Sa aan a NN A WT Fr mg pee a ~ See Xs = Fe ine ae on eng era > . Pe ry EO spas rere Teed Ae. 2 ae THE HISTORIC MONUMENTS OF ENGLAND Edited by A. Hamitton Tuompson, D.Litt., F.S.A. _ BAPTISMAL FONTS CLASSIFIED AND ILLUSTRATED ~*~ BY E. TYRRELL-GREEN AUTHOR OF “‘ PARISH CHURCH ARCHITECTURE ” LONDON SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE NEW YORK AND TORONTO: THE MACMILLAN CO. THE HISTORIC MONUMENTS OF ENGLAND Edited by A. Hamitron THompson, M.A., Hon. D.Litt. (Durham), F.S.A., Pro- fessor of Medizval History, Uni- versity of Leeds. ENGLISH MEDLZEVAL PAINTED GLASS By J. D. LE CouTeur. With about 50 Illustrations. 8s. 6d. net. ENGLISH MONUMENTAL SCULP- TURE SINCE THE RENAISSANCE By KaTHARINE A. EspaILrE. With numerous Illustrations, 10s. 6d. THE PAINTED GLASS OF YORK By the Rev. F. Harrison, M.A.,F.S.A. ith 4 Coloured Plates and numerous Illustrations, 12s. 6d. net. SUNDIALS, INCISED DIALS OR MASS-CLOCKS . A Study of the Time-Markers of Medieval Churches, containing De- scriptions, Bacal at ms Diagrams, s and Analysis of Dials, chiefly in Hampshire, but also in various other Counties. B ARTHUR ROBERT GREEN, M.R.C. af ngland), F.R.C.P. (London). 10s. 6d. net. THE CATHEDRAL CHURCHES OF ENGLAND By A. HAMILTON THompson, M.A., Hon. D.Litt. (Durham), F.S.A. be ay copious Illustrations. 8s. 6d. net. PARISH CHURCH ARCHITECTURE By E. TyRRELL-GREEN, M.A. With 64 Illustrations and a Map. 8s. 6d. net. Lonpon: S.P.C.K. First published 1928 Printed in Great Britain PREFACE Havine regard to its many sides—historical, architec- tural, and decorative—the subject of Baptismal Fonts is difficult to treat in such a way as to give a compre- hensive and orderly view of the whole. A patient personal examination of almost innumerable examples must be the first qualification for undertaking such a task, and the writer’s attempt to classify and illustrate the fonts of England and Wales is the outcome of such an examination extending over a period of a good many years. It is hoped that the present work will provide the reader with a more thorough classification of types of fonts, with a more concise account of their develop- ment, and a larger number of examples arranged under each head, than is available in other works upon the subject. The writer’s aim has been to make the lists of fonts arranged under groups in Chapters VI-X more complete and accurate than any hitherto issued. The half-tone illustrations are from a fine series of photographs by Mr. B. C. Clayton, of Ross-on-Wye, who has kindly consented to their appearance in this book. The line illustrations in the text are from drawings made by the author. Those of fonts in Wales were made to illustrate an article in The Transactions of the Honour- able Society of Cymmrodorion, and my best thanks are due to Sir Vincent Evans, the Editor, for allowing their reproduction in the present work. Amongst books consulted the writer would acknow- ledge his indebtedness to the following in particular : A Series of Ancient Baptismal Fonts Chronologi- cally Arranged. Drawn by F. Simpson, Junr. (Prowett, 1828.) Vv vi PREFACE Baptismal Fonts. With an Introduction by F. A. Paley, M.A. (Van Voorst, 1844.) Fonts and Font Covers. Francis Bond. (Frowde, 1908.) Porches and Fonts. J. Charles Wall. (Wells Gardner, Darton & Co., 1912.) While a personal examination of fonts has confirmed the accuracy of most of the statements made in the last two comprehensive works, it has not done so in every case. The writers are mistaken in mentioning the font at St. Mary’s, Ipswich, as inscribed, and in stating that the vernicle of St. Veronica is represented at Irstead, as well as in including the font at Blyth- burgh in the list of fonts depicting the Seven Sacra- ments. Mr. Francis Bond has also misread the second word of the inscription on the font at St.-Anthony-in- Meneage as Rarissimz, and when describing the pentagonal font at Hollington as unique was doubtless unaware of the existence of a like example at the very obscure village of Bletherston (Pem). His reference, too, to the font at Happisburgh as affording evidence that the lion is a good beast, is by no means borne out by the ornament of the font in question. Mr. J. C. Wall has unfortunately misread the initials upon the leaden bowl at Aston Ingham. EK. T. G. Honrievr, 1927. CONTENTS CHAPTER I. Tur ARcHZOLOGY OF BAPTISM . ; . Il. Tuer BaptTisMAL PRACTICE OF EARLY CHRISTIAN MISSIONARIES . ; ; ; III. Tur Baptistery AS A SEPARATE STRUCTURE IV. Typrs or Fonts In GENERAL—THEIR SHAPE (1) Fonts or Tus-LIkE Form . R : (2) Fonts oF RECTANGULAR Form . ‘ (3) SuRvIivALS OF TUB-LIKE OUTLINE IN LATER Fonts : ‘ : (4) PREVIOUSLY WORKED STONES ADAPTED AS Fonts : : p , (2) Font at OLD RADNOR MADE FROM A DRUIDICAL ALTAR r z (6) Fonts MADE FROM Roman MarTE- RIAL—COLUMNS AND ALTARS . (c) Fonts MADE FROM PORTIONS OF OLD CELTIC CROSSES ‘ : (5) DEVELOPMENTS FROM THE ‘TUB-LIKE Form . ; ? , ‘ (2) TUB-LIKE BOWL UPON A PEDESTAL (6) Bove. SHAFT AND PEDESTAL : (c) Tue Cur-sHAPED Font - - (d) Fonts wiTH SHAFTS AT THE ANGLES (e) PERMANENCE OF THE TYPE WITH Bow. SHAFT AND PEDESTAL AND PREVALENCE OF OOTAGONAL Form. 5 : ‘ - vii PAGH 18 19 19 19 22 24 24 24 25 26 28 Viii CONTENTS (f) Hexaconat Fonts (g) HepraconaL Fonts (h) PentTagonaL Fonts (1) TRIANGULAR Font (7) DecagonaL Fonts (k) DuoprcagonaL Fonts MINOR VARIATIONS IN SHAPE: (i) Fonts In THE Form OF A CAPITAL ; : (ii) Fonts In THE Form OF A SECTION OF A PILLAR (iii) Fonts witH CONCAVE SIDES (iv) Fonts witH Convex SIDES (6) Post-REFORMATION Fonts : OLp FONTS SUFFERED NEGLECT AND DESTRUCTION . New Fonts FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY : (2) DESIGNED ON TRADITIONAL LINES (6) RESEMBLE VASES ON SLENDER PILLARS (c) RESEMBLE A JAR OR URN (d) Or Gotuto Dzsien BUT ATTENU- ATED FoRM : ? ' (7) Somz SMALLER GRovUpPS OF DESIGN : (a) Fonts In THE Form oF BATHS OR TANKS (b) Fonts with BOWL RESTING UPON AN OPEN ARCADE (c) Fonts with DivipEp or Sus- SIDIARY BowL (d) MoprERN Fonts or FanciFruL TYPE PAGE 32 32 32 32 32 34 34 35 36 37 37 42 ae 45 46 47 48 48 50 CONTENTS ix CHAPTER PAGE V. Typrs or Fonts In GENERAL—THEIR ORNA- MENT : P : : ¢ 51 (1) Earty Fonts WITH ORNAMENT OF CELTIC CHARACTER. ‘ ; ae dD (2) Eanty Fonts WITH ORNAMENT INFLU- ENCED BY CLAssic DEsIGn . 54 (3) Earnty Fonts witH Banps oF SCROLL- WORK . : . : nae wo (4) Earnty Fonts with FIGURE-SCULPTURE 57 (a) GROTESQUE ANIMALS . : esi (6) PictoRIAL REPRESENTATIONS a (c) Sympotic ANIMALS . ; peo (qd) ScULPTURED Heaps . : ee f (5) Fonts with ARCHITECTURAL ORNAMENT OF THE NorRMAN PERIOD Oe Bes f (a2) ARCADED Fonts : eee hi (6) CABLE ORNAMENT ‘ ; ee (c) Zigzag ORNAMENT. : eae (d) NAIL-HEAD. ; ; : . 80 (e) StaR ORNAMENT : : ein (f) Bosses. , ; ; ie OO (g) QUATREFOILS. : : . 83 (h) FLEUR-DE-LYS . : ; ; Bp (j) VARIED. ; A AES (k) DIAPER. i : ; ye toae (1) ScaLLoPED Bow1Ls ; . 86 (6) Fonts or THE Earty ENGLIsH (FIRST POINTED) PERIOD . : i ae (a) ARcADED Fonts 4 : Paes | - (b) PrrnaRs AND CAPITALS OF THE STYLE . ‘ : ; mee (c) CONVENTIONAL FouiaG ; . 90 (2) TootH ORNAMENT .. ; , pel CONTENTS (7) Fonts or tHE Dxrcoratep (SECOND POINTED) PERIOD (2) ARcAaDED Fonts (6) Fi@URE-SCULPTURE (c) TRacERY AS OF WINDOWS OF THE STYLE (d) PANELS OR Banps OF TRACERY . (ec) DIAPER (f) BAaLL-FLOWER (g) P1ntaRs AND CAPITALS OF THE STYLE (8) Fonts OF THE PERPENDICULAR (THIRD POINTED) PERIOD (A) ORNAMENT CHARACTERISTIC OF ARCHITECTURE OF PERIOD (a) PANELLING (6) PANELS WITH QUATREFOILS . (c) PANELS wITH VARIED Dz- SIGN (d) PANELS witH FoLiacE (e) PANELS wITH TRACERY . (f) HeraLpry (g) DiminutTIvE ARCHITECTURAL FEATURES — BUTTRESSES, PINNACLES, BATTLEMENTS (B) Fonts witH FIGURE-SCULPTURE (2) ANGELS SUPPORTING THE Bow.L (6) FiguRES IN THE PANELS OF THE BowL (c) FIGURES GROUPED ROUND. THE STEM : 4 : 100 100 100 104 104 104 105 109 109 110 18: 114 CONTENTS CHAPTER (C) Some PECULIARITIES IN ORNAMEN- TAL DESIGN *,* NOTE ON GENERAL FEATURES OF PERPENDICULAR FONTS (a) Use or CoLouR (6) MountTING UPON LARGE STEPPED PLATFORMS (c) DEVELOPMENT OF THE SPIRE- LIKE COVER VI. Somr NotTaBLE GROUPS, ACCORDING TO DESIGN (1) AYLESBURY GROUP (2) West NorFoLK GROUP (3) LauNcESTON GROUP (4) BopMIN GROUP . (5) EASTBOURNE GROUP (6) SEVEN SACRAMENTS GROUP. (7) HeREFoRD GROUP (8) LURGASHALL GROUP VII. Some NotTasBLE GROUPS, ACCORDING TO MATERIAL (1) Tournat MARBLE (2) ConnisH CATACLEUSE . (3) Cornish SERPENTINE (4) Brick : (5) ARTIFICIAL STONE ; ; (6) ImporteD Fonts or Foreign MARBLE VIII. WoopEN Fonts . IX. Fonts or METAL (1) LeapEN (2) BRAZEN - (3) Iron . xi PAGE 118 120 120 120 120 123 | 123 124 126 126 128 129 132 132 133 133 133 134 135 135 137 138 144 144 147 147 xii CONTENTS CHAPTER X. InsorriBep Fonts ; : a S, ‘ (1) INSCRIPTIONS RECORDING THE PROVIDING OF THE Font , : ‘ (2) INSCRIPTIONS GIVING THE DATE OF PRO- VISION . ; ‘ ° . (3) INSCRIPTIONS MAKING REQUEST FOR PRAYER FOR THE SOUL OF THE DonorR OR MAKER . ? ; (4) InscrIpTIONS wiTH DocTRINAL IMPORT (5) ScRIPTURE QUOTATIONS : i : (6) INSCRIPTION ALLUDING TO THE CERE- MONIAL OF BAPTISM ; ; (7) Hortatory INSCRIPTIONS . : R (8) ALPHABET INSCRIPTIONS . : : ** APPENDIX : MopERN FONTS CONSTRUCTED FOR IMMER- SION : , ; A InpeEx I. FONTS REFERRED TO ‘ ; ; InprEx II. Namgs AND SUBJECTS / : : PAGE 149 149 154 156 158 160 163 163 166 167 169 181 poNNS NN DYDD F&F F&F & KK | | | S| = = Orrwondrdro