| Monument Name: | Wallace fountains |
| Designer: | Charles-Auguste Lebourg |
| Material: | Cast iron |
| Begin: | 1872 |
| Dedicated To: | Richard Wallace |
Wallace fountains are public drinking fountains named after, financed by and roughly designed by Sir Richard Wallace. The final design and sculpture is by Wallace's friend Charles-Auguste Lebourg. They are large cast-iron sculptures scattered throughout the city of Paris, France, mainly along the most-frequented sidewalks. A great aesthetic success, they are recognized worldwide as one of the symbols of Paris. A Wallace fountain can be seen outside the Wallace Collection in London, the gallery that houses the works of art collected by Sir Richard Wallace and the first four Marquesses of Hertford.
Among these philanthropists, Sir Richard Wallace (1818–1890) was one of the most eclectic and reserved. Having inherited a large fortune from his father in August 1870, he decided that all Parisians should profit from it, which made him popular. Wallace's devotion led him to remain in his Parisian villa even as the city was besieged, rather than take refuge on one of his palatial estates, so as to be in Paris when he was needed.
He founded a hospital, where he personally welcomed victims of the bombings and distributed supplies, among his other efforts on behalf of Parisians at war. He remained faithful to his adopted nation, France, and is buried at Père Lachaise Cemetery.
Of his numerous contributions to Parisian heritage, the best known today are the fountains which bear his name.
As a result of the siege of Paris and the Commune episode, many aqueducts had been destroyed, and the price of water, already higher than normal, increased considerably. Because of this, most of the poor had to pay for water. Moreover, most of the water provided by vendors was drawn from the Seine river and was likely to be dirty, as run-off from streets and many of sewers drained into it. Hence it was safer to drink beer or other alcoholic beverages, and almost as cheap as water. The temptation to take to liquor was strong among the lower classes, and it was considered a moral duty to keep them from falling into alcoholism. Even today, when water and hygiene are not a problem for the majority of Parisians, these fountains are often the only sources of free water for the homeless.
The poor are not the only beneficiaries of these installations. Even if the aim of the fountains was to allow people of modest means to have access to drinking water, they are not the only ones who use them. Anyone passing by may quench his thirst, fulfilling this vital need. There was already a programme of constructing temperance fountains in both the United States and in the United Kingdom.
Not only did the fountains accomplish Wallace's philosophy of helping the needy, but they also beautified Paris.
Richard Wallace intended the fountains to be beautiful as well as useful. The fountains had to meet several strict guidelines:
The locations, as well as the color (a dark green, like all urban development of that era, in order to blend in with the parks and tree-lined avenues), were quickly chosen by the city government.
Wallace created two different models, which were followed by two additional models, thus there were four types of Wallace fountains varying in such properties as height and motif. They were made of cast iron. Inexpensive, easy to mold, and robust, it was one of the most popular materials of the age. The majority of the cost was paid for by Wallace. The city of Paris allocated 1,000 francs for the large model and 450 francs for the wall-mounted model.
The fountains are still molded by the historical foundry G.H.M
Wishing that his project be completed as rapidly as possible, Wallace called on Charles-Auguste Lebourg, a sculptor from Nantes whom he knew and whose talents were already renowned. Lebourg improved Wallace's sketches, already studied and thought-provoking, to make the fountains true works of art.
For the large model, Lebourg created four caryatids representing kindness, simplicity, charity and sobriety. Each one is different from her sisters, by the way she bends her knees and where her tunic is tucked into her blouse.
The first two models (large model and applied model) were conceived and financed by Sir Richard Wallace. The two other models were created following the success of their predecessors inspired by the same styles and the resemblance is obvious. The more recent designs are not as strongly steeped in Wallace's aesthetic ideals, that in true Renaissance style, they should be useful, beautiful, and symbolic, in addition to being real works of art.
(size: 2.71 m, 610 kg)
The large model was conceived by Sir Richard Wallace, and was inspired by the Fontaine des Innocents. On a foundation of Hauteville stone rests an octagonal pedestal on which four caryatids are affixed with their backs turned and their arms supporting a pointed dome decorated by dolphins.
The water is distributed in a slender trickle issuing from the center of the dome and falls down into a basin that is protected by a grille. To make distribution easier, two tin-plated, iron cups attached to the fountain by a small chain were at the drinker's desire, staying always submerged for cleanliness. These cups were removed in 1952 "for Hygiene reasons" by demand of the Council of Public Hygiene of the old Department of the Seine.
For more information, see the Technical File (in French).
(size: 1.96 m, 300 kg)
Sir Richard's other model.[1] In the middle of a semi-circular pediment, the head of a naiad issues a trickle of water that falls into a basin resting between two pilasters. Two goblets allowed the water to be drunk, but they were retired under the 1952 law cited above. This model, costing little to install, was to have been many units along the lengths of the walls of buildings with strong humanitarian focus, e.g. hospitals. This was not the case, and they do not remain today except for one situated on rue Geoffroy Saint-Hilaire.
(size: 1.32 m, 130 kg)
These are simple pushbutton fountains that one can find in squares and public gardens and are marked with the Parisian Seal (although the one installed on the Place des Invalides lacks this seal). They are familiar to mothers who bring their children to play in the many small parks in Paris.
Measuring only 4'-3" and weighing 286 lbs., they were commissioned by the mayor of Paris more frequently than its older sister models.
(size: 2.50 m, a little more than 500 kg)
This model was the last to be realized. The general shape resembles that of the Large Model and the caryatids were replaced with small columns to reduce the cost of fabrication. The dome was also less pointy and the lower part more curved.
Although 30 of these were made, today there remain only two, one on rue de Rémusat and the other on avenue des Ternes.
The choice of the location of the fountains was left to the city of Paris. They needed to be placed at the will of the public in a practical manner and integrated in the most harmonious fashion with the environment. Most were placed in squares or at the intersections of two roads. The responsibility for choosing such locations fell to Eugene Belgrand, a hydraulic engineer and Director of Water and Sewers of Paris who worked with the prefect Georges-Eugène Haussmann.
Most of the 100 grand model Wallace fountains currently in Paris function and distribute perfectly potable water. Once, these fountains were rare points of free water in the city, much to the relief of the homeless and poor. Today, they are among more than 1,200 points of free, clean drinking water dispensed to citizens and visitors by the city water company, Eau de Paris.
The fountains work from March 15 to November 15 (the risk of freezing during the months of winter would imperil the internal plumbing), are regularly maintained and are repainted every few years.
They are an integral part of the Parisian landscape, of the same importance as the Eiffel Tower or the street urchins of Montmartre.
In Amélie, the cinegraphic piece about the glory of Parisian folklore, Jean-Pierre Jeunet baptised a personality Madeleine Wallace (she cried like a madeleine, or like a Wallace fountain), although the English subtitled version renamed the character of Madeleine, to Madeleine Wells for cultural understanding.
Wallace fountains have been a beloved part of the Paris streetscape for almost 150 years. However, only two Wallace fountains, both located in Place Louis Lépine, are classified as registered historic monuments.
In 2018, the Society of the Wallace Fountains (La Société des Fontaines Wallace) was registered in France as an international, non-profit association governed by the French law of July 1901. The Society's purpose is education and information. Its mission is to promote, preserve and protect the Wallace fountains for future generation. In addition, the Society recognizes and encourages partnerships for the common good in the spirit of Sir Richard Wallace.
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More recent fountains are to be found at: