This paper examines the use and distribution of the Puer Mingens motif in fountain design in the period 1400-1700. Previous studies had looked at the Puer MIngens in its wider context in art but this is the first study of its specific occurrence in fountain design and the various meaning which were attached to this curious motif in the period which represented its greatest popularity. In particular this paper shows that the motif is generally less prevalent in fountain design than sometimes supposed, making occurrences more interesting as a result.