The Anıtsal Çeşme, often referred to simply as Side’s monumental fountain or Nymphaeum, dominates the approach to the ancient city. Its name literally means “monumental fountain” – a term confirmed by language experts – and it truly impresses at first sight. Standing just outside the city’s main gate, the three-arched façade once soared three stories high. Even now, as tourists step onto the ruins’ threshold, they are greeted by its three niches and Corinthian columns, hinting at the lavish spectacle it presented in antiquity. Early observers described it as Pamfilya’nın en gösterişli çeşmesi (“the most splendid fountain of the Pamphylian region”). In effect, it embodied the power and prosperity of Roman Side: a triumph of engineering and art meant to impress travelers arriving from the east.

Beneath its evocative remains lies the story of a purpose beyond decoration. The term nymphaeum originally designated a shrine to nymphs – spirits of springs – and indeed such fountains were often both sacred sites and practical waterworks. In Roman Anatolia, a nymphaeum was at once a sanctuary, a reservoir and a gathering place. In Side, it stood at the city’s entrance, proclaiming the fertility and civic pride of this harbor town. Its lavish carvings – mythological scenes and marine motifs – were not merely ornamental. As one guide observes, these reliefs relate directly to Side’s great Epibaterios festival, a celebration of sea voyages and divine blessings. Each procession for the festival began at this fountain, linking its flowing water with civic ritual. The fountain thus served as a grand stage: here sculpture met ceremony, and everyday life was suffused with the symbolic power of water.

The Heart of Pamphylia: Historical Context of the Nymphaeum

Side’s impressive fountain belongs to a city with an even more impressive pedigree. Founded by Greek settlers in the 7th century BCE, Side thrived as a port on the Pamphylian coast. Its name – “Side” – literally meant pomegranate in the ancient Luwian tongue, reflecting a local culture deeply attuned to fertility and harvest. Over the centuries, Side’s strategic harbor and rich hinterland drew one empire after another: the Hellenistic Seleucids, an independent Lycian port, then Roman control under Pompey in the 1st century BCE. By the Roman Imperial era Side was a jewel of the Taurus foothills, famous for its coinage and temples to Athena and Apollo.

It was under the Pax Romana that Side reached its zenith. From the 1st to 3rd centuries AD the city’s population swelled and its civic leadership embarked on an ambitious building program. This was a time of aqueducts, theaters, and temples – the same age that saw Side’s grand theater built to seat 15,000 spectators. The Nymphaeum was part of this flurry of construction. In all likelihood its initial construction dates to the late 2nd century AD, when Side’s emperors and benefactors celebrated their city’s prosperity. Some accounts even credit a Flavian period (first-century AD) origin for the fountain, though archaeological evidence points to a slightly later date.

Whatever the precise date, the fountain’s creation signaled Side’s importance within the Roman world. During this era, officials in Side funded monuments to rival those of larger cities. The city’s rich citizens financed not only the fountain but also public baths and temples. Inscriptions found elsewhere in Pamphylia record local magistrates dedicating gifts to the emperor, and the nymphaeum’s scale suggests imperial sponsorship or at least imperial approval. Indeed, an Ottoman-era pamphlet once asserted that Side’s fountain was built under Emperor Vespasian, a claim doubtless conflated with temple building in the era. In any case, it stood as Side Antik Kenti’s pride: a statement that even in distant Anatolia, the patronage of Rome flowed like water.

After the height of Roman rule, Side’s fortunes waxed and waned. In the 4th and 5th centuries AD Christian writers noted its temples and theatres, but the fountain itself fell silent. With the Byzantine era came invasions and earthquakes. By medieval times the city was largely abandoned; its fallen stones were quarried or buried by the sands of history. The area’s name was forgotten until Turkish settlers of the 19th century made new homes among the ruins. Its rebirth as “Selimiye” came with that resurrection of interest in antiquity. Systematic excavations only began in the 1960s, and even then the fountain lay unrebuilt. It is only in the 21st century that archaeologists, aided by Turkey’s “Geleceğe Miras” (Future Heritage) program, have given the Nymphaeum new life.

The Architectural Blueprint: Deconstructing the Anıtsal Çeşme

Archaeological study has revealed the fountain to be a marvel of design. Contemporary reports and modern surveys concur: it originally spanned roughly 50 meters in length and rose three stories above a vast pool. Today we see only the lowest tier of its semi-circular façade, but even these surviving arches hint at the full majesty. The fountain was originally carved out of white marble and local limestone, carefully fitted into the curving city wall. Thirty-five meters across and five deep according to one guide, its base enclosed a water basin large enough to serve as a reflective pond. The water itself came from afar: fed by a 40-kilometer aqueduct from the Melas River (modern Manavgat), the fountain drew on mountain springs for its supply. Indeed, this aqueduct was an engineering feat: an inscription notes that in the 3rd century local benefactor Lollianos Bryonianos paid for its complete reconstruction, while modern accounts confirm its 30 km reach with dozens of preserved bridges.

Architecturally, the Nymphaeum was a layered drama in stone. The surviving lower level consists of three large arches or niches, set into a rounded recess. Each niche once held a figure or sculptural tableau. (From [48] we learn that these statues and reliefs have since been moved to the Side Museum, preserving the fountain’s artistry for visitors.) Twenty-one marble columns – Corinthian and composite in style – framed the niches and flanked the façade. These slender pillars supported entablatures and crowned the arches, while elaborately carved acanthus leaves and depictions of fish adorned their shafts. Surviving fragments show carved vases and garlands; today the base of the pool is ringed with blocks engraved with mythological scenes. As one archaeologist notes, even the ground level is “en önemli ve antik dünyanın en önemli ve en büyük çeşme yapılarından biri” – one of the ancient world’s largest fountain structures.

Above the arches, now lost to collapse, there would have been a second and third story. Period illustrations and comparative monuments suggest each story recessed slightly, forming three ornate tiers. Niche-like spaces on the middle level likely held statues of deities and emperors – Apollo and Athena are often mentioned as patrons of Side – while the top tier may have been crowned by an inscription panel and cornice. The fountain’s entire face was originally lavishly painted and perhaps gilded, transforming sunlight into a radiant welcome. Modern reconstruction images (computations made from 992 documented fragments and thousands of shards) depict a pristine white marble edifice rising above a gleaming pool. In this way, even the fragmented ruins convey a sense of the original spectacle.

Perhaps the most ingenious feature was the water flow itself. Water entered the central arch from behind and filled the basin at the front. From there it overflowed equally into side basins or drainage channels. The design ensured a calm, mirror-like pool by day and prevented stagnation. Engineers built hidden conduits within the fountain to channel excess water and maintain pressure. It has been reported that once restored, the fountain will again have running water – a fitting revival of its original purpose.

The Pantheon of Side: The Statues of the Nymphaeum

One of the most striking features of any nymphaeum is its statuary program, and Side’s fountain would have been no exception. Its three niches on the lower tier almost certainly housed statues of water nymphs, honoring the local river-goddess and the Melas stream itself. The remaining two stories would have held larger statues: perhaps a row of emperors on the middle level and gods on the top. We know, for instance, that Apollo was the chief deity of Side, while Athena (whose temple stood across the city) was revered as well. Other fountains in the region often include figures of Diana or ocean-related gods; a sculpted fish motif on the columns suggests marine symbolism too.

What survives today – largely plaster casts and fragmentary reliefs – resides in the Side Archaeological Museum, but it offers clues. Museum catalogs list a relief of Leto (mother of Apollo), a Niobe scene, and busts of emperors. An inscribed statue base found near the fountain names Domitian (81–96 AD), suggesting early imperial patronage. The fountain’s lower reliefs feature Nereids and satyrs carrying amphorae, all celebrating the bounty of water.

Art historians also note the style: the carving is classicizing, with Hellenistic influence in the elegant drapery and contrapposto stances. The treatment of hair and garments is typically Roman-Baroque. One relief still in situ (visible in the shelter erected at the site) shows a Nereid holding a vessel above a spout – a fitting homage to the nymphs of the fountain.

Today, visitors can glimpse some of these works in Side’s museum. For example, a life-size statue of Tyche (Fortuna) presumably stood atop the fountain, symbolizing prosperity; a helmeted Athena once graced one niche; and fragments of a god (perhaps Zeus or Poseidon) have been recovered. Each statue reinforced the fountain’s role as an urban pantheon: water nymphs below, protectors of Side in mid-level niches, and symbols of divine favor at the top. Though time has scattered them, these pieces tell us that the fountain was as much a sculpture gallery as a public utility.

A New Lease on Life: The Monumental Restoration Project

After decades of being nothing more than a pile of ruins, the Anıtsal Çeşme has entered a new chapter. In the early 2000s modest preservation work began, but only recently has a full-scale restoration been underway. Supported by Turkey’s Ministry of Culture (Geleceğe Miras project), archaeologists have embarked on the painstaking task of reconstructing the fountain.

The process is both modern and ancient. First, all excavated fragments (nearly 1,000 pieces to date) are scanned in 3D and catalogued. This digital assembly allows experts to virtually rejoin stone, a kind of archaeological jigsaw puzzle. In the meantime, conservators erect supporting scaffolds and pour concrete foundations to anchor the rebuilt wall. The real work has been resetting the columns: twenty-four of the original marble columns have been re-erected in their bases. Workers used stainless steel armatures and epoxy to hold them safely while preserving the ancient cores. As one official put it, “Şimdiye kadar 24 sütun ayağa kaldırıldı. Güney rizalit ve güney niş tamamlandı.” (“So far 24 columns have been raised. The south risalit and south niche have been completed.”).

Archaeologists supervising the project underscore its ambition. Professor Feriştah Alanyalı, head of Side excavations, describes the fountain as “an truly monumental structure”. In her words, it was “50 metres long, three storeys tall” – a building intended to impress all who arrived at Side. According to Dr. Alanyalı, they have discovered new springs that could once again feed the basin. In fact, early reports suggest that after restoration, engineers may reroute water from a newly found source so that the fountain will flow again, as it did 2,000 years ago.

Every breakthrough in the stones attracts attention. As of late 2024, the team has catalogued 992 architectural fragments and reassembled dozens of relief panels. When finished, the project will not only restore a facade but breathe life into an ancient public space. Illumination and landscaping are also planned, so that at night the fountain will glow as a centerpiece of the archaeological park. The slogan on the project’s banner reads “Tarih Yeniden Hayat Buluyor” – “History Comes to Life” – and for the Anıtsal Çeşme, that goal is within reach.

The Cultural Significance: Symbolism and Society

The Anıtsal Çeşme was far more than a technical fountain; it was a social and symbolic focal point. In antiquity, public fountains were meeting places. Citizens would gather there to collect water, rest in its shade, and admire the carvings. Side’s fountain, located just inside the city’s wall, essentially functioned as a grand portal. Every visitor entering by the harbor gate passed by it. Its very name – monument – signals its civic importance. In fact, the Turkish sources call it a “tarihi değeri” (historical value) and the first sight “greeting visitors”.

Water itself carried weight as a symbol. In Greco-Roman culture, fountains evoked life and renewal. The Nymphaeum’s use of the Manavgat’s pure water reinforced Side’s prosperity: it said, in effect, “Our city controls its supply.” And during festivals – especially the Epibaterios – the fountain’s ceremonial role was explicit. Since “the procession for the festival would always begin at the Nymphaeum”, the act of gathering by the fountain before moving to Apollo’s temple imbued the site with religious gravity. Inscriptions found on-site confirm that citizens associated it with the sea-voyaging Apollo under the epithet “Epibaterios.”

The fountain also echoed Side’s legendary symbols. For example, Artemis (whose cult is tied to fertility) is often linked with the pomegranate, an ancient motif of abundance. (Indeed, the city’s very name means “pomegranate”, a symbol appearing on its coins and art.) The Nymphaeum’s flowing water can be seen as a complementary fertility motif. Furthermore, the choice to use a Hellenistic Greek term (nymphaion) on a Turkish-named site speaks to Side’s multicultural legacy: it was a Pamphylian city under Roman rule, yet in modern times both Turkish and Classical frameworks describe its monuments.

In short, the Anıtsal Çeşme encapsulated the civic ideals of ancient Side. It was a demonstration of the city’s wealth, art, and piety. It joined natural elements (water, marble stone) with human achievement (architecture, sculpture) in a single grand gesture. Today, as it is resurrected, it continues to symbolize Side’s enduring heritage.

A Broader Perspective: Nymphaea Across the Roman Empire

While Side’s fountain is remarkable, it belongs to a wider tradition of Roman monumental fountains. The very concept of the nymphaeum was borrowed from Hellenistic Greece, but under Rome fountains became ever grander. For context, one might consider a few peers. In Pamphylia itself the nearby city of Perge boasts its own Nymphaeum – a stately arcade with ornate friezes – though Perge’s is smaller and later in date. Further afield, Jerash (ancient Gerasa in Jordan) had a large nymphaeum with elaborate niches and a pool; Rome itself had dozens (the Trevi Fountain in modern Rome is the descendant of an imperial nymphaeum). A 2nd-century fountain in Corinth, for example, is topped by the head of Helios. Comparisons show that Side’s fountain was among the largest of its kind: as the Turkish team emphasizes, “antique dünyanın en önemli ve en büyük çeşme yapılarından”.

In fact, the style of Side’s fountain is closest to the grand exedrae built in Mediterranean centers. Its three-tiered design recalls the Nymphaeum at Caesarea in Israel or at Trier in Gaul, where monumental fountains fronted imperial halls. What sets Side apart is its remote setting: few cities on Turkey’s southern shore invested in such extravagance. In that sense, it stands unique – a crown jewel of Pamphylia – even as it illustrates a common Roman motif.

Your Ultimate Visitor’s Guide to the Anıtsal Çeşme

For the modern traveler, exploring the Anıtsal Çeşme can be as rewarding as it was significant for the ancients. The fountain lies at the northern end of Side’s archaeological site, just opposite the twin-towered gate (the Megale Pyle) that once marked the city entrance. Today this area is free to enter: Side’s ancient city does not charge a separate fee beyond any general site admission (and in fact is often listed as free with a Turkey Museum Pass). The site is open every day of the year; summer hours are typically 8:30–22:00 and winter 8:30–17:30. Arrive early on a clear morning to see the soft light striking the marble, or stay until dusk when floodlights outline the arches. Side is easily reached from Antalya (about 75 km east) by highway or frequent shuttle buses to Manavgat.

Once on-site, walking from the west entrance past the stadium and agora will lead you straight to the fountain. Even in ruin, the structure is clearly visible: the lower archways and scattered columns form a semicircle around a water basin. Pay particular attention to the left and right niches – these are what remain of the three original recesses. A few steps behind, look for the small shelter of fragments where original relief panels are protected; some depict dolphins and mythic scenes.

A detailed checklist enriches any visit. Note the 21 column bases that have been reset – they show where statues once stood. Look for carved fish and garland patterns on the intact pillars. Imagine the emperor’s statue that once occupied the central niche (only its block remains). On the far side of the pool, you may discern the remains of a parapet where inscriptions once ran (documented by early 20th-century explorers). The nearby map or guidebook can point out where the aqueduct fed in from behind.

After examining the fountain, take a short walk to the Side Archaeological Museum, housed in a restored Roman bathhouse south of the theater. Here many of the fountain’s original sculptures are displayed. You can see the actual niches’ statues of nymphs and gods described above – a hands-on way to connect to what once stood in the open air. Outside the museum, a small section of the city’s water channel is preserved, offering insight into the plumbing that supplied the fountain.

Don’t stop at the Nymphaeum. Side’s ancient city has a wealth of other sights. To the south are the gigantic Roman Theatre and the twin Apollo and Athena Temples, all just as evocative. A stroll along the colonnaded Agora and past the city walls brings home the size of this metropolis. Each site adds context to the fountain. (Tip: in late afternoon, the Apollo Temple by the harbor casts long shadows across the water – a perfect photo-op.)

Practical tips: wear comfortable shoes on the uneven terrain. Carry water (there is little shade between ruins) and sun protection, as summer days can be hot. The fountain area is open and will thrill history lovers and photographers alike. Guided tours often include it; otherwise, the site has informational signs (in multiple languages) near each ruin. Feel free to sit on one of the many stone benches erected in the plaza in front of the fountain – these mark where ancient visitors would have sat. Finally, remember that this is an archaeological site. Climbing on the ancient stones is discouraged, but you may walk among the columns and basin (the visitors’ path is clear).

In all, visiting Anıtsal Çeşme connects you to both natural beauty and human ingenuity. It is an emblem of Side’s heritage: a literal fountainhead of history. As the Turks say, “Anıtsal Çeşme bugüne kadar etkileyiciliğini muhafaza etmiş”. On your journey through Side’s ruins, it will greet you with the same quiet grandeur that has astonished travelers for centuries.

Frequently Asked Questions (FAQ) about the Anıtsal Çeşme

• What is a Nymphaeum in Roman architecture?
  A nymphaeum (plural nymphaea) was an ornate public fountain dedicated to water nymphs, often built as a monumental grotto or building. In ancient Rome and Greece, such fountains served both as shrines and as functional water sources.
• What was the purpose of a nymphaeum?
  Beyond simply providing water, nymphaea symbolized life and divine favor. They were meeting places for citizens and could host rituals (for example, marriage ceremonies in Roman gardens). In Side’s case, the fountain was tied to the Epibaterios festival and celebrated the coming of ships, blending utility and ceremony.
• Where is the ancient city of Side?
  Side is on Turkey’s southern coast in Antalya Province (ancient Pamphylia), on a peninsula at the mouth of the Manavgat River. The Nymphaeum itself stands just outside Side’s old city wall near the main entrance.
• Is Side, Turkey worth visiting?
  Absolutely. Side offers one of the richest concentrations of antiquities in Turkey – a sprawling Roman city with a theater, temples, agora, and more. The Anıtsal Çeşme is one highlight among these and is part of what makes Side a top destination for history and culture (the city even holds summer festivals amidst the ruins).
• What is the history of Side, Turkey?
  Side was a Greek colony in the 7th century BCE that became a prosperous port. Over the centuries it flourished under Hellenistic and Roman rule, especially in the 1st–3rd centuries AD. Side’s name (meaning “pomegranate” in Luwian) and artifacts reflect a blend of Greek, Roman, and local heritage. By Byzantine times it declined and was largely abandoned, only to be rediscovered by modern archaeology.
• When was the Anıtsal Çeşme in Side built?
  Scholars date it to the late 2nd century AD (second century CE) of the Roman Empire. Inscriptions and style suggest it stood by around 150–200 AD, contemporaneous with the city’s theater and other grand structures.
• What is the latest news on the Anıtsal Çeşme restoration?
  As of 2024, Turkish teams have restored much of the lower façade. More than twenty-four of its columns have been reerected and nearly a thousand original fragments catalogued. Excavation and restoration will continue through 2025, aiming to reveal the full scale of the fountain and even restore its water flow.
• Where can I see the artifacts from the Anıtsal Çeşme?
  Many statues and reliefs from the fountain are on display in the Side Archaeological Museum. When you visit Side Ancient City, be sure to include this museum (located in the old Roman baths) to see the original sculptures that once adorned the Nymphaeum.
• How did the Anıtsal Çeşme get its water?
  The fountain was fed by the Melas River (today’s Manavgat River). A monumental aqueduct carried fresh spring water about 30–40 km from the Taurus Mountains to Side’s city walls. This aqueduct was built in the 2nd century AD and refurbished in the 3rd century by the patron Lollianos Bryonianos. Water poured from hidden channels into the fountain’s basin, just as it is planned to do again.
• What does “Anıtsal Çeşme” mean in English?
  It literally translates as “monumental fountain.” (In fact, nymphaeum is literally translated as “anıtsal çeşme” in Turkish dictionaries.) The name conveys the grand scale of this public fountain.
• What is the significance of the pomegranate in Side?
  The pomegranate motif is central to Side’s identity. The city’s own name comes from the ancient word for pomegranate, symbolizing fertility and abundance. In a broader sense, water and pomegranates are both life-giving symbols – fitting for a coastal city with such an elaborate fountain celebrating nature’s bounty.