book viii

.) gives minute particulars concerning the methods to be employed for the discovery, testing and distribution of water, and describes the properties of different waters with great care, proving the importance which was attached to these matters by the Romans. The aqueducts supplied the baths and the public fountains, from which last all the populace, except such as could afford to pay for a separate pipe to their houses, obtained their water. These fountains were therefore of large size and numerous. They were formed at many of the _castella_ of the aqueducts. According to Vitruvius, each _castellum_ should have three pipes,--one for public fountains, one for baths and the third for private houses. Considerable revenue was drawn from the possessors of private water-pipes. The Roman fountains were generally decorated with figures and heads. Fountains were often also the ornament of Roman villas and country houses; in those so situated the water generally ally fell from above into a large marble basin, with at times a second fall into a still lower receptacle. Two adjacent houses in Pompeii had very remarkable fountains. One, says Gell, "is covered with a sort of mosaic consisting of vitrified tesserae of different colours, but in which blue predominates. These are sometimes arranged in not inelegant patterns, and the grand divisions as well as the borders are entirely formed and ornamented with real sea-shells, neither calcined by the heat of the eruption nor changed by the lapse of so many centuries" (_Pompeiana_, i. 196). Another of large size was similarly decorated with marine shells, and is supposed to have borne two sculptured figures, one of which, a bronze, is in the museum at Naples. This fountain projects 5 ft. 7 in. from the wall against which it is placed, and is 7 ft. wide in front, while the height of the structure up to the eaves of the pediment is 7 ft. 7 in. On a central column in the piscina was a statue of Cupid, with a dove, from the mouth of which water issued. Cicero had, at his villa at Formiae, a fountain which was decorated with marine shells.

Fountains were very common in the open spaces and at the crossways in Pompeii. They were supplied by leaden pipes from the reservoirs, and had little ornament except a human or animal head, from the mouth of which it was arranged that the water should issue. Not only did simple running fountains exist, but the remains of _jets d'eau_ have been found; and a drawing exists representing a vase with a double jet of water, standing on a pedestal placed in what is supposed to have been the impluvium of a house. There was also a _jet d'eau_ at the eastern end of the peristyle of the Fullonica at Pompeii.

As among the Greeks, so with the early Celts, traces of superstitious beliefs and usages with relation to fountains can be traced in monumental and legendary remains. Near the village of Primaleon in Brittany was a very remarkable monument,--one possibly unique, as giving distinct proof of the existence of an ancient cult of fountains. Here is a dolmen composed of a horizontal table supported by two stones only, one at each end. All the space beneath this altar is occupied by a long square basin formed of large flat stones, which receives a fountain of water. At Lochrist is another vestige of the Celtic cult of fountains. Beneath the church, and at the foot of the hill upon which it is built, is a sacred fountain, near which is erected an ancient chapel, which with its ivy-covered walls has a most romantic appearance. A Gothic vault protects this fountain. Miraculous virtues are still attributed to its water, and on certain days the country people still come with offerings to draw it (see La Poix de Freminville, _Antiquites de la Bretagne_, i. p. 101). In the enchanted forest of Brochelande, so famous from its connexion with Merlin, was the fountain of Baranton, which was said to possess strange characteristics. Whoever drew water from it, and sprinkled the steps therewith, produced a tremendous storm of thunder and hail, accompanied with thick darkness.

Christianity transferred to its own uses the ancient religious feeling concerning fountains. Statues of the Virgin or of saints were erected upon the rude structures that collected the water and preserved its purity. There is some uniformity in the architectural characteristics of these structures during the middle ages. A very common form in rural districts was that in which the fountain was reached by descending steps (_fontaine grotte_). A large basin received the water, sometimes from a spout, but often from the spring itself. This basin was covered by a sort of porch or vault, with at times moulded arches and sculptured figures and escutcheons. On the bank of the Clain at Poitiers is a fountain of this kind, the Fontaine Joubert, which though restored in 1597 was originally a structure of the 14th century. This kind of fountain is frequently decorated with figures of the Virgin or of saints, or with the family arms of its founder; often, too, the water is the only ornament of the structure, which bears a simple inscription. A large number of these fountains are to be found in Brittany and indeed throughout France, and the great antiquity of some of them is proved by the superstitions regarding them which still exist amongst the peasantry. A form more common in populous districts was that of a large open basin, round, square, polygonal, or lobed in form, with a columnar structure at the centre, from the lower part of which it was arranged that spouts should issue, playing into an open basin, and supplying vessels brought for the purpose in the cleanest and quickest manner. The columns take very various forms, from that of a simple regular geometrical solid, with only grotesque masks at the spouts, to that of an elaborate and ornate Gothic structure, with figures of virgins, saints and warriors, with mouldings, arches, crockets and finials. At Provins there is a fountain said to be of the 12th century, which is in form an hexagonal vase with a large column in the centre, the capital of which is pierced by three mouths, which are furnished with heads of bronze projecting far enough to cast the water into the basin. In the public market-place at Brunswick is a fountain of the 15th century, of which the central structure is made of bronze. Many fountains are still existing in France and Germany which, though their actual present structure may date no earlier than the 15th or 16th century, have been found on the place of, and perhaps may almost be considered as restorations of, pre-existing fountains. Except in Italy few fountains are of earlier date than the 14th century. Two of that date are at the abbey of Fontaine Daniel, near Mayenne, and another, of granite, is at Limoges. Some of these middle-age fountains are simple, open reservoirs enclosed in structures which, however plain, still carry the charm that belongs to the stone-work of those times. There is one of this kind at Cully, Calvados, walled on three sides, and fed from the spring by two circular openings. Its only ornamentation is a small empty niche with mouldings. At Lincoln is a fountain of the time of Henry VIII., in front of the church of St Mary Wickford. At Durham is one of octangular plan, which bears a statue of Neptune.

