The use of symbols in architecture of the past centuries is evident, even if sometimes cryptic. The reasons behind the representation of plants in artistic and architectural contexts are of great interest as they help in their understanding. We analysed the plants carved in the Fountain of Four Rivers (Rome), designed by G.L. Bernini (mid-seventeenth century), through iconographic and historical documents. The carved plants (about 34 species) creates a natural and symbolic association with the selected rivers and continents. Some species are chosen to characterise various geographic contexts or fluvial and rupestrian habitats or are referred to the papal coats of arms (Innocent X Pamphilj). A certain number has auspicious connotation and takes a strong symbolic salvific meaning and protective against the evil’s threat. The Kircherian influence emerges in several iconographic choices, as well as the river selection and orientation, in a philosophical-religious logic linked to the Papacy and Christianity role.

在过去的几个世纪中，即使有时是神秘的，在符号中的使用也是显而易见的。在艺术和建筑环境中代表植物的原因之所以引起人们的极大兴趣，是因为它们有助于理解。我们通过影像学和历史文献分析了由贝尔尼尼（GL Bernini）（十七世纪中叶）设计的在四河喷泉（罗马）中雕刻的植物。雕刻的植物（约34种）与选定的河流和大洲建立了自然的象征关系。选择某些物种来表征各种地理环境或河流和鸟类栖息地，或称其为教皇徽章（Innocent X Pamphilj）。一定数量的数字具有吉祥的含义，并具有很强的象征意义，对邪恶的威胁具有保护作用。