VICTORIAN DRINKING FOUNTAINS
THE RICHARD RUSSELL MEMORIAL FOUNTAIN HAS A TWIN IN BELFAST [ONE IS RED AND THE OTHER IS YELLOW]
Have you ever stopped to truly look at the public monuments in our towns and cities? Beyond their beauty, these structures often hold fascinating stories about our past, reflecting the values, ambitions, and even the struggles of bygone eras. During the Victorian era, a period of immense change and progress, public spaces across Ireland were adorned with an array of civic improvements – from parks to bandstands and, perhaps most strikingly, elaborate drinking fountains. These weren't just pretty decorations; they served a vital dual purpose: providing essential services like clean water while also acting as symbols of local pride and philanthropic spirit.
Join me on a journey as we explore some remarkable examples of these Victorian public works, delving into their history, design, and how their significance has evolved over time.
The Richard Russell Fountain, Limerick: A People's Gift Restored
Our first stop is the People's Park in Limerick, home to the magnificent Richard Russell Fountain. Opened in 1877, this verdant oasis was a generous gift to the citizens of Limerick, dedicated in honour of Richard Russell, a prominent local businessman and esteemed employer.
The Richard Russell Fountain is a true gem of Victorian public art. It rests on an octagonal plinth, with eight columns gracefully supporting a large, solid domed canopy. Look closely, and you'll see intricate details: an open filigree frieze, Maltese crosses adorning the outer edge of the dome, and stars or suns outlining its ribs. A finely trimmed cupola, complete with a rope design, is crowned by a weathervane finial indicating the four compass directions. The wide-based font, identified as Design Number 13, originally featured a central pedestal with four diamond-patterned columns and square capitals displaying seven-pointed embellishments. Four ornate consoles, with beautiful acanthus relief, once held drinking cups suspended by chains, while shell-motif spouts ensured water flow. A shield for a dedication inscription and two elaborate consoles supporting lamps were also part of its original grandeur, all topped by a finial in the form of a statue of Samson, symbolising strength.
This elaborate fountain recently underwent a meticulous, seven-month restoration by Eura Conservation in Telford. The work was crucial, as the fountain was in a severe state of disrepair, risking collapse. The restoration involved careful dismantling, blasting, and cleaning. A key step was colour analysis, which revealed its original hues, allowing it to be returned to a "glorious mixture of red and white." Remarkably, the conservation team used moulds already available from their restoration of the Jaffe Fountain in Belfast, confirming the identical casting of these two structures and proving incredibly cost-effective. Significant effort also went into reinforcing and weatherproofing the fountain, ensuring its durability for another 150 years or more.
The dedication of the People's Park and the installation of the Richard Russell Fountain perfectly illustrate a significant aspect of the Victorian era: the powerful convergence of philanthropy and civic improvement. This fountain, while undeniably beautiful, also served a vital public health function by providing clean drinking water – a critical amenity when piped water wasn't universally available and public hygiene was a growing concern. This blend of honouring a prominent individual with a practical public utility highlights how industrial wealth was channeled into tangible improvements for urban populations, reflecting a societal commitment to progress and well-being.
The Jaffe Memorial Fountain, Belfast: A Gilded Counterpart
Now, let's turn our attention to the Jaffe Memorial Fountain in Belfast. This striking gilded, cast-iron drinking fountain was erected in 1874 by Sir Otto Jaffe in memory of his father, Daniel Joseph Jaffe. Daniel was a German-born merchant, politician, and philanthropist who played a crucial role in Ulster's linen trade and even founded Belfast's Jewish community.
The Jaffe Fountain shares a nearly identical design with its Limerick counterpart, featuring eight columns supporting a large, solid domed canopy and finial, with an open filigree frieze above the cornice and a cupola trimmed with a rope design. While it originally featured a lamp at its apex (later replaced by a weathervane), and its current finial is arrow-shaped, the shared lineage is unmistakable. The wide base stood on a raised, stepped platform, and the central pedestal was supported by four diamond-patterned columns. Square capitals on each side of the dog-toothed basin feature those familiar seven-pointed embellishments, and four acanthus-relief consoles originally supported drinking cups. A commemoration panel within the canopy details Daniel Joseph Jaffe's life and the fountain's history. Distinctively, the Jaffe Fountain now stands in "vivid yellow and white colours," a scheme also identified through extensive research and scientific analysis during its restoration.
