 
trident and rising from 
a shell, the sea-horses, 
the dolphins, and the 
merman sounding his 
wreathed horn. Bernini 
always made numbers 
of sketches for every 
work he undertook. 
The first design of 
Salvi, whose nominal 
work it is, is much 
nearer to the Doria 
sketch than the ultimate 
execution which he 
directed. In an account 
of Salvi, to be seen in 
the Vatican library, his 
study of and reverence 
for Bernini’s work are 
specially dw'elt upon. 
The ornamentation 
of the fountain was 
carried out under 
— detail of one of the angle fountains, quattro fontane, 
ROME. 
95.— THE quattro fontane, ROME. 
Fyoin an old enf'yavinc. 
