The nineteenth century was a particularly fertile period in Italy for the restoration and renovation of medieval and Renaissance sculpture as the country became aware of the need to protect and preserve its artistic patrimony. The flurry of activity concerned all of the arts, although architecture and outdoor sculpture were of particular interest due to their exposure to the elements. Throughout Europe important historic monuments, conceived as national emblems, were restored in the most appropriate style, usually Gothic or Renaissance, as an illustration of the nation's achievements. The experiences of other European countries at the forefront of conservation practices – namely England, France, and Germany – were fundamental to the circulation of ideas on the subject of restoration in Italy. As a result, different theories of conservation circulated in Italy contemporaneously before a distinctly Italian approach to restoration and preservation emerged toward the end of the century. As discussed in Chapter Three, the emphasis on nationalistic feelings stimulated by Italy's unification process played a critical role in the appreciation of the country's heritage, the removal of Jacopo della Quercia's Fonte Gaia, and the commissioning of Tito Sarrocchi's new fountain.

This chapter is divided into two sections. In the first we discuss Sarrocchi's artistic formation and the early history of stylistic restoration practices in Siena, as both contributed to shaping his carving style and the appearance of the new Fonte Gaia. Sarrocchi's teachers – Antonio Manetti in Siena and Lorenzo Bartolini and Giovanni Dupre in Florence – will be considered first, as the lives of these men were critical for Sarrocchi's artistic development. Dupre, as we shall see, was particularly important for Sarrocchi's career and growth as a Purist sculptor. The second section is dedicated to Sarrocchi's Fonte Gaia – specifically his relationship with the project's architect, Giuseppe Partini, and the artistic influences that informed the appearance of the new fountain. This information helps us understand how Sarrocchi's fountain was changed with respect to della Quercia's original.