Fountain Saint-Michel

The Fountain Saint-Michel played a significant role in the extensive urban redevelopment project of Paris led by Baron Haussmann during the French Second Empire. In 1855, Haussmann completed the construction of a massive new boulevard, originally known as the Boulevard de Sébastopol-rive-gauche but now referred to as Boulevard Saint-Michel. This transformation expanded the small Place Pont-Saint-Michel into a much larger public space. Haussmann entrusted the task of designing a fountain that would harmonize with the new square's scale to Gabriel Davioud, the architect of the Service of Promenades and Plantations of the prefecture. In his role as the prefecture's architect, Davioud not only designed the fountain but also the facades of the newly constructed buildings around it, ensuring a cohesive appearance for the square. However, he also had to navigate the demands of the prefect and city administration, who were funding the project.

Initially, Davioud envisioned a fountain dedicated to peace, positioned at the square's center. Nevertheless, the prefectural authorities rejected this concept and instead requested Davioud to create a fountain that would conceal the end wall of the building at the intersection of Boulevard Saint-Michel and Saint-André des Arts. This alteration forced Davioud to adjust his plans to align with the proportions of that building.

In 1856, Davioud presented a revised design that formed the architectural structure of the fountain. It featured a facade divided into four horizontal levels, resembling a triumphal arch, with four Corinthian columns on tall pedestals framing the central niche. Crowning the primary cornice was a French Renaissance design element—an inscribed tablet enclosed within a grand architectural frame. Given the adjusted location, Davioud incorporated a visual compromise with a series of gently curved basins through which water flowed from the rock beneath the recumbent body of Saint Michael's adversary. The water ultimately collected in a basin at street level, with a gracefully curved front edge that softened the monument's architectural base.

In the 1856 plan, Davioud had intended to place a feminine statue symbolizing Peace in the central niche. However, by 1858, the plan had changed, calling for the replacement of Peace with a statue of Napoleon Bonaparte. This decision sparked fierce opposition from Napoleon III's opponents. Consequently, in 1858, Davioud proposed a new central figure: the Archangel Michael wrestling with the devil. This suggestion was accepted, and construction commenced in June 1858, culminating in the statue's inauguration on August 15, 1860.

In 1860, the center of the attic level received decorative elements in colored marble, which were later replaced in 1862 or 1863 with a bas-relief featuring scrolls and cherubic figures, created by Noémi Constant.

The fountain faced a threat in September 1870, following the capture and abdication of Emperor Napoleon III during the French-German War. On September 5, 1870, Davioud urgently contacted the Director of the Municipal Service of Promenades and Plantations, reporting a crowd of unarmed workers approaching the Fountain Saint-Michel with intentions to attack it and deface the eagles and inscriptions on the upper portion. The fountain, along with other symbols of the Second Empire, appears to have suffered damage during the 1871 uprising and the subsequent suppression of the Paris Commune. The lead eagles that once adorned it were destroyed during this period.

In 1872, the Prefecture authorized Davioud to conduct urgent repairs on the fountain. Subsequently, further repairs were undertaken in 1893. The imperial arms that originally adorned the fountain's pediment were replaced with the City of Paris's arms during one of these restoration efforts.

Davioud, a trained neoclassical sculptor from the Ecole des Beaux-Arts, was responsible for overseeing the creation of a grand fountain with dimensions of 26 meters by 15 meters. This intricate fountain featured an extensive iconography that involved the collaborative efforts of nine different sculptors. The notable elements of this fountain included:

• Two winged dragons flanking the fountain, crafted by Henri Alfred Jacquemart.
• The depiction of Saint Michael and the devil, skillfully sculpted by Francisque-Joseph Duret.
• The foundational rock beneath Saint Michael, executed by Félix Saupin.
• The inclusion of bas-reliefs and decorative foliage, which were the work of Marie-Noémi Cadiot.
• A statue representing Prudence, holding a serpent and a mirror, created by Jean-Auguste Barre.
• A statue embodying Power, adorned with a lion skin and a club, sculpted by Claude-Jean Guillaume.
• A statue personifying Justice, equipped with a scale and sword, crafted by Louis-Valentin Robert.
• A statue symbolizing Temperance, crafted by Charles-Alphonse Guméry.
• Additionally, there were statues of Power and Moderation, both bearing the coat of arms of Paris, which were the artistic contributions of Auguste-Hyacinthe Debay.

What set this fountain apart from others in Paris was its unique use of various colors of stone, including columns of red marble from Languedoc, green marble, blue stone from Soignies, yellow stone from Saint-Yllie, and bronze statues.

The reception of the Fountain, upon its inauguration in 1860, was marked by divided opinions. The focus of much scrutiny was its vivid color palette. A critic from Le Monde Illustré remarked, "In essence, this monument represents a foray into polychrome architecture akin to what one might find in Rome, where 18th-century artists crafted fountains in a similar style."

However, Alfred Darcel, a critic for the Gazette des Beaux-Arts, exhibited less enthusiasm. He criticized the fountain's color choices, composition, what he deemed an incoherent style and iconography, and argued that the concentration of numerous statues by different artists diminished the individual talents of those involved.

Some other critics took issue with the fountain's placement against a wall, rather than at the center of the Square. One commentator remarked that this placement, while common in Paris, was ill-suited for monuments of such grandeur. The Fountain Saint-Michel marked the culmination of the traditional Renaissance style of monumental wall fountains in Paris, a tradition that had commenced with the Medici Fountain in the 17th century and continued with the Fountain des Quatre-Saisons in the 18th century. Subsequently, monumental fountains in Paris adopted a freestanding design, typically situated in the heart of squares or parks.