A Rare Peek at the Hidden Waterworks behind Rome’s Trevi Fountain

A view of Rome's Trevi fountain is seen through a window of its old water flow control room, Wednesday, March 19, 2025. (AP)
A view of Rome's Trevi fountain is seen through a window of its old water flow control room, Wednesday, March 19, 2025. (AP)
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A Rare Peek at the Hidden Waterworks behind Rome’s Trevi Fountain

A view of Rome's Trevi fountain is seen through a window of its old water flow control room, Wednesday, March 19, 2025. (AP)
A view of Rome's Trevi fountain is seen through a window of its old water flow control room, Wednesday, March 19, 2025. (AP)

The Trevi Fountain, arguably the world’s most famous, has graced screens for decades, from Fellini’s “La Dolce Vita” to Netflix’s “Emily in Paris.” Each year, millions of visitors push through Rome's narrow streets to gaze at the towering Titan god flanked by falls cascading into a turquoise pool.

Yet, they never get to venture behind Oceanus’ back to see what produces the sublime play of water in the baroque masterpiece.

Wooden doors on an adjacent street lead to the maneuvering chambers that control the fountain's water supply, coming from the Aqua Virgo — an ancient Roman aqueduct 16 kilometers (10 miles) away. Two electric pumps recycle 126 liters (33 gallons) of water per second while Rome’s water management company, ACEA, carefully monitors the flow around the clock.

This precise amount is crucial for the movement of water through the statues; a little more or less, and it wouldn’t work, said Davide D’Alonzo, ACEA’s manager for the area.

The modern maneuvering chamber features metal tanks and lighted panels. In the original, arched chamber, water audibly rushes through a thick pipe and there is a functional, 18th-century hydrometer to gauge the fountain’s water level.

A large, rudimentary spreadsheet on the wall displays the names of rich Roman families whose homes received water from the chamber long ago; when they fell behind on their payments, their supply was cut off.

The chamber's grated windows grant views out over the fountain and its many visitors — all of whom are oblivious to its hidden waterworks. They toss coins over their shoulders into the water, a hopeful gesture based on a legend that it guarantees their return to the eternal city.



Amsterdam Honors its Own Golden Age Sculpture Master

Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
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Amsterdam Honors its Own Golden Age Sculpture Master

Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP

Imposing but delicate marble sculptures of Graeco-Roman-style figures grace the vaulted corridors of a huge palace. But this isn't Florence or Rome. This is Amsterdam.

As part of celebrations to mark 750 years since the founding of the Dutch capital, the city is unveiling from Wednesday an exhibition dedicated to Artus Quellinus, the 17th century "sculptor of Amsterdam."

Virtually unknown outside Flanders in present-day Belgium where he made his name, the city has Quellinus to thank for the decorations on the Royal Palace that dominates the city's iconic Dam Square.

Quellinus "lifted our sculpture to a new level" with a fresh style, Dutch art historian Bieke van der Mark told AFP.

Born in Antwerp in 1606, Quellinus sculpted with marble, as well as ivory and clay.

His style, heavily influenced by Flemish baroque painter Reubens, was a complete novelty for the Protestant Netherlands, used to a more sober style at the time.

His subjects -- mythological figures, chubby angels, and animals -- are perhaps a nod to the great masters he would have seen while an apprentice in Rome.

"Like (17th century Italian master Gian Lorenzo) Bernini, he masters the way the flesh looks, and hands," said Van der Mark.

"It's really fantastic," said the 46-year-old, pointing to a statue of the Saturn devouring his son, whom he holds in his huge veiny hands.

Organized by the Amsterdam Royal Palace and the Rijksmuseum, this is the first-ever retrospective devoted to Quellinus, displaying more than 100 of his works from national and international collections.

"We spent quite some time to select and to collect, to bring together all these very special works... to show Quellinus at his best," said curator Liesbeth van Noortwijk.

"Because I think he's an artist that deserves that."

"We dare to call him the Bernini of the North... And I think this is no exaggeration," she told AFP.

The decorations of Amsterdam's Royal Palace, built as a town hall between 1648 and 1665, remains Quellinus's statement work, with an iconic figure on the roof of Atlas bearing the world on his shoulders.

Now, nearly 400 years on, the city hopes the show will raise awareness of the hitherto unrecognized "sculptor of Amsterdam."