Manufactured by the Sun Foundry of George Smith & Co in Glasgow (the same foundry that cast the Russell Fountain!), the Jaffe Fountain initially graced Victoria Square. However, its history is marked by significant relocation. In 1933, it was moved to the embankment near King's Bridge in the Botanic Gardens, where it sadly suffered from neglect and fell into a severe state of disrepair for over 70 years. A comprehensive restoration was undertaken in 2007 by Eura Conservation, necessitating its dismantling piece by piece due to its fragile condition. Following this meticulous work, the restored fountain was triumphantly returned to Victoria Square on 14 February 2008.
The Jaffe Fountain's journey through multiple relocations, periods of neglect, and subsequent comprehensive restoration underscores the precarious existence of public art and its capacity for revival. Its "neglected and largely ignored" state for over seven decades contrasts sharply with the costly and detailed "full-scale restoration" that involved "extensive research and scientific analysis" to uncover its original colours. This trajectory reveals that monuments are not static entities; their perceived value and physical integrity can fluctuate significantly with changing urban development priorities, public interest, and economic conditions.
A Study in Twins: Russell and Jaffe Fountains
The remarkable similarity between the Jaffe and Richard Russell Fountains is no coincidence. They are, in fact, "exact replicas," both cast at the same manufacturing facility: the Sun Foundry of George Smith & Co in Glasgow. This shared origin highlights a common practice in the Victorian era where ornate public fountains were often selected from catalogues, allowing for the widespread installation of similar designs across the United Kingdom and Ireland. Their identical design encompasses the distinctive eight columns, solid domed canopy, filigree frieze, and specific internal decorative elements.
Despite their identical structural origins, the two fountains exhibit a notable divergence in their post-restoration colour schemes. The Richard Russell Fountain in Limerick was returned to a "glorious mixture of red and white" after detailed colour analysis. In contrast, the Jaffe Memorial Fountain in Belfast now stands in "vivid yellow and white colours," also determined by scientific analysis of its original paint layers. This difference highlights that while the underlying cast-iron structures were standardised, the final aesthetic finishes were often subject to local preferences or the choices of the commissioning patrons.
Their relocation histories also present a stark contrast. The Richard Russell Fountain appears to have remained in its original location within the People's Park in Limerick, undergoing restoration off-site but implying a return to its established position. The Jaffe Fountain, however, experienced a significant and circuitous journey: originally in Victoria Square, it was moved to the Botanic Gardens in 1933, where it languished for decades, before being comprehensively restored and returned to Victoria Square in 2008.
The Reginald Street Structure, Dublin: From Public Utility to Sacred Space
My photographic exploration of Victorian monuments takes a fascinating turn in Dublin, at the junction of Reginald Street and Gray Street. Here stands a structure with a complex and layered history, initially serving a practical public function. It began its life around 1900 as a public drinking fountain, notably funded by Guinness, and manufactured by the MacFarlane foundry of Glasgow. It was installed to provide a reliable water source to the surrounding houses in the Coombe area, a section of low-rise 19th-century residential Dublin.
This fountain's history is marked by significant damage and transformation. Its canopy suffered during the War of Independence, and further damage occurred when it was hit by a lorry. Some local historians even suggest parts were shot off by British 'Black And Tans.'
In a profound transformation, the local community undertook a significant conversion in 1929, transforming the structure not into a Marian shrine, but a Sacred Heart shrine, to commemorate the centenary of Catholic Emancipation. The current structure features a carved stone statue of Jesus Christ set within the former fountain's decorative cast-iron columns and copper roof. It was later restored and rededicated in 1979 to mark Pope John Paul II's visit to the Liberties area of Dublin.
