See also:

• FONT (Lat. fans, " fountain " or " spring," Ital. fonte, Fr. les fonts)

FONT (See also:

• LAT

Lat. fans, " See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

fountain " or " See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring," Ital. fonte, Fr. See also:

• LES

les fonts)  , the See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel used in churches to hold the See also:

• WATER

water for See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• BAPTISM

baptism . In the apostolic See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period baptism was ad-ministered at See also:

• RIVERS
• RIVERS, ANTHONY WOODVILLE, or WYDEVILLE, 2ND EARL (c. 1442—1483)
• RIVERS, EARL
• RIVERS, RICHARD SAVAGE, 4TH EARL (c. 1660—1712)

rivers or natural springs (cf . Acts viii . 36), and no doubt the See also:

• PRIMITIVE

primitive See also:

• FORM (Lat. forma)

form of the rite was by See also:

• IMMERSION (Lat. immersio, dipping),

immersion in the water . Infusion—pouring water on the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the See also:

• NEOPHYTE (Gr. veb4vros , from aios, new, 4vT6v, a plant, " newly planted ")

neophyte—was See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early introduced into the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west and See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north of See also:

• EUROPE

Europe on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the inconvenience of immersion, as well as its occasional danger; this form has never been countenanced in the See also:

• ORIENTAL

Oriental churches . Aspersion, or sprinkling, was also admitted as valid, but recorded early examples of its use are rare (see BAPTISM) . These different modes of administering baptism have caused corresponding changes in the receptacles for the water . After the cessation of persecution, when See also:

• RITUAL (from Lat. ritus, a custom, especially a religious rite or custom)

ritual and See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament began to develop openly, See also:

• SPECIAL

special buildings were erected for administering the rite of baptism . This was obviously necessary, for a large See also:

• PISCINA

piscina (See also:

• BASIN, or BASON (the older form bacin is found in many of the Romanic languages, from the Late Lat. baccinus or bacchinus, probably derived from bacca, a bowl)
• BASIN, THOMAS (1412—1491)

basin or tank) in which candidates could be immersed would occupy too much space of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church See also:

• FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor itself . These baptisteries consisted of tanks entered by steps (an ascent of three, and descent of four, to the water was the normal but not the invariable number) and covered with a domed chamber (see See also:

• BAPTISTERY (Baptislerium, in the Greek Church 4wrurrilpiov)

BAPTISTERY) . By the 9th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, however, the use of See also:

• SEPARATE

separate baptisteries had generally given See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place to that of fonts . The material of which these were made was See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone, often decorative See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble; as early as 524, however, the See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council of See also:

• LERIDA

Lerida enacted that if a stone See also:

• FONT (Lat. fans, " fountain " or " spring," Ital. fonte, Fr. les fonts)

font were not procurable the See also:

• PRESBYTER (Gr. apactObTepos, elder, the comparative of IrOo-Oas, an old man)

presbyter was to provide a suitable vessel, to be used for the See also:

• SACRAMENT

sacrament exclusively, which might be of any material .

In the Eastern Church the font never became an important decorative See also:

• ARTICLE (from Lat. articulus, a joint)

article of church See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture: " The font, KoXvµ(3i7Bpa (says See also:

• NEALE, EDWARD VANSITTART (1810-1892)
• NEALE, JOHN MASON (1818–1866)

Neale, Eastern Church, i . 214), in the Eastern Church is a far less conspicuous See also:

• OBJECT

object than it is in the West . Baptism by immersion has been retained; but the font seldom or never possesses any beauty . The material is usually either See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal or See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood . In See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia the columbethra is movable and only brought out when wanted." One of the most elaborate of early fonts is that described by See also:

• ANASTASIUS

Anastasius in the Lateran church at See also:

• ROME
• ROME (Roma)

Rome, and said to have been presented thereto by See also:

• CONSTANTINE

Constantine the See also:

• GREAT

Great . It was of See also:

• PORPHYRY (IlopcPisptos) (A.D. 233-c. 304)

porphyry, overlaid with See also:

• SILVER

silver inside and out . In the See also:

• MIDDLE

middle were two porphyry pillars carrying a See also:

• GOLDEN

golden dish, on which burnt the See also:

• PASCHAL (Paschalis)

Paschal See also:

• LAMP (from Gr. Xag ras, a torch, Xaµaav, to shine)

lamp (having an See also:

• ASBESTOS

asbestos See also:

