Wallace fountains are public drinking fountains named after, financed by and roughly designed by Sir Richard Wallace and sculpted by 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.
Background
Sir Richard Wallace
Sir Richard Wallace (1818–1890) was an eclectic and reserved philanthropist. 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.
Purpose 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, which were 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.
Conception
Richard Wallace intended the fountains to be beautiful as well as useful. The fountains had to meet several strict guidelines:
Height: They had to be tall enough to be seen from afar but not so tall as to destroy the harmony of the surrounding landscape. Form: Both practical to use and pleasing to the eye. Price: Affordable enough to allow the installation of dozens. Materials: Resistant to the elements, easy to shape, and simple to maintain.
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 cast by the historical foundry G.H.M..
Sculptor 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.
Different models 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.
Large model (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).
Wall-mounted model (size: 1.96 m, 300 kg)
Sir Richard's other model.The French term 'Modèle en applique' is similar to :fr:Applique murale meaning wall lamp or sconce, as opposed to a free-standing model. 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 the Rue Geoffroy Saint-Hilaire.
Small model (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.
Colonnade model (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 the Rue de Rémusat and the other on the Avenue des Ternes.
Placement
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.
Today Majority of the 100 large-model Wallace fountains currently in Paris remain operational and distribute potable water. Originally established to provide free drinking water to lower-income and unhoused residents, the fountains are now part of a network of more than 1,200 public water points managed by the municipal water provider, 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 the 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.
Locations
Paris (2024)
Large fountains
2nd arrondissement Rue Saint-Spire, Rue d'Alexandrie
3rd arrondissement Boulevard de Sébastopol, Square Chautemps Passage du Pont aux biches Rue de la corderie, Place Nathalie Lemel
4th arrondissement Place Louis Lépine, next to the Chambre de Commerce Place Louis Lépine, next to the Hôtel-dieu 7, boulevard du Palais 123, rue Saint-Antoine / 1, rue de Rivoli Rue Grenier sur l'Eau / Allée des Justes Square Saint-Gilles-Grand-Veneur Musée Carnavalet (non operational?) Rue du Temple (no 16)
5th arrondissement Rue Poliveau, face Rue de l'Essai Place Maubert (fountain removed) 37, rue de la Bûcherie Rue des Patriarches / Place Bernard Halpern Rue de l'Estrapade / Rue Thouin Rue Geoffroy Saint Hilarie / Rue Poliveau Rue Saint-Jacques (322)
6th arrondissement Place Saint-Germain-des-Prés Place Saint-Sulpice Pont Neuf, Quai des Grands Augustins Rue Vavin, at the Rue Bréa Place Saint-André-des-Arts Place du 18-Juin-1940
7th arrondissement Musée des Égouts, Pont de l'Alma (non operational?)
8th arrondissement Rue de St-Pétersbourg, at the Rue de Turin Av. des Champs-Élysées, Chevaux de Marly (north side) Av. des Champs-Élysées, Chevaux de Marly (south side) 82 avenue Marceau
9th arrondissement Place Gustave Toudouze Place de Budapest Rue Bourdalue
10th arrondissement Place Juliette Dodu Place Jacques Bonsergent Place Robert Desnos Marché Saint-Quentin (interior)
11th arrondissement 143, rue de la Roquette 197, boulevard Voltaire 44, rue Jean-Pierre Timbaud 94, rue Jean-Pierre Timbaud 1, boulevard Richard Lenoir 89, boulevard Richard Lenoir Boulevard de Belleville / Rue Étienne Dolet
12th arrondissement Rue de Charenton / Boulevard Diderot Cours de Vincennes, face Blvd de Picpus Angle de St-Mandé, at the Rue du Rendez-vous Rue Descot, Square E Thomas, face Mairie du XIIe arrondissement Rue de Montempoivre / Rue de la Vega Avenue Lamoricière / Rue Fernand Foureau Avenue Daumesnil / Rue de Charenton
13th arrondissement Place de la Commune de Paris: Rue de la Butte-aux-Cailles at Rue de l'Espérance Rue Richemont / Rue Domremy Place Jean-Delay Université Paris Diderot / Esplanade Pierre Vidal-Naquet Rue des Fréres d'Astier / Place Albert Londres ZAC Baudricourt, 66, avenue d'Ivry Jardin Georges Duhamel / Rue Jean Anouilh Rue Dumeril / Rue Jeanne d'Arc Place Louis Armstrong / Blvd de l'Hôpital Place Pierre Riboulet
14th arrondissement Place de l'Abbé Jean Leboeuf