Acknowledgments

Pinto, John A.

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Acknowledgments

John A. Pinto

The Trevi Fountain

Acknowledgments

Author

John A. Pinto

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00161.003

Stable URL: https://aaeportal.com/?id=-16693

Acknowledgments

Much as it did in the eighteenth century, Rome continues to provide a uniquely congenial setting for antiquarian and art historical research. One of the distinct pleasures of working on a Roman topic that cuts across history, as does the Fontana di Trevi, is the opportunity it affords to meet and exchange information with members of the international community of scholars that flourishes there, nourished by national academies and private research institutes. The specific contributions of my colleagues are recorded in the notes, but I would like to underscore the advice and support lent by the following individuals. Allan Ceen and Elisabeth Kieven both have been active collaborators in this project from its inception, and their constructive criticism has corrected and refined it in more ways than I could ever acknowledge. Among the many others who encouraged and aided my research I would like to single out the following: Barbara Bini, Joseph Connors, Michael Conforti, Mrs. Sophie Consagra, Karen Einaudi, Professor Robert Enggass, Architetto Maria Grazia Feretti, Dr. Jörg Garms, Dottoressa Anna Grelle, Professor Hellmut Hager, Roger Hoffmann, Nancy Hopkin, Cyril Humphris, Christopher Johns, Signora Inez Longobardi, Hellmut Lorenz, Elizabeth Hammond Llewellyn, Dr. Borje Magnusson, Tod Marder, Professor Jennifer Montagu, Mary Myers, Professor Valentino Pace, David Quint, Luigi Spezzaferro, Richard Tuttle, and John Varriano.

The administration of the American Academy in Rome, in particular its library staff headed by Lucilla Marini, provided valuable assistance and warm personal support over several years. Without the incomparable resources of the Biblioteca Hertziana and the opportunities for scholarly exchange it offers this book could not have been written. My ability to carry out research in Rome was greatly facilitated by a grant from the American Council of Learned Societies in 1981 and by sabbatical leaves approved by the President and Trustees of Smith College in 1981 and 1984. A fellowship from the Center for Advanced Study in the Visual Arts allowed me to prepare my manuscript for publication in a most stimulating environment. Thanks are due also to the College Art Association’s Millard Meiss Publications Fund Committee, which generously awarded the book a subvention.

It seems appropriate here to acknowledge the profound and enduring debt I owe four scholars whose inspirational teaching and publications have directly influenced my approach to architectural history and to the urban fabric of Rome: James S. Ackerman, Richard Krautheimer, William L. MacDonald, and Henry A. Millon. I am also indebted to the late Anthony M. Clark for opening my eyes to the vitality of Roman settecento art and culture. As the dedication of this volume indicates, Meg Hopkin Pinto, both as editor and wife, has helped me more than I can possibly express.

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BOOKThe Trevi Fountain

John A. Pinto

https://doi.org/10.37862/aaeportal.00161

Stable URL: https://aaeportal.com/?id=-16690

The Trevi Fountain deserves recognition as one of a select group of monuments, the form and meaning of which produce a resonance transcending the culture and age that conceived them. A survey of artists stimulated by the Trevi, from Piranesi and Chambers to Fellini and Charles Moore, attests to the range of its impact as well as to its enduring value as an artistic metaphor. In a comprehensive study of the fountain, John A. Pinto traces the history of the Trevi from its origins in 19 B.C.—when the water that still feeds the Trevi was first brought to Rome—to the completion of the fountain in 1762. His fascinating book demonstrates that the Trevi's form and meaning are inextricably bound up with the history and fabric of Rome itself.

Pinto draws on archival documents and drawings, many of them unpublished, to analyze the numerous proposals for embellishing the Trevi in the seventeenth and early eighteenth centuries and to clarify Nicola Salvi's role in the design of the fountain. Throughout, Pinto emphasizes the fountain's relationship to the urban environment of Rome; he shows that the location and proposed appearance of the Trevi were influenced by the intersection of private and public interests. As a result of his research, the Trevi emerges both as a compelling symbol of Rome's classical heritage and as a concrete reality that posed specific design problems for architects, sculptors, and their patrons.

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Author

John A. Pinto

PublisherYale University Press

Print publication date September 1986 (out of print)

Print ISBN 9780300033359

EISBN 9780300242829

Illustrations 186

Print Status out of print

Publisher (out of print)

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