The Reginald Street structure's journey from a utilitarian public fountain to a religious shrine, marked by damage from political conflict and subsequent rededications, serves as a powerful physical record of Ireland's tumultuous 20th-century history. Its physical damage during the War of Independence directly reflects the violent birth of the new Irish state. Its subsequent conversion from a British-era public utility to a Catholic shrine symbolises the cultural and religious reorientation of an independent Ireland, asserting a distinct national identity and celebrating Catholic Emancipation. The later rededication reinforces the enduring cultural significance of Catholicism in the nation. This structure truly functions as a historical palimpsest, with each layer of modification narrating a story of political, social, and religious transformation.
Victorian Fountains in Ireland: Beyond the "Only Two"
If you've ever heard that there are "only two" ornate Victorian drinking fountains on the island of Ireland, you'll be pleased to know that evidence suggests a much richer and more diverse landscape! Beyond our twins in Limerick and Belfast, a plethora of these beautiful structures can be found across the country, each with its own unique story.
Consider these additional examples:
The Victoria Fountain in Dun Laoghaire: Situated in the People's Park on Marine Road, this elaborate canopied drinking fountain (Design Number 20 from Walter Macfarlane & Co at the Saracen Foundry in Glasgow) was erected to commemorate Queen Victoria's visit to Dublin in 1900. It features griffin terminals, cusped arches, an engraved head of Queen Victoria, and a winged horse finial. Remarkably, it was almost destroyed by Republicans in 1981 but was later restored and rededicated to mark the 70th anniversary of the 1916 Rising. Its most current restoration was completed in 2002. This fountain vividly illustrates how colonial-era monuments can become focal points for national identity struggles and subsequent reinterpretation in a newly independent state.
The Tait Fountain in Limerick: Located in Clare Street Park (Terence Albert O'Brien Park), this more modest cast-iron drinking fountain was originally erected in 1866 by Sir Peter Tait, a prominent local businessman and three-term Mayor, inside his Tait Clothing Factory. Also manufactured by Walter Macfarlane & Co, it's "drinking fountain number 8" from their catalogue. It features four columns with griffin terminals, arches with decorated mouldings, and inscriptions including a verse from St. John's Gospel and the Tait family crest. Though its exact history after removal from the factory is unknown, it was eventually relocated and erected in the park, where it remains a historical artefact.
Cork City's Fountains: Before widespread piped water, Cork City was abundant with public fountains, vital for providing drinking water. Between 1858 and 1880, Cork Corporation installed over 120 fountains, with three original public water supply fountains still in situ, including one at The Lough. Cork also boasts more prominent "ornamental and display" fountains, such as the Berwick Fountain on Grand Parade, installed around 1860 and designed by Sir John Benson (who also designed the fountain in the English Market).
The John Street Drinking Fountain in Wexford: This wall-mounted cast iron fountain on John Street Upper was installed by Mayor John Greene in 1854 to provide clean drinking water. It features a three-sided design with a spigot on each side and a dedication plaque.
The existence of numerous ornate fountains beyond the "only two" highlights a widespread investment in civic infrastructure and aesthetic embellishment across Ireland during the Victorian era, challenging a potentially limited historical narrative. This indicates a broad commitment to public health, civic beautification, and local commemoration, often supported by philanthropic efforts or municipal initiatives, reflecting a shared cultural aspiration across the island during that period.
Enduring Heritage and Evolving Meanings
These Victorian public monuments reveal a rich tapestry of historical intent, architectural ambition, and evolving societal engagement. The Richard Russell Fountain and the Jaffe Memorial Fountain stand as compelling examples of the industrial production of ornate public art, their identical origins highlighting a pragmatic Victorian approach that balanced aesthetic grandeur with utilitarian function. Their meticulous restorations, including scientific colour analysis, demonstrate a modern commitment to historical authenticity, ensuring their enduring legacy.
The structure at Reginald Street in Dublin offers a poignant physical record of profound national and social transformations. Its journey from a utilitarian public drinking fountain to a Sacred Heart shrine mirrors Ireland's tumultuous 20th-century history, acting as a historical palimpsest that reflects changing national identities, religious affiliations, and political realities.
Collectively, these monuments, regardless of their original purpose or patron, continue to serve as vital markers of urban history and identity. Their meanings have evolved significantly, transitioning from symbols of public health and philanthropy to sites of contested memory, national pride, or simply cherished urban landmarks. Ongoing conservation efforts play a crucial role in preserving these tangible links to the past, often revealing new insights into their original forms and intentions, and ensuring their enduring legacy for future generations.
