Common garden wall fountains, as described by Vasari, were decorated with sculpture and columns. According to him, the two gardens of the garden wall fountains, featuring Juno that sat on top of the arch could have been made from bronze metal signifying Juno and Ceres as Air and Earth, respectively. They eventually arose from springs and rivers. However, today these fountains are nowhere to be found.

One thing that is similar to this one is the Labyrinth Garden Wall Fountains at Castello or those masterpieces in Sala degli Elemen in the Palazzo Vecchio. One of which is included is the Arno and Hippocrene, which by the way is similar to Francesco Camillian’s Hippocrene in his garden wall fountain in the Piazza della Pretoria at Palermo. Tibolo’s river god birdbath can be recalled through the bird baths at the Villa Corsini at Castello.

Tanai de’ Medici had a letter concerning the figures of statues. This was the only time when Ammannati failed to see Duke Francesco due to the latter’s unfortunate illness.The two figures, from which these figures were composed of six marble statues, were supposed to be placed in the niches of door side. These two that were placed in the Boboli Garden included the male figure of Prudence in the courtyard of Bargello which was associated with a dolphin and anchor. In addition there is the wall fountain of the Muses consisting of Ceres, to which her breasts are pressing and she is placed between the river god Arno and Hippocrene–like female figure that reclined in the garden wall fountain.

Ammannati, during the time of Julius III, associated and experimented on the garden wall fountains. Reconstructing the four figures, which are composed of river gods and Ceres figure, is a burdensome task to accomplish especially when it is arched in the imperfect area of the circle. Bronze metal could have been a part of all these transformation that is why there are some major adjustments that mostly are difficult to comply with. With the help of Bronze the figures or statues will stand out as a masterpiece waiting to be seen. They will serve as perfect metals for any garden wall fountains. Nevertheless, there are Venetian Bronze collections like the Schlossmuseum collection in Berlin.

There are issues regarding Garden Wall Fountains Decorated with Columns and Sculpture. In 1599 Boboli lunette, the silhouette of the garden wall fountain on the terrace can be seen. The second problem involves water treatment. Not all statues or figures are compatible to the parts of the fountains. Take the dolphin’s nostrils, the urns and Ceres’ breasts for example. They do not connect or match to the pipes and as to the urns of the river gods, there are no holes despite the fact that it was designed to have one specifically made by Ammannati. However, there is no relevance with wall fountains as to Tribolo’s action toward Castello besides there have already been five (5) statues prepared for the garden wall fountains.

What are Sculpted Florentine Wall Fountains?

Sculpted Florentine Wall Fountains are fountains that became part of Florence a long time ago. They have been created for purposes of pleasing those who are in high positions including the locals and visitors. These fountains, most specifically the outdoor wall fountains are famous in Florence. There are usually incorporated with hand-carved statues and other decorations. The Romans and the Florentine usually do the work, beautifying the Florence gardens and palaces. What is more remarkable is that they leave a mark in the place and become part of history.

The works of Ammannati reflect on the fountains, which became popular immediately. One of his completions is the Acqua Vergine, also known as “Fonte de Ammannati”. This was made from marble with marble statues, supported by the caryatids. This outdoor fountain is the most beautiful outdoor fountain during the Renaissance period. This was located in the grotto beneath the second courtyard of Villa Giulia, which was built during 1550 to 1555. The flourishing fountain detail and appearance was designed by Vasari Giulia, which he later named as Fonte Bassa, meaning, “low outdoor wall fountain.” Since this fountain is not as distinct from others and since it had an exquisite design that incorporates a motif, it cannot be separated from its other parts.

Ammannati also had creations of outdoor fountain which he carved for the San Piedro in Monotorio railings of the two chapels. The four caryatids support the railings and the mistilinear motif. Furthermore, the outdoor wall fountains also had urns, which were carried on top of the little boys’ shoulders, which appeared to be pouring the water down smoothly and graciously. The added feature of swan at the central area of the outdoor fountain still remained. These are the few things why Ammannati’s creation was admired by many. His carved putti made a statement back then.

