 |
| Battista di Domenico Lorenzi Jupiter (as Eagle) with Ganymede ca. 1565-76 marble Giardino di Boboli, Florence |
 |
| Bernhard Jobin (publisher) Woman discovering Murdered Man at Fountain ca. 1598 woodcut (needlework pattern) Metropolitan Museum of Art, New York |
 |
| Domenico Parasacchi Fontana della Tartarughe, Piazza Mattei, Rome 1637 etching Rijksmuseum, Amsterdam |
 |
| Pietro Testa Study for Fountain ca. 1640-45 drawing Teylers Museum, Haarlem |
 |
| Jan Lutma the Younger Bernini's Fontana dei Quattro Fiumi, Piazza Navona, Rome 1652 etching and letterpress Rijksmuseum, Amsterdam |
 |
| Georg Andreas Böckler Design for Pyramid-Shaped Fountain 1664 hand-colored etching Rijksmuseum, Amsterdam |
 |
| Anonymous Italian Artist Two Fountains 17th century drawing National Gallery of Art, Washington DC |
 |
| Gabriel Huquier after Edme Bouchardon Design for Vase-Shaped Fountain ca. 1729-37 etching Rijksmuseum, Amsterdam |
 |
| Saint James's Factory, London Boys at a Fountain ca. 1750-55 porcelain Metropolitan Museum of Art, New York |
 |
| Sceaux Manufactory Wall Fountain and Basin ca. 1755 faience Art Institute of Chicago |
 |
| J.Q.A. Tresize Frozen Fountain ca. 1870 albumen silver prints (stereograph) Getty Museum, Los Angeles |
 |
| Hans Thoma Fountain with Putti in the Gardens of the Villa Borghese, Rome 1880 drawing Art Institute of Chicago |
 |
| Anton Reckziegel Fountain in a Park ca. 1890 watercolor Museum of Fine Arts, Boston |
 |
| John Singer Sargent In a Medici Villa 1906 watercolor Brooklyn Museum |
 |
| Emil Otto Hoppé Fountains in Trafalgar Square, London 1925 gelatin silver print Yale Center for British Art |
 |
| Dante Ricci The Swiss Fountain, Rome before 1935 watercolor Museum of Fine Arts, Boston |
 |
| Paolo Monti Bernini's Fontana del Moro, Piazza Navona, Rome 1960 photograph Fondo Paolo Monti, Civico Archivio Fotografico, Milan |
A Citizen
I wanted to be seen. But who would see me? I couldn't
think of the name for anything but a flower. The government
makes coins that size and shape so your hand can feel
safe holding them. The pictures stamped remind
us where we are, or how the landscape
we live in connects itself, through common value,
to a different place. On this one, a spinnaker
sails past a bridge. On that, a diamond shines like a child's
stilled top over a bird, as if the diamond made the natural
world – bird, forest, state flower, sheaf of healthy corn, shining
water – out of proportion in relation to itself. I love this. My own state
has a bear, so small and out of proportion to me that my life-
line can cross behind it. At last I do not fear
that but feel proud the animal can sit in my palm so silently
until I spend it. And if I lose it, then it becomes
even more quiet. Most still just have an eagle,
so it is as if 30 eagles were passed over
from one hand to another when the one
charged with arranging things for his Savior's dinner
arranged his Savior's death. Heavier the yoke
of heat in solitude. A walk uphill does not
feel manageable. Who will see me?
– Katie Peterson (2015)