Have you ever stopped to truly look at the public monuments in our towns and cities? Beyond their beauty, these structures often hold fascinating stories about our past, reflecting the values, ambitions, and even the struggles of bygone eras. During the Victorian era, a period of immense change and progress, public spaces across Ireland were adorned with an array of civic improvements – from parks to bandstands and, perhaps most strikingly, elaborate drinking fountains. These weren't just pretty decorations; they served a vital dual purpose: providing essential services like clean water while also acting as symbols of local pride and philanthropic spirit.
Join me on a journey as we explore some remarkable examples of these Victorian public works, delving into their history, design, and how their significance has evolved over time.
The Richard Russell Fountain, Limerick: A People's Gift Restored
Our first stop is the People's Park in Limerick, home to the magnificent Richard Russell Fountain. Opened in 1877, this verdant oasis was a generous gift to the citizens of Limerick, dedicated in honour of Richard Russell, a prominent local businessman and esteemed employer.
The Richard Russell Fountain is a true gem of Victorian public art. It rests on an octagonal plinth, with eight columns gracefully supporting a large, solid domed canopy. Look closely, and you'll see intricate details: an open filigree frieze, Maltese crosses adorning the outer edge of the dome, and stars or suns outlining its ribs. A finely trimmed cupola, complete with a rope design, is crowned by a weathervane finial indicating the four compass directions. The wide-based font, identified as Design Number 13, originally featured a central pedestal with four diamond-patterned columns and square capitals displaying seven-pointed embellishments. Four ornate consoles, with beautiful acanthus relief, once held drinking cups suspended by chains, while shell-motif spouts ensured water flow. A shield for a dedication inscription and two elaborate consoles supporting lamps were also part of its original grandeur, all topped by a finial in the form of a statue of Samson, symbolising strength.
This elaborate fountain recently underwent a meticulous, seven-month restoration by Eura Conservation in Telford. The work was crucial, as the fountain was in a severe state of disrepair, risking collapse. The restoration involved careful dismantling, blasting, and cleaning. A key step was colour analysis, which revealed its original hues, allowing it to be returned to a "glorious mixture of red and white." Remarkably, the conservation team used moulds already available from their restoration of the Jaffe Fountain in Belfast, confirming the identical casting of these two structures and proving incredibly cost-effective. Significant effort also went into reinforcing and weatherproofing the fountain, ensuring its durability for another 150 years or more.
The dedication of the People's Park and the installation of the Richard Russell Fountain perfectly illustrate a significant aspect of the Victorian era: the powerful convergence of philanthropy and civic improvement. This fountain, while undeniably beautiful, also served a vital public health function by providing clean drinking water – a critical amenity when piped water wasn't universally available and public hygiene was a growing concern. This blend of honouring a prominent individual with a practical public utility highlights how industrial wealth was channeled into tangible improvements for urban populations, reflecting a societal commitment to progress and well-being.
The Jaffe Memorial Fountain, Belfast: A Gilded Counterpart
Now, let's turn our attention to the Jaffe Memorial Fountain in Belfast. This striking gilded, cast-iron drinking fountain was erected in 1874 by Sir Otto Jaffe in memory of his father, Daniel Joseph Jaffe. Daniel was a German-born merchant, politician, and philanthropist who played a crucial role in Ulster's linen trade and even founded Belfast's Jewish community.
The Jaffe Fountain shares a nearly identical design with its Limerick counterpart, featuring eight columns supporting a large, solid domed canopy and finial, with an open filigree frieze above the cornice and a cupola trimmed with a rope design. While it originally featured a lamp at its apex (later replaced by a weathervane), and its current finial is arrow-shaped, the shared lineage is unmistakable. The wide base stood on a raised, stepped platform, and the central pedestal was supported by four diamond-patterned columns. Square capitals on each side of the dog-toothed basin feature those familiar seven-pointed embellishments, and four acanthus-relief consoles originally supported drinking cups. A commemoration panel within the canopy details Daniel Joseph Jaffe's life and the fountain's history. Distinctively, the Jaffe Fountain now stands in "vivid yellow and white colours," a scheme also identified through extensive research and scientific analysis during its restoration.
Manufactured by the Sun Foundry of George Smith & Co in Glasgow (the same foundry that cast the Russell Fountain!), the Jaffe Fountain initially graced Victoria Square. However, its history is marked by significant relocation. In 1933, it was moved to the embankment near King's Bridge in the Botanic Gardens, where it sadly suffered from neglect and fell into a severe state of disrepair for over 70 years. A comprehensive restoration was undertaken in 2007 by Eura Conservation, necessitating its dismantling piece by piece due to its fragile condition. Following this meticulous work, the restored fountain was triumphantly returned to Victoria Square on 14 February 2008.
The Jaffe Fountain's journey through multiple relocations, periods of neglect, and subsequent comprehensive restoration underscores the precarious existence of public art and its capacity for revival. Its "neglected and largely ignored" state for over seven decades contrasts sharply with the costly and detailed "full-scale restoration" that involved "extensive research and scientific analysis" to uncover its original colours. This trajectory reveals that monuments are not static entities; their perceived value and physical integrity can fluctuate significantly with changing urban development priorities, public interest, and economic conditions.
A Study in Twins: Russell and Jaffe Fountains
The remarkable similarity between the Jaffe and Richard Russell Fountains is no coincidence. They are, in fact, "exact replicas," both cast at the same manufacturing facility: the Sun Foundry of George Smith & Co in Glasgow. This shared origin highlights a common practice in the Victorian era where ornate public fountains were often selected from catalogues, allowing for the widespread installation of similar designs across the United Kingdom and Ireland. Their identical design encompasses the distinctive eight columns, solid domed canopy, filigree frieze, and specific internal decorative elements.
Despite their identical structural origins, the two fountains exhibit a notable divergence in their post-restoration colour schemes. The Richard Russell Fountain in Limerick was returned to a "glorious mixture of red and white" after detailed colour analysis. In contrast, the Jaffe Memorial Fountain in Belfast now stands in "vivid yellow and white colours," also determined by scientific analysis of its original paint layers. This difference highlights that while the underlying cast-iron structures were standardised, the final aesthetic finishes were often subject to local preferences or the choices of the commissioning patrons.
Their relocation histories also present a stark contrast. The Richard Russell Fountain appears to have remained in its original location within the People's Park in Limerick, undergoing restoration off-site but implying a return to its established position. The Jaffe Fountain, however, experienced a significant and circuitous journey: originally in Victoria Square, it was moved to the Botanic Gardens in 1933, where it languished for decades, before being comprehensively restored and returned to Victoria Square in 2008.
The Reginald Street Structure, Dublin: From Public Utility to Sacred Space
My photographic exploration of Victorian monuments takes a fascinating turn in Dublin, at the junction of Reginald Street and Gray Street. Here stands a structure with a complex and layered history, initially serving a practical public function. It began its life around 1900 as a public drinking fountain, notably funded by Guinness, and manufactured by the MacFarlane foundry of Glasgow. It was installed to provide a reliable water source to the surrounding houses in the Coombe area, a section of low-rise 19th-century residential Dublin.
This fountain's history is marked by significant damage and transformation. Its canopy suffered during the War of Independence, and further damage occurred when it was hit by a lorry. Some local historians even suggest parts were shot off by British 'Black And Tans.'
In a profound transformation, the local community undertook a significant conversion in 1929, transforming the structure not into a Marian shrine, but a Sacred Heart shrine, to commemorate the centenary of Catholic Emancipation. The current structure features a carved stone statue of Jesus Christ set within the former fountain's decorative cast-iron columns and copper roof. It was later restored and rededicated in 1979 to mark Pope John Paul II's visit to the Liberties area of Dublin.
The Reginald Street structure's journey from a utilitarian public fountain to a religious shrine, marked by damage from political conflict and subsequent rededications, serves as a powerful physical record of Ireland's tumultuous 20th-century history. Its physical damage during the War of Independence directly reflects the violent birth of the new Irish state. Its subsequent conversion from a British-era public utility to a Catholic shrine symbolises the cultural and religious reorientation of an independent Ireland, asserting a distinct national identity and celebrating Catholic Emancipation. The later rededication reinforces the enduring cultural significance of Catholicism in the nation. This structure truly functions as a historical palimpsest, with each layer of modification narrating a story of political, social, and religious transformation.