The decay of architectural taste in the later centuries is shown by the fountain of Limoges. It is in form a rock representing Mount Parnassus, upon which are carved in relief Apollo, the horse Pegasus, Philosophy and the Nine Muses. At the top Apollo, in the 16th-century costume, plays a harp. Rocks, grass and sheep fill up the scene.

Purely ornamental fountains and _jets d'eau_ are found in or near many large cities, royal palaces and private seats. The celebrated Fontana di Trevi, at Rome, was erected early in the 18th century under Pope Clement XII., and has all the characteristics of decadence. La Fontana Paolina and those in the piazza of St Peter's are perhaps next in celebrity to that of Trevi, and are certainly in better taste. At Paris the Fontaine des Innocens (the earliest) and those of the Place Royal, of the Champs Elysees and of the Place de la Concorde are the most noticeable. The fountain of the lions and other fountains in the Alhambra palace are, with their surroundings, a very magnificent sight. The largest _jets d'eau_ are those at Versailles, at the Sydenham Crystal Palace and at San Ildefonso.

About the earliest drawing of any drinking fountain in England occurs in Moxon's _Tutor to Astronomie and Geographie_ (1659); it is "surmounted by a diall, which was made by Mr John Leak, and set upon a composite column at Leadenhall corner, in the majoralty of Sir John Dethick, Knight." The water springs from the top and base of the column, which stands upon a square pedestal and bears four female figures, one at least of which represents the costume of the period.

In the East the public drinking fountains are a very important institution. In Cairo alone there are three hundred. These "sebeels" are not only to be seen in the cities, but are plentiful in the fields and villages.

The Metropolitan Drinking Fountain Association (1859) has done much to provide facilities in London for both man and beast to get water to drink in the streets. And in the United States liberal provision has also been made by private and public enterprise.

FOUNTAINS ABBEY, one of the most celebrated ecclesiastical ruins in England. It lies in the sequestered valley of the river Skell, 3 m. S.W. of the city of Ripon in Yorkshire. The situation is most beautiful. The little Skell descends from the uplands of Pateley Moor to the west a clear swift stream, traversing a valley clothed with woods, conspicuous among which are some ancient yew trees which may have sheltered the monks who first sought retreat here. Steep rocky hills enclose the vale. Mainly on the north side of the stream, in an open glade, rise the picturesque and extensive ruins, the church with its stately tower, and the numerous remnants of domestic buildings which enable the great abbey to be almost completely reconstructed in the mind. The arrangements are typical of a Cistercian house (see ABBEY). Building began in earnest about 1135, and was continued steadily until the middle of the 13th century, after which the only important erection was Abbot Huby's tower (c. 1500). The demesne of Studley Royal (marquess of Ripon) contains the ruins. It is in part laid out in the formal Dutch style, the work of John Aislabie, lord of the manor in the early part of the 18th century. Near the abbey is the picturesque Jacobean mansion of Fountains Hall.

In 1132 the prior and twelve monks of St Mary's abbey, York, being dissatisfied with the easy life they were living, left the monastery and with the assistance of Thurstan, archbishop of York, founded a house in the valley of the Skell, where they adopted the Cistercian rule. While building their monastery the monks are said to have lived at first under an elm and then under seven yew trees called the Seven Sisters. Two years later they were joined by Hugh, dean of St Peter's, York, who brought with him a large sum of money and a valuable collection of books. His example was followed by Serlo, a monk of St Mary's abbey, York, and by Tosti, a canon of York, and others. Henry I. and succeeding sovereigns granted them many privileges. During the reign of Edward I. the monks appear to have again suffered from poverty, partly no doubt owing to the invasion of the Scots, but partly also through their own "misconduct and extravagance." On account of this Edward I. in 1291 appointed John de Berwick custodian of the abbey so that he might pay their debts from the issues of their estates, allowing them enough for their maintenance, and Edward II. in 1319 granted them exemption from taxes. After the Dissolution Henry VIII. sold the manor and site of the monastery to Sir Richard Gresham, and from him after passing through several families it came to the marquess of Ripon.

See _Victoria County History, Yorkshire_; Dugdale, _Monasticon_; Surtees Society, _Memorials of the Abbey of St Mary of Fountains_, collected and edited by J.R. Walbran (1863-78).

FOUQUE, FERDINAND ANDRE (1828-1904), French geologist and petrologist, was born at Mortain, dept. of La Manche, on the 21st of June 1828. At the age of twenty-one he entered the _Ecole Normale_ in Paris, and from 1853 to 1858 he held the appointment of keeper of the scientific collections. In 1877 he became professor of natural history at the _College de France_, in Paris, and in 1881 he was elected a member of the Academy of Sciences. As a stratigraphical geologist he rendered much assistance on the Geological Survey of France, but in the course of time he gave his special attention to the study of volcanic phenomena and earthquakes, to minerals and rocks; and he was the first to introduce modern petrographical methods into France. His studies of the eruptive rocks of Corsica, Santorin and elsewhere; his researches on the artificial reproduction of eruptive rocks, and his treatise on the optical characters of felspars deserve special mention; but he was perhaps best known for the joint work which he carried on with his friend Michel Levy. He died on the 7th of March 1904. His chief publications were: _Santorin et ses eruptions_, 1879; (with A. Michel Levy) _Mineralogie micrographique, Roches eruptives francaises_ (2 vols., 1879); and _Synthese des mineraux et des roches_ (1882).

FOUQUE, FRIEDRICH HEINRICH KARL DE LA MOTTE, BARON (1777-1843), German writer of the romantic movement, was born on the 12th of February 1777 at Brandenburg. His grandfather had been one of Frederick the Great's generals and his father was a Prussian officer. Although not originally intended for a military career, Friedrich de la Motte Fouque ultimately gave up his university studies at Halle to join the army, and he took

## part in the Rhine campaign of 1794. The rest of his life was devoted

mainly to literary pursuits. Like so many of the younger romanticists, Fouque owed his introduction to literature to A.W. Schlegel, who published his first book, _Dramatische Spiele von Pellegrin_ in 1804. His next work, _Romanzen vom Tal Ronceval_ (1805), showed more plainly his allegiance to the romantic leaders, and in the _Historie vom edlen Ritter Galmy_ (1806) he versified a 16th-century romance of medieval chivalry. _Sigurd der Schlangentoter, ein Heldenspiel_ (1808), the first modern German dramatization of the _Nibelungen_ saga, attracted attention to him, and influenced considerably subsequent versions of the story, such as Hebbel's _Nibelungen_ and Wagner's _Ring des Nibelungen_. These early writings indicate the lines which Fouque's subsequent literary activity followed; his interests were divided between medieval chivalry on the one hand and northern mythology on the other. In 1813, the year of the rising against Napoleon, he again fought with the Prussian army, and the new patriotism awakened in the German people left its mark upon his writings.

Between 1810 and 1815 Fouque's popularity was at its height; the many romances and novels, plays and epics, which he turned out with extraordinary rapidity, appealed exactly to the mood of the hour. The earliest of these are the best--_Undine_, which appeared in 1811, being, indeed, one of the most charming of all German _Marchen_ and the only work by which Fouque's memory still lives to-day. A more comprehensive idea of his powers may, however, be obtained from the two romances _Der Zauberring_ (1813) and _Die Fahrten Thiodulfs des Islanders_ (1815). From 1820 onwards the quality of Fouque's work rapidly degenerated,

## partly owing to the fatal ease with which he wrote, partly to his

inability to keep pace with the changes in German taste. He remained the belated romanticist, who, as the reading world turned to new interests, clung the more tenaciously to the paraphernalia of romanticism; but in the cold, sober light of the post-romantic age, these appeared merely flimsy and theatrical. The vitalizing imaginative power of his early years deserted him, and the sobriquet of a "Don Quixote of Romanticism" which his enemies applied to him was not unjustified.

Fouque's first marriage had been unhappy and soon ended in divorce. His second wife, Karoline von Briest (1773-1831) enjoyed some reputation as a novelist in her day. After her death Fouque married a third time. Some consolation for the ebbing tide of popular favour was afforded him by the munificence of Frederick William IV. of Prussia, who granted him a pension which allowed him to spend his later years in comfort. He died in Berlin on the 23rd of January 1843.

Fouque's _Ausgewahlte Werke_, edited by himself, appeared in 12 vols. (Berlin, 1841); a selection, edited by M. Koch, will be found in Kurschner's _Deutsche Nationalliteratur_, vol. 146,