Angry face
The Fontaine Saint-Sulpice (also known as the Fontaine de la place Saint-Sulpice or as the Fontaine des Orateurs-Sacré) is a monumental fountain located in Place Saint-Sulpice in the 6th arrondissement of Paris. It was constructed in 1848 by the architect Louis Visconti, who also designed the tomb of Napoleon). The theme of the fountain is religious eloquence, since the fountain was placed in front of a church and near an important seminary.
Its four sides are decorated with statues representing bishops preachers of the time of Louis XIV : Bossuet , Fénelon , Fléchier and Massillon. This fountain is known in the neighborhood as a fountain of the four "cardinal stops", since the four bishops have never obtained this distinction.
The fountain was criticized when it opened; first, because it hid the entrance of the church; second, because of the incoherence of the iconography and details; one critic noted that the vases pouring water were "veritable cooking pots." Describing the lions, another critic wrote that "everything about them shows their irritation at the water pouring onto their rear ends.".
Paris, 2016
Angry face
The Fontaine Saint-Sulpice (also known as the Fontaine de la place Saint-Sulpice or as the Fontaine des Orateurs-Sacré) is a monumental fountain located in Place Saint-Sulpice in the 6th arrondissement of Paris. It was constructed in 1848 by the architect Louis Visconti, who also designed the tomb of Napoleon). The theme of the fountain is religious eloquence, since the fountain was placed in front of a church and near an important seminary.
Its four sides are decorated with statues representing bishops preachers of the time of Louis XIV : Bossuet , Fénelon , Fléchier and Massillon. This fountain is known in the neighborhood as a fountain of the four "cardinal stops", since the four bishops have never obtained this distinction.
The fountain was criticized when it opened; first, because it hid the entrance of the church; second, because of the incoherence of the iconography and details; one critic noted that the vases pouring water were "veritable cooking pots." Describing the lions, another critic wrote that "everything about them shows their irritation at the water pouring onto their rear ends.".
Paris, 2016