• WICK

wick and fed with See also:

• BALSAM (from Gr. f &X raµov, through Lat. balsamum, contracted by popular use to O. Fr. basme, mod. Fr. bdme; Eng. balm)

balsam) . On the rim of the bowl was a golden See also:

• LAMB (a word common to Teutonic languages; cf. Ger. Lamm)
• LAMB, CHARLES (1775–1834)

lamb, with silver statues of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and St . See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John the Baptist . Seven silver stags poured out water . This elaborate vessel was of course exceptional; the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of early fonts were certainly much simpler . A See also:

• FINE

fine early See also:

• BYZANTINE

Byzantine stone example exists, or till recently existed, at See also:

• BEER

Beer-Sheba .

Few if any fonts survive older than the 11th century . These are all of stone, except a few of See also:

• LEAD
• LEAD (pronounced iced)

lead; much less See also:

• COMMON

common are fonts of See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast See also:

• BRONZE

bronze (a fine example, dated 1112, exists at the6o5 Church of St See also:

• BARTHELEMY
• BARTHELEMY, ANATOLE
• BARTHELEMY, AUGUSTE MARSEILLE (1796–1867)
• BARTHELEMY, FRANCOIS, MARQUIS DE (1747 or 1750-1830)
• BARTHELEMY, JEAN JACQUES (1716–1795)

Barthelemy, See also:

• LIEGE
• LIEGE (Walloon, Lige, Flemish, Luik, Ger. Lilltich)

Liege) . The most See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient are See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain cylindrical See also:

• BOWLS

bowls, with a circular—sometimes cruciform or See also:

• QUATREFOIL

quatrefoil—outline to the basin, either without support or with a single central See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

pillar; occasionally there is more than one pillar . The basins are usually lined with lead to prevent absorption by the stone . The church of Efenechtyd, See also:

• DENBIGH (Dinbych)
• DENBIGH, WILLIAM FEILDING, 1ST EARL

Denbigh, possesses an ancient font made of a single See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block of See also:

• OAK (O. Eng., (lc)

oak . Though the circular form is the commonest, early Romanesque fonts are not infrequently square; and sometimes an inverted truncated See also:

• CONE (Gr. Kwvos)

cone is found . Octagonal fonts are also known, though uncommon; hexagons are even less common, and pentagons very rare . There is a pentagonal font of this period at Cabourg, dept . See also:

• CALVADOS

Calvados, N . See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . Fonts early began to be decorated with See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture and See also:

• RELIEF

relief . Arcading and interlacing See also:

• WORK

work are common; so are See also:

• SYMBOL (Gr. o-uµ(3oXov, a sign)

symbol and pictorial See also:

• REPRESENTATION

representation .

A. very remarkable leaden font is preserved at See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg, bearing reliefs representing scenes in the See also:

• LIFE

life of Christ . At See also:

• PONT (or KYLPONT), ROBERT (1524–1606)

Pont-a-Mousson on the Moselle are bas-reliefs of St John the Baptist See also:

• PREACHING (Fr. preecher, from Lat. praedicare, to proclaim)

preaching, and baptizing Christ . See also:

• CARYATIDES (Latinized from the Greek; the plural of Caryatis, i.e. a woman of Caryae in Laconia)

Caryatides sometimes take the place of the pillars, and sculptured animals and grotesques of See also:

• STRANGE, SIR ROBERT (1721-1792)

strange See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design not infrequently form the See also:

• BASE

base . More remarkable is the occasional persistence of See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan symbolism; an interesting example is the very ancient font from Ottrava, See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden, which, among a See also:

• SERIES (a Latin word from serere, to join)

series of Christian symbols and figures on its panels, bears a representation of See also:

• THOR

Thor (see G . See also:

• STEPHENS, ALEXANDER HAMILTON (1812-1883)
• STEPHENS, JOHN LLOYD (1805–1852)

Stephens' brochure, Thunor the Thunderer) . In the 13th century octagonal fonts became commoner . A very remarkable example exists at the See also:

• CATHEDRAL

cathedral of See also:

• HILDESHEIM

Hildesheim in See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover, resting on four kneeling figures, each bearing a See also:

• VASE
• VASE (through Fr. from Lat. vas, a vessel, pl. vasa, of which the singular vasum is rarely found; the ultimate root is probably was-, to cover, seen in Lat: vestis, clothing, Eng. " vest," Gr. to-th c, and also in " wear," of garments)

vase from which water is See also:

• RUNNING

running (typical of the rivers of See also:

• PARADISE (Gr. lrap6BEwos)

Paradise) . Above is an inscription explaining the connexion of these rivers with the virtues of See also:

• TEMPERANCE

temperance, courage, See also:

• JUSTICE (Lat. justitia)

justice and prudence . On the sides of the See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup are representations of the passage of the See also:

• JORDAN (the down-comer; Arab. esh-Sheri'a, the watering-place)
• JORDAN, CAMILLE (1771—1821)
• JORDAN, DOROTHEA (1762—1816)
• JORDAN, THOMAS (1612 ?–1685)
• JORDAN, WILHELM (1819–1904)

Jordan, of the Red See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea, the Baptism of Christ, and the Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child . The font has a conical lid, also ornamented with bas-reliefs . A cast of this font is to be seen in the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum at See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington . A leaden font, with figures of Our See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord, the Virgin See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary, St See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin, and the twelve Apostles, exists at See also:

• MAINZ (Fr. Mayence)

Mainz; it is dated 1328 by a set of four leonine hexameters inscribed upon it .

In the 14th and succeeding centuries octagonal fonts became the See also:

• RULE

rule . They are delicately ornamented with See also:

• MOULDINGS

mouldings and similar decorations, in the contemporary See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of See also:

• GOTHIC

Gothic architectural See also:

• ART

art . Though the basin is usually circular in 15th-century fonts, examples are not infrequently found in which the outline of the basin follows the octagonal shape of the See also:

• OUTER

outer See also:

• SURFACE

surface of the vessel . Examples of this type are to be found at Strassburg, See also:

• FREIBURG

Freiburg and See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel . In See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England no fonts can certainly be said to date before the See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

Norman See also:

• CONQUEST

conquest, although it is possible that a few very See also:

• RUDE, FRANCOIS (1784–1855)

rude examples, such as those of Washaway, See also:

• CORNWALL

Cornwall, and See also:

• DENTON

Denton, See also:

• SUSSEX
• SUSSEX, EARLS OF
• SUSSEX, KINGDOM OF (SO Seaxe, i.e. the South Saxons)
• SUSSEX, THOMAS RADCLYFFE [or RATCLYFFE], 3RD EARL OF (c. 1525-1583)

Sussex, are actually of Saxon times; of course we cannot See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count as " Saxon fonts " those adapted from pre-Norman sculptured stones originally designed for other purposes, such as that at Dolton, See also:

• DEVONSHIRE (DEvoN)
• DEVONSHIRE, EARLS AND DUKES OF

Devonshire . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, Norman fonts are very common, and are often the See also:

• SOLE (Solea)

sole surviving See also:

• RELICS (Lat, reliquiae, the equivalent of the English " remains " in the sense of a dead body)

relics of the Norman See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish church . They are circular or square, sometimes plain, but generally covered with See also:

• CARVING

carving of arcades, figures, foliage, &c . Among See also:

• GOOD, JOHN MASON (1764-1827)

good examples that might be instanced of this period are Alphington, See also:

• DEVON, EARLS OF

Devon (inverted cone, without See also:

• FOOT

foot); Stoke See also:

• CANNON (a word common to Romance languages, from the Lat. canna, a reed, tube, with the addition of the augmentative termination -on, -one)

Cannon, Devon (supported on caryatides); I1am, Staffs (cup-shaped); Fincham, Burnham Deepdale, Sculthorpe, Toftrees, and Shernborne in See also:

• NORFOLK
• NORFOLK, EARLS AND DUKES OF

Norfolk (all, especially the last, remarkable for elaborate carving); Youlgrave, See also:

• DERBY
• DERBY, EARLS OF

Derby (with a projecting stoup in the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side for the See also:

• CHRISM (through Lat. chrisma, from Gr. xpavua, an anointing substance, Xpiew , to anoint; through a Romanic form cresma comes the Fr. creme, and Eng. " cream ")

chrism—a unique detail); besides others in See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln cathedral; Iffiey, Oxon; Newenden, See also:

• KENT
• KENT, EARLS AND DUKES OF
• KENT, JAMES (1763-1847)
• KENT, WILLIAM (1685-1748)

Kent; Coleshill, See also:

• WARWICK
• WARWICK, EARLS OF
• WARWICK, RICHARD BEAUCHAMP, EARL OF (1382—1439)
• WARWICK, RICHARD NEVILLE, EARL OF (1428—1471)
• WARWICK, SIR PHILIP (1609-1683)
• WARWICK, SIR ROBERT RICH, 2ND EARL OF (1587–1658)

Warwick; See also:

• EAST
• EAST, ALFRED (1849- )

East Meon, Hants; See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle See also:

• FROME

Frome, See also:

• HEREFORDSHIRE

Herefordshire . Some of ' the best examples of " Norman " fonts in England (such as the notable specimen in See also:

• WINCHESTER
• WINCHESTER, EARLS AND MARQUESSES OF

Winchester cathedral) were probably imported from See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium . In the Transitional period we may mention a remarkable octagonal font at Belton, See also:

• LINCOLNSHIRE

Lincolnshire; in this period fall most of the leaden fonts that remain in England, of which See also:

• THIRTY

thirty are known (7 in See also:

• GLOUCESTERSHIRE

Gloucestershire, 4 in See also:

• BERKSHIRE [abbreviated Berks, pronounced Berkshire]
• BERKSHIRE, THOMAS HOWARD, 1ST EARL OF (1587–1669)

Berkshire and Kent, 3 in Norfolk, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford and Sussex, 2 in Derby, See also:

• DORSET, EARLS, MARQUESSES AND DUKES OF

Dorset, Lincoln, See also:

• SOMERSET, EARLS AND DUKES OF
• SOMERSET, EDMUND BEAUFORT, DUKE OF (c. 1404–1455)
• SOMERSET, EDWARD SEYMOUR, DUKE OF (c. 1506–1552)
• SOMERSET, LORD ROBERT EDWARD HENRY (1776-1842)
• SOMERSET, ROBERT CARR (or KER), EARL OF (e. 1590-1645)

Somerset, See also:

• SURREY
• SURREY, EARLDOM OF
• SURREY, HENRY HOWARD, EARL OF (1518?-1547)

Surrey and See also:

• WILTSHIRE [WILTS]

Wiltshire); perhaps the finest examples are at Ashover, Derby-See also:

• SHIRE

shire, and See also:

• WALTON, BRIAN (1600-1661)
• WALTON, IZAAK (1593-1683)

Walton, Surrey . Early See also:

• ENGLISH

English fonts are comparatively rare . They See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the moulding, foliage and tooth ornament in the usual style of the period .

A good example of an Early English font is at All See also:

• SAINTS, BATTLE OF THE

Saints, See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester; others may be seen at St See also:

• GILES (GIL, GILLES), ST

Giles', Oxford, and at Lackford, See also:

• SUFFOLK
• SUFFOLK, CHARLES BRANDON, 1ST DUKE OF (c. 1484–'545)
• SUFFOLK, EARLS AND DUKES OF
• SUFFOLK, THOMAS HOWARD, 1ST EARL OF (1561-1626)
• SUFFOLK, WILLIAM DE LA POLE

Suffolk . Fonts of the Decorated period are commoner, but not so frequent as those of the preceding Norman or subsequent Perpendicular periods . Fonts of the Perpendicular period are very common, and are generally raised upon steps and a lofty See also:

• STEM (O. Eng. staefn, stemn, cf. Du. stain, Ger. Stamm, &c., probably related to " staff ")

stem, which, together with the See also:

• BODY

body of the font, are frequently richly ornamented with panelling . It was also the See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom during this period to ornament the font with See also:

• SHIELDS, JAMES (181b-1879)

shields and coats of arms and other heraldic insignia, as at See also:

• HERNE
• HERNE, JAMES A

Herne, Kent . The fonts of this period, however, are as a rule devoid of See also:

• INTEREST

interest, and, like most Perpendicular work, are stiff and monotonous . There is, however, a remarkable font, with sculptured figures, belonging to the See also:

• LATE

late 24th century, at West See also:

• DRAYTON, MICHAEL (1563-1631)

Drayton in See also:

• MIDDLESEX
• MIDDLESEX, LIONEL CRANFIELD, 1ST EARL OF (1575-1645)

Middlesex . In Holyrood See also:

• CHAPEL

chapel there was a brazen font in which the royal See also:

• CHILDREN, LAW RELATING TO

children of See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland were baptized . It was carried off in 2544 by See also:

• SIR

Sir R . See also:

• LEA, HENRY CHARLES (1825–1909)

Lea, and given by him to the church at St Albans, but was afterwards destroyed by the Puritans . A silver font existed at See also:

• CANTERBURY
• CANTERBURY, CHARLES

Canterbury, which was sometimes brought to See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster on the occasion of a royal baptism . At Chobham, Surrey, there is a leaden font covered with oaken panels of the 16th century . The only existing structure at all recalling the ancient baptisteries in English churches is found at See also:

• LUTON

Luton in See also:

• BEDFORDSHIRE [abbreviated Beds]

Bedfordshire .