This outdoor fountain is similar to the figure of mezzo rilievo because of its rich marble of dark cool and white colors. These bring out the best of the outdoor wall fountain. Moreover, the stucco rocaille and maidenhair fern covered the arched niches in the grotto, making it more extraordinary and amusing when two of them were designed with putti figures that functions as water giver per se. These figures pour out water, making the fountain more useful and beautiful looking.

You noticed that the fountains back then, whether wall fountains or outdoor fountains, they all have engravings either on the sides or on the surfaces of the fountains. The engravings during seventeenth (17th) century symbolize the natural and actual effects of outdoor wall fountain. They were of different sizes, which were separated by the recess.

The figures and the functions of the outdoor wall fountains are brilliantly amazing especially upon knowing that they have been introduced in the Renaissance period. These fountains during this time were contained with niches like rich pavement, marbleized surfaces and basins, then the straight and curving line of exedra.

During the past years, many wall fountains had been combined with classical pieces. These wall fountains could be changed or designed into anything else. One of which that was created by a Florentine master was that of a Biblical motif. It was embedded on the marble figure where Moses was striking the rock. It was definitely lifelike and appealing. This occurred during the time when Julius III, in 1550 to 1555, announced that a fountain be erected and placed on the head of the Belvedere corridor in Vatican. However, not long after the creation of the Biblical-oriented wall fountain, Julius III refused to accept the design because it was time-consuming for it to be accomplished into the marble fountain. Because of this event, the Pope chose the Cleopatra figure, which is now known as the Adriadne of the Vatican, paving its way for Daniele da Volterra.

The idea of Michelangelo with regards to the Biblical theme where Moses was striking the rock, produced fruit by Flaminio Vacca in the courtyard of the Archipelago Palace in Pisa and by Prospero Brresciano in the Mostra of the Acqua Felice.

Ordering a new piece of ancient figure for fountains is not easier and faster compared to erecting a new one. This makes the antique figures useful and still reconcilable despite the passing and changing time and the wars that occurred. Thus, the figure definitely makes the wall fountain reputable and highly elegant.

In addition to fountains, they had niches that had been replaced from time to time. Others were incorporated with river gods and other phenomenal sculptures and pieces. In 1579, Minerva replaced Jupiter, in 1587, the Capitol received a tool from Acqua Felice, which was in a form of a large functional basin for the flowing water of the wall fountain, which was also in a late Cinquecento style and finally in 1591, seated goddess Roma replaced Minerva. The flowing water of the wall fountain then became more attractive and more effective compared the Michelangelo’s plan before.

Does Michelangelo have a contribution to the placing of river gods in wall fountains?

Michelangelo had plans and that included the placing of river gods on wall fountains. Due to Michelangelo’s plan for establishing river gods in wall fountains, there were even more numbers of fountains that became popular like theBanaia, the Fountain of the River Gods at the Villa Lante, and the Mugnone Wall Fountain placed at the central point of Villa Pratolino.

If not with the artists’ and the geniuses’ initiative to renovate or improve a thing like the wall fountains for the benefit of everybody or for a certain place, then there would have never been beautiful niches for the river gods fountains and other masterpieces. Truly the ideas of a single genius flourished in designing the wall fountains, which also became known all over the world. It is not surprising why the wall fountains are beautiful and progressive. These fountains had become the best assets in their palaces and gardens. It is yet another life in the world when wall fountains are in it.

Tribolo had always been the known “master” when it comes to creating fountains. For reasons of adaptability in narrow niche and of Michelangelo’s influence in his work like that of the Sistine Chapel, Tribolo decided to embrace the sitting stance to the statues in wall fountains. Such fountains, between 1567 and 1576, were constructed with seated river gods on Giovanni Bologna’s Fountain of Oceanus in the Boboli Garden. Thus, Fleming called it as Tribolo’s Wall Fountain of the Labyrinth at Castello. Tribolo’s Wall Fountain of the Labyrinth at Castello, together with the bronze birds in the grotto, was part of the Villa Rinieri.

Giovanni Bologna transferred the motif, which signifies the turbulence instead of the flowing character of water, giving it downward lines and not outward or upward lines. It was also transferred from the wall type to the standing fountain type similar to that of the position of the urn, giving it the most efficient and fantastic flowing water of the wall fountains.

