Fonte Wallace
http://en.wikipedia.org/wiki/Wallace_fountains#Different_models
Sir Richard Wallace, 1st Baronet (June 21, 1818 - July 20, 1890) was an English art collector.

He was the illegitimate son of the Richard Seymour-Conway, 4th Marquess of Hertford and inherented his father's extensive collection of European art in 1871. Wallace expanded it himself, and in 1897, after his death, the collection was donated to the nation by Wallace's widow. It is now located in Hertford House, Manchester Square, London - the Wallace Collection. His bequests to the people of Lisburn in Northern Ireland include the Wallace Park and The Wallace High School.

Wallace was created baronet in 1871 and was Member of Parliament for Lisburn from 1873 to 1885.

In 1872 he donated 50 drinking fountains, known as Wallace fountains, to the City of Paris and Lisburn. Some can still be seen today. On his passing in 1890, he was interred in Le Père Lachaise Cemetery in Paris.

Background

During the Franco-Prussian War, Paris went through difficult times. The re-establishment of the Republic, the short-lived coup by the Paris Commune, destructive bombings by the Prussians, and the defeat that ceded Alsace-Lorraine to them were all important upheavals of the time.

The city was quickly rebuilt, despite the ravages which the capital had suffered. In less than ten years, it was transformed, with new buildings (the Paris Opera) and new boulevards (Raspail and St-Germain). Additionally, philanthropy was in style among the wealthy bourgeoisie, who financed numerous "good works" (such as the Red Cross and the Salvation Army) in order to uphold their image.

Sir Richard Wallace

Among these philanthropists, Sir Richard Wallace 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 very popular. He may be considered a true philanthropist, in the proper sense of the word, as opposed to certain members of the elite, for whom charitable deeds were only a way of increasing their fame. 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, in order to be in Paris when he was needed.

He founded a hospital, where he personally welcomed victims of the bombings and distributed supplies, among other efforts he undertook on behalf of Parisians at war. He remained ever faithful to his adopted nation, France, and is buried at Père Lachaise cemetery among many other important figures.

Of all his numerous contributions to Parisian heritage, the best-known, as they are still very recognizable and useful today, are the fountains which bear his name.

Why fountains?

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, went up considerably. Because of this, most of the poor found that they were unable to get water without having to pay for it. 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 vast majority of Parisians, these fountains are often the only sources of free water for the homeless.

But the poor are not the only beneficiaries of these installations. Even if the aim of the fountains was to allow as many people of modest means as possible to have access to drinking water, they are not the only ones who use them. Indeed, anyone passing by, rich or poor, may quench their thirst, fulfilling this vital need in equal fashion.

Not only did the fountains accomplish Wallace's philosophy of lending a hand to those in need, but they also served to beautify Paris without making a spectacle. That is why the fountains are discreet and pleasing to the eye as well as useful.

Conception

Richard Wallace designed the fountains himself and intended them 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 decided upon by the city government.

Wallace created two different models, which were followed by two additional models, so, in all, there were four types of Wallace fountains varying in such properties as height and motif. The material that was used to create them was 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 1000 francs for the large model and 450 francs for the wall-mounted model.

Sculptor

Wishing that his project be completed as rapidly as possible, Wallace called on Charles-Auguste Lebourg, a sculpter 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.

Different models

The Large Model
(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 more 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).

The four caryatids represent kindness, simplicity, charity and sobriety. Each one is different from her sisters, by the way she bends her knees and by where her tunic is tucked into her blouse.

Applied model
(1.96 m, 300 kg)

Sir Richard's other 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 edict of 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 unfortunately not the case and they do not remain today except for one situated on rue Geoffroy Saint-Hilaire.