conan fF |W DS & CO COMI A MP ww LIST OF ILLUSTRATIONS . Baptism. FRom THE ‘“‘ GALLERY OF THE SACRA- MENTS,” CATACOMB OF ST. CALLIXTUS St. MartTin’s, CANTERBURY OLD RADNOR. . WROXETER, SALOP . MecBuryY Buss, DorsEt . PmEnmMon, ANGLESEY LLANWRTHWL, BRECON LAKENHEATH, SUFFOLK . . Ketrtron, RUTLAND . TREGARON, CARDIGAN . LLANRIAN, PEMBROKESHIRE . LLANGOEDMORE, CARDIGAN . TROED-YR-AUR, CARDIGAN . NortH Famprip@n, Essex . STONE, Bucks : ; : . St. JOHN’S-ON-THE-WALL, BRISTOL . . NoRTHIAM, SUSSEX : ; 3 ; . St. Mary’s, HAVERFORDWEST, PEMBROKESHIRE . BRIDEKIRK, CUMBERLAND ; ; facing . YOULGRAVE, DERBYSHIRE : : oe . DEERHURST, GLOS . : : : oF . EARDISLEY, HEREFORD . - é _ . Patricio, BRECON : : ‘ : , . LLANGRISTIOLUS, ANGLESEY . : ; ; . Hen-EGLwys, ANGLESEY i : : . STOTTESDON, SALOP : ; : facing XiV FIG, 27. 28. 29. 30. 31. 32. 33. 34, 35. 36. 37. 38. 39. 40. 41. 42. 43. 44, 45. 46. 47. 48, 49, 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. LIST OF ILLUSTRATIONS CasTLE FromE, HEREFORD. . facing CASTLE FrRomE, HEREFORD. ; * HOLDGATE, SALOP . : ; : Pe LLANIDAN, ANGLESEY West SHEFFORD, BERKS ; : : NortH GRimston, YORKS facing COLESHILL, WARWICK . : : os KIRKBURN, YORKS . ; ; : ne EWELME, Oxon .. ; : : i West WycomsBE, Bucks LLANARTH, CARDIGAN LLANFAIR-CLYDOGAU, CARDIGAN RAMSBURY, WILTS LLANWENOG, CARDIGAN . WERRINGTON, DEVON COLTISHALL, NORFOLK «eee BERRINGTON, SALOP : : ; facing BAKEWELL, DERBYSHIRE : , * New SHorewamM, SUSSEX ; ei HEMINGBROUGH, YORKS . ; : os ORLETON, HEREFORD é ; ; ag WANSFORD, NORTHANTS . ; : Ms RENDCOMBE, GLOS ee . , i STANTON FITZWARREN, WILTS. ; a LAMPHEY, PEMBROKESHIRE LLANFAIR-ORLLWYN, CARDIGAN MawpLAM CHURCH, GLAMORGAN REIGHTON, YORKS . ; , j : WYRE PIDDLE, Worcs . ; ; facing CowLaM, YORKS . a) bees . om FLAMBOROUGH, YORKS . < ee ™ BRaILEs, WARWICK ; & gs Drnuam, Bucks i PAGE 54 55 55 55 56 56 56 57 57 62 63 65 68 74 74 76 76 76 17 77 80 80 81 81 81 82 84 86 86 86 87 87 89 FIG. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72, 73. 74, 75. 76. fey 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. LIST OF ILLUSTRATIONS HUGHENDEN, Bucks Eaton Bray, Brps West Drayton, MIDDLESEX . LOSTWITHIEL, CORNWALL WaRzE, Herts OFFLEY, HERTS BintRY, NORFOLK . ARUNDEL, SUSSEX . BROADWATER, SUSSEX SOUTHMINSTER, Essex CRINGLEFORD, NORFOLK . FAaRINGDON, BERKS Hout, DENBIGH HappisBurRGH, NORFOLK AcLE, NORFOLK BLoFIELD, NORFOLK IrnstEAD, NORFOLK Lounp, SUFFOLK NORTHLEACH, GLOS YaxuHam, NORFOLK Upton, NoRFOLK GREAT KimBLE, Bucks . TOFTREES, NORFOLK ALTARNUN, CORNWALL Soutu-Hint, CoRNWALL . ; ; EASTBOURNE, SUSSEX GREAT WITCHINGHAM, NORFOLK Lapock, CORNWALL ‘ é ; Lra, GLos.. : : ‘ ; Dinas Mawppwy, MERIon . F EFENECHTYD, DENBIGHSHIRE Marx’s Try, Essex y ; ;: ParHAamM HovussE, SUSSEX ; 101 102 103 105 106 108 110 111 113 114 115 117 119 121 124 125 127 128 129 131 134 136 138 139 140 141 Xvi FIG. 93. 94, 95. 96. 97. 98. 99. 100. 101. 102. LIST OF ILLUSTRATIONS LINCOLN CATHEDRAL DORCHESTER, OXON 5 FRAMPTON-ON-SEVERN, GLOS . WARBOROUGH, OXON PatTRIcIo, BRECON CREDENHILL, HEREFORD HARESFIELD, GLOS CHILDREY, BERKS . Lona WITTENHAM, BERKS LULLINGTON, SOMERSET . PAGE 142 142 143 143 151 153 154 154 155 155 4 BAPTISMAL FONTS CHAPTER I THE ARCHZOLOGY OF BAPTISM WueEN Christ commissioned the Apostles for their world-wide mission, He at the same time instituted the sacrament of Baptism as the rite of entrance into His Church, with the words “ Go ye therefore, and make disciples of all nations, baptizing them in the Name of the Father and of the Son and of the Holy Ghost.” ? In the earliest times it was natural that the ceremony of Baptism should be performed in running water by immersion, after the example of Christ’s own baptism in the Jordan. In this manner we read that the sacra- ment was administered when the Ethiopian eunuch was baptized by St. Philip the Deacon.2 References to the spiritual significance of Baptism also imply this method of administration, for the full force of St. Paul’s words, “‘ We are buried with Him by Baptism into death,” * could only be realised if the candidate were wholly immersed in the water. Further, if we consider the references to the administration of Baptism which are to be found in the writings of the early Christian Fathers, we cannot but conclude that the sacrament was regularly given, to adults and children alike, by 1 St. Matt. xxviii. 19. Cf. St. Mark xvi. 16: ‘‘ He that believeth and is baptized shall be saved.” 2 Acts viii. 38, — 3 Rom. vi. 4. 1 4 2 BAPTISMAL FONTS the method of complete submersion. The triple immer- sion customary in the baptismal rite was commonly explained as symbolic of the Christian’s burial with Christ, Who was three days in the grave.? Thus immersion was regarded as the ideal manner of giving the sacrament.* Nevertheless from the first there must have been occasions when it was very difficult, or even impossible, to arrange for it, especially in the cases of full-grown men and women. The Philippian gaoler, for example, who, with his whole household, was bap- tized by St. Paul and St. Silas in the prison, could searcely have been wholly immersed in water.* The devotional manual known as the Didaché, which may be as early as the closing decade of the first century, bears very clear testimony to early Christian practice. The fol- lowing injunction is given for the due administration of the sacrament: “ Baptize in the Name of the Father, and of the Son, and of the Holy Ghost, m living water. But if thou hast not living water, baptize in other water ; if thou canst not in cold water, do it in warm. But if thou hast neither, pour water upon the head thrice in the Name of the Father, and of the Son, and of the Holy Ghost.” Thus, although exceptions were allowed, it is recognised that immersion in running water is the 1 In the HL pistle of Barnabas, c. xi, we read: “‘ We go down into the water full of sins and pollutions, and come up again bringing forth fruit.” Similarly the Shepherd of Hermas refers to ‘‘the water of Baptism in which men go down bound to death, but come up appointed to life.” Sim. ix. c, XVi. 2 Thus St. Leo the Great writes: ‘“‘ Threefold immersion is an imitation of the three days’ burial, and the lifