Fountain Within Small Circular Pond and Eight Surrounding Statues Approx 200m South of Wrest Park House

Fountain Within Small Circular Pond and Eight Surrounding Statues, Wrest Park

This group of marble statuary is located approximately 200 metres south of Wrest Park House, positioned midway between the house and the Long Water. It consists of a central fountain with eight surrounding statues arranged at the corners of intersecting paths running north to south and east to west.

The fountain itself forms the centrepiece of the composition. It comprises a wide, shallow bowl of white Carrara marble supported on a large square socle. Beneath the bowl sit four substantial marble statues of classically dressed young women, each carved from blocks of white Carrara marble and seated on stone blocks. All four hold objects associated with water: the north-facing statue empties a fishing net with a basket of fish at her feet; the southern statue has a dolphin beside her; the eastern statue has a goose standing by her; the western statue leans on an oar. The bare feet of all four statues project over the lip of the plinth. The pond walls and plinths are constructed of Ketton stone, while the individual surrounding statues stand on early 18th-century pedestals, probably also of English Ketton stone.

To the north of the fountain, flanking the path, stand Psyche and Ceres. Psyche, formerly identified as Venus, is based on the statue by Venetian sculptor Antonio Canova (1757–1822). She is carved from white Carrara marble in the early to mid-19th century. Her hair is tied at the back with a thin band; the upper half of her body is naked and the lower half draped, with the drapery held in the crook of her left arm. Her head tilts forward slightly as she looks at her hands held one above the other, which once clasped an object between them. The statue shows signs of previous repairs and both hands have lost all their fingers. Ceres is a copy of an antique Italian original, dating to the early to mid-18th century and made of white Carrara marble. She wears a full-length classical tunic with her right hand concealed beneath a cloak draped over her right shoulder, the folds gathered in her left hand. The statue is now heavily weathered with considerable erosion to the drapery.

To the west stand Spring and Venus. Spring, formerly thought to represent Flora, dates to the early to mid-19th century and is an Italian work in white Carrara marble. She is classically dressed in a tunic tied by brooches on either side, with the left side slipped to her elbow. Her left hand clasps a fold of tunic gathered to hold a bunch of flowers, while her right hand extends forward holding a posy. Her head tilts to her left, her hair neatly tied in a flat bun. The statue is now heavily weathered. Venus is a copy of Canova's statue of the same name, dating to the early to mid-19th century and made of veined white Carrara marble. She is shown modestly clasping drapery to her front while looking over her left shoulder, with a box at her feet. The base shows damage.

To the south are Tragic Comedy and Clytemnestra. Tragic Comedy, originally thought to be the Comic Muse, dates to the early to mid-19th century and is an Italian work in white Carrara marble. She wears classical drapery with a cloak pulled over her head and clasped across her front by her right arm, folds falling evenly on both sides. Her right arm is wrapped within the drapery and placed horizontally across her waist. Her left breast is exposed and her left hand holds a small mask, probably of Tragedy, to the right side of her face. The face and much of the drapery are beginning to deteriorate. Clytemnestra, originally thought to represent the Tragic Muse, also dates to the early to mid-19th century and is an Italian work in white Carrara marble. She is portrayed in classical dress hanging over both shoulders, covering both arms and drawn up on the left. Her right arm is placed horizontally above her waist holding a small dagger, while her left arm is raised to cradle her left cheek, giving an appearance of deep thought. Her hair is elaborately arranged with a plain diadem to the front. There is some damage and orange staining to the base, and north-facing elements are beginning to weather.

To the east stand Spring and Aeschines. Spring, formerly thought to be Iris, represents a naked figure partially draped by a robe caught in the crook of her left arm and falling down her left side beside a tree stump behind her. Her left hand holds what may be a stalk and her right hand holds a garland of flowers. A small bird is perched on her left shoulder and her garlanded head is tilted to the right while turned left to look at it. She dates to the early to mid-19th century and is an Italian work in white Carrara marble. Her left forearm and drapery show some damage. Aeschines, originally thought to represent Cato but also known as Aristides, is a scaled-down copy of an antique statue. Dating to the early to mid-19th century and made of veined white Carrara marble, it is an Italian work. The bearded figure is draped in a pallium, Greek outer dress, and stands with one sandaled foot in front of the other. One arm is behind his back, the other rests on the fold of his cloak. The base shows some damage.