The font at Luton belongs to the Decorated style, and is enclosed in an octagonal structure of freestone, consisting of eight pillars about 25 ft. in height, supporting a See also:

• CANOPY (through Fr. canape, from Med. Lat. canapeum, classical conopeum, a mosquito curtain, Gr. K6v(.4, a gnat)

canopy . The space around the font is large enough to hold twelve adults comfortably . At the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of the canopy is a vessel for containing the consecrated water, which when required was let down into the font by means of a See also:

• PIPE

pipe . In 1236 it was ordered by See also:

• EDMUND
• EDMUND, or EADMUND (c. 980-1016)
• EDMUND, SAINT [EDMUND RICE] (d. 1240)

Edmund, See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

archbishop of Canterbury, that baptismal fonts should be kept under See also:

• LOCK (from the O. Eng. loc.; the word appears, in different forms, in many Teutonic languages, but with such various meanings as " hole," Ger. Loch, " lid," Swed. lock, &c.; probably the original was a root meaning " to enclose ")
• LOCK, MATTHIAS

lock and See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key, as a precaution against sorcery:—" Fontes baptismales sub sera clausi teneantur propter sortilegia." The lids appear at first 'to have been quite See also:

• SIMPLE

simple and See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat . They gradually, however, partook of the ornamentation of the font itself, and are often of pyramidal and conical forms, highly decorated with finials, crockets, mouldings and grotesques . Sometimes these covers are very heavy and are suspended by chains to enable them to be raised at will . Very See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich font covers may be seen at Ewelme, Oxon; St See also:

• GREGORY
• GREGORY (Gregorius)
• GREGORY (Grigorii) GRIGORIEVICH ORLOV, COUNT (1734-1783)
• GREGORY, EDWARD JOHN (1850-19o9)
• GREGORY, OLINTHUS GILBERT (1774—1841)
• GREGORY, ST (c. 213-C. 270)
• GREGORY, ST, OF NAZIANZUS (329–389)
• GREGORY, ST, OF NYSSA (c.331—c. 396)
• GREGORY, ST, OF TOURS (538-594)

Gregory, See also:

• SUDBURY
• SUDBURY, SIMON OF (d. 1381)

Sudbury; North See also:

• WALSINGHAM, SIR FRANCIS (c. 1530-1590)
• WALSINGHAM, THOMAS (d. c. 1422)

Walsingham, Norfolk; Worlingworth, Suffolk . The See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary position of the font in the church was and is near the entrance, usually to the See also:

• LEFT

left of the south See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door . See Arcisse de Caumont, Cours d'antiquites monumentales (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 183o-1843) ; See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis See also:

• SIMPSON, MATTHEW (1811-1884)
• SIMPSON, SIR JAMES YOUNG (1811-1870)
• SIMPSON, THOMAS (1710-1761)

Simpson, A Series of Antient Baptismal Fonts (See also:

• LONDON

London, 1828); See also:

• PALEY, FREDERICK APTHORP (1815-1888)
• PALEY, WILLIAM (1743-1805)

Paley, Ancient Fonts; E . E . Viollct-le-Duc, See also:

• DIET

Diet. raisonne de l'See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture (1858-1868), vol. v.; J . H .

See also:

• PARKER, JOHN HENRY (1806-1884)
• PARKER, JOSEPH (183o-1902)
• PARKER, MARTIN (c. 1600-c. 1656)
• PARKER, MATTHEW (1504-1575)
• PARKER, SAMUEL (164o-1688)
• PARKER, SIR GILBERT (1862— )
• PARKER, SIR HYDE, BART
• PARKER, THEODORE (1810-186o)

Parker's Glossary of Architecture: Francis See also:

• BOND
• BOND, SIR EDWARD AUGUSTUS (1815-1898)

Bond, Fonts and Font-Covers (London, 2908) . A large number of fine illustrations of fonts, principally of the earlier periods, will be found in the volumes of the Reliquary and Illustrated Archaeologist . (R . A . S .