Agenda - Parks and Recreation Commission - 01/09/2025

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not be easily removed, he hit upon the happy notion of using Egyptian obelisks, of which Rome had a substantial number, and erected these at important points within the structure of the design." (Bacon 1974, p.131) Subsequently, Pope Alexander VII continued to influence the aesthetic of the public space in Rome. He oversaw the construction of various fountains and columns within the public plaza. The belief was that a visually regulated physical space would provide an environment of social dignity and decorum. A new alignment and order to the City's transportation system was also part of bringing order and function to the community. Throughout history, this type of social economic redevelopment continued to be a driving catalyst for public art. In the current age, many large scale public and private developments include a major public art installation as a neighborhood focal point. Those interests in charge of commissioning and installing the public artwork incorporate art and design elements into the public sphere that allow for individual interpretation. In the United States, the government and private patrons have been commissioning public artworks since the late 18th century. These works of art consisted of, not only monuments to heroes, but also to enhance the city utility for the health and enjoyment of people (Bach 1992). The Progressive Era of the late 19th century ushered in the City Beautiful Movement, in part to bring esthetic and political order to the public square and to influence civic values. By the end of the 19th century, the traditional American values of the time were being threatened by rapid industrialization and economic recessions. The predominant social structure of the time--white, upper class, Christian—utilized public art to reinforce their civic values. The public sculpture at that time was meant to inspire the viewer with high civic ideals and to represent order, unity, and progress (Bach 1989). 41