The Trevi Fountain is the largest Baroque fountain in Rome and one of the most famous fountains in the world. The fountain has appeared in several notable films, including Federico Fellini's La Dolce Vita.
The fountain at the junction of three roads marks the terminal point of the 'modern' Acqua Vergine, the revived Aqua Virgo, one of the aqueducts that supplied water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians located a source of pure water some 13 km from the city (This scene is presented on the present fountain's façade). However, the eventual indirect route of the aqueduct made its length some 22 km. This Aqua Virgo led the water into the Baths of Agrippa. It served Rome for more than 400 years.
In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Gian Lorenzo Bernini to sketch possible renovations, but the project was abandoned when the pope died. Though Bernini's project was never constructed, there are many Bernini touches in the fountain as it exists today.
Competitions had become the rage during the Baroque era to design buildings, fountains and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei, but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway. Work began in 1732 and the fountain was completed in 1762, long after Salvi's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche.
The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.