Piazza Navona opens like a room without a roof, a long rounded oval ringed by ochre facades and the curved front of Borromini's church of Sant'Agnese in Agone. Three fountains stand in a line: Bernini's Fountain of the Four Rivers in the middle, the Fountain of the Moor at the south end, the Fountain of Neptune at the north. Portrait artists set up easels, café tables spill across the stone, and no cars intrude. At dusk the travertine turns gold, and in winter a Christmas toy market fills the square.
The oval is not a Baroque flourish. It traces the lanes of Emperor Domitian's stadium, built for Greek athletic games around AD 86 and still buried a few metres below the paving; the name drifted from the Latin for those contests, in agone, into Navona. Market stalls and houses grew over the ruined seating until, in the 1600s, the Pamphilj pope Innocent X reshaped the space into a Baroque showpiece. Bernini's obelisk at its centre was Roman-carved in the Egyptian manner rather than looted from a pharaoh, and four giant river gods sit beneath it.