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Fountain of the Halle à Billom dans le Puy-de-Dôme

Puy-de-Dôme

Fountain of the Halle

    2 Place de la Halle
    63160 Billom
Fontaine de la Halle
Fontaine de la Halle
Fontaine de la Halle
Fontaine de la Halle
Crédit photo : Pymouss - Sous licence Creative Commons

Timeline

Révolution/Empire
XIXe siècle
Époque contemporaine
1900
2000
1857-1858
Construction of the fountain
13 février 1995
Historical Monument
XXe siècle (date indéterminée)
Displacement of the fountain
Aujourd'hui
Aujourd'hui

Heritage classified

Fontaine (non-cadaster): entry by order of 13 February 1995

Key figures

Henri Taché - Architect Project designer and other fountains in Billom.
Pierre Béraud - Sculptor Director of decorative elements of the fountain.

Origin and history

The Fountain of La Halle, located in Billom, Puy-de-Dôme, was built between March 1857 and September 1858 as part of an urban beautification campaign under the Second Empire. Designed by the Clermont architect Henri Taché and carved by Pierre Béraud, it replaces an older fountain, moved to the Chaffour district. Its eclectic style, rare in the region, blends superimposed basins in pyramid and a decoration inspired by Roman antiquity, reflecting artistic trends of the second half of the 19th century.

Originally installed on the former Place du Cibony (now Alfred Thomas Square), the fountain was moved in the 20th century after the destruction of the hall it now bears its name. It embodies the urban transformations of Billom, where architect Taché has also worked on other fountains and town halls. Classified as a Historical Monument in 1995, it remains a testament to the aesthetic and functional ambitions of the municipalities under Napoleon III.

The fountain is distinguished by its architectural vocabulary borrowed from Rome, contrasting with the more sober local style. Its implementation is part of a global project to modernize the city, including public facilities and common spaces. The choice of an eclectic style, then little represented in the Puy-de-Dôme, underscores a desire for prestige and cultural openness, characteristic of the urban elites of the time.

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