Vasari’s description was integrated in Tribolo’s Arno wall fountains and Mugnone wall fountains as that which provide the many recess of sculptures in the entire court. This is shown through the wall fountain of the Labyrinth at Castello. The stream or water of the fountains, where the plastic peperino was formed by its free treatment, was not inspired by common and scholarly figure of ancient river gods but only by the figure of Marforio. This makes it more preserved like the fountain in Cinquecento and the Palazzo Nonfinito courtyard in Florence.

With regard to peperino, it is one which is carved in wall fountains that is stretched out to the background of vegetation and rocks. There are fountains carve with peperino like the Arno and the Tiber. The Arno has a lion figure that holds a cornucopia that signifies abundance while the Tiber has a Roman Wolf figure. Their water flows from the urns smoothly to the classical marble-made basins.

Another fact about Arno and Tiber is that their features were chosen by Bartolommeo Ammannati. The features depend on the taste and preference of Bartolommeo. It may start from their stationary pose to their classic temperament. Horizontal lines of wide rectangular niches were also adapted to the Arno and Tiber wall fountains.

To add, Professor Antonio Munoz distinguished the characteristic of the usual treatment of the Cinquecento of the river god wall fountains, which encompasses the baroque figures or statues. This is with regard to the Bernini’s river gods on the wall fountains, where Boboli figures are known to be its replica.

These facts provide you with complete information about the fountains and the kinds of statues carved in it, which includes their features and other phenomenon designs. Their incredible changes and transformations through time also give you an idea of the ever changing taste and preference of the highly regarded and influential people including Bartolommeo Ammanati. His influence through the motif of wall fountain was adapted due to the positivity it brings.

The river gods were popular additions and carvings to wall fountains. They create a historic theme with a remarkable modern feel that people could not help but stare. They were made and created according to the inspirational work and design of Michelangelo for the Fountain of the Tigris in the Belvedere. However, the appearance of the two fountains in Castello became plain due to the interior transformation caused by the naturalistic effect of the rocky cave. Nevertheless there were actual stalactites, which were also used for rustic fountains, covering the niche of the wall fountains.

The beautiful river gods fountains are now preserved and protected in the Museo Nazionale at Florence. They are carved from a pietra bigia or also recognized as grayish sandstone. Their features include the water flowing down from the urn or mouths of the goats smoothly to the oblong basin, which was embellished by two beautiful Capricorns, masks and other decorations. Tribolo, with Benedetto Vachi’s help, developed an allegory to connect the mouthpiece of the fountains to the other parts of the fountains, creating marvelous flowing water.

Another thing about the river gods fountains is that they are living examples of Tuscan work, which were covered with stalactites. This is what Vasari has spoken about during the introduction to the Lives. He also adds that these stalactites are even used for rustic fountains incorporated in the sculptors of wall fountains made by Tribolo and are also practiced by Duke Cosimo at Castello garden.

What is also considered incredible about the river gods wall fountains is its heroic size. It reaches from four (4) braccia in length or almost up to eight (8) feet. This is for the purpose of being able to attach or add the two great statues of the history – Mugnone and Arno. These statues are believed to have been based from the classical river gods of the Belvedere but the limbs are inspired by Vasari’s statement used to describe Mugnone – “Raccolta in bellisima attudine”. Furthermore, the Mugnone stands in a reclining position. The urn of the Mugnone is visible on one shoulder while its other arm rests on the ground. His left leg crosses to his right. On the other hand, Arno has another approach. It has Florentine lion holding a lily to which his arm is leaning. Moreover, an urn can be seen resting upon his thigh. This definitely allures people because of its beautiful and unique lifelike statues.

The representation of the statues most especially of Arno is inspired from the calm traditional and classical pose by Michelangelo’s work. One work is these reclined statues found in Medici Chapel, where for so many years, Tribolo relayed copies made in clay.

The river gods wall fountains are extraordinarily and distinctly attractive compared from other common fountains. Not only do they stand out because of the effect of water but also because of their statues carved in their body. This gives it a more elegant and lavish look.