Victorian Fountains in Ireland: Beyond the "Only Two"
If you've ever heard that there are "only two" ornate Victorian drinking fountains on the island of Ireland, you'll be pleased to know that evidence suggests a much richer and more diverse landscape! Beyond our twins in Limerick and Belfast, a plethora of these beautiful structures can be found across the country, each with its own unique story.
Consider these additional examples:
The Victoria Fountain in Dun Laoghaire: Situated in the People's Park on Marine Road, this elaborate canopied drinking fountain (Design Number 20 from Walter Macfarlane & Co at the Saracen Foundry in Glasgow) was erected to commemorate Queen Victoria's visit to Dublin in 1900. It features griffin terminals, cusped arches, an engraved head of Queen Victoria, and a winged horse finial. Remarkably, it was almost destroyed by Republicans in 1981 but was later restored and rededicated to mark the 70th anniversary of the 1916 Rising. Its most current restoration was completed in 2002. This fountain vividly illustrates how colonial-era monuments can become focal points for national identity struggles and subsequent reinterpretation in a newly independent state.
The Tait Fountain in Limerick: Located in Clare Street Park (Terence Albert O'Brien Park), this more modest cast-iron drinking fountain was originally erected in 1866 by Sir Peter Tait, a prominent local businessman and three-term Mayor, inside his Tait Clothing Factory. Also manufactured by Walter Macfarlane & Co, it's "drinking fountain number 8" from their catalogue. It features four columns with griffin terminals, arches with decorated mouldings, and inscriptions including a verse from St. John's Gospel and the Tait family crest. Though its exact history after removal from the factory is unknown, it was eventually relocated and erected in the park, where it remains a historical artefact.
Cork City's Fountains: Before widespread piped water, Cork City was abundant with public fountains, vital for providing drinking water. Between 1858 and 1880, Cork Corporation installed over 120 fountains, with three original public water supply fountains still in situ, including one at The Lough. Cork also boasts more prominent "ornamental and display" fountains, such as the Berwick Fountain on Grand Parade, installed around 1860 and designed by Sir John Benson (who also designed the fountain in the English Market).
The John Street Drinking Fountain in Wexford: This wall-mounted cast iron fountain on John Street Upper was installed by Mayor John Greene in 1854 to provide clean drinking water. It features a three-sided design with a spigot on each side and a dedication plaque.
The existence of numerous ornate fountains beyond the "only two" highlights a widespread investment in civic infrastructure and aesthetic embellishment across Ireland during the Victorian era, challenging a potentially limited historical narrative. This indicates a broad commitment to public health, civic beautification, and local commemoration, often supported by philanthropic efforts or municipal initiatives, reflecting a shared cultural aspiration across the island during that period.
Enduring Heritage and Evolving Meanings
These Victorian public monuments reveal a rich tapestry of historical intent, architectural ambition, and evolving societal engagement. The Richard Russell Fountain and the Jaffe Memorial Fountain stand as compelling examples of the industrial production of ornate public art, their identical origins highlighting a pragmatic Victorian approach that balanced aesthetic grandeur with utilitarian function. Their meticulous restorations, including scientific colour analysis, demonstrate a modern commitment to historical authenticity, ensuring their enduring legacy.
The structure at Reginald Street in Dublin offers a poignant physical record of profound national and social transformations. Its journey from a utilitarian public drinking fountain to a Sacred Heart shrine mirrors Ireland's tumultuous 20th-century history, acting as a historical palimpsest that reflects changing national identities, religious affiliations, and political realities.
Collectively, these monuments, regardless of their original purpose or patron, continue to serve as vital markers of urban history and identity. Their meanings have evolved significantly, transitioning from symbols of public health and philanthropy to sites of contested memory, national pride, or simply cherished urban landmarks. Ongoing conservation efforts play a crucial role in preserving these tangible links to the past, often revealing new insights into their original forms and intentions, and ensuring their enduring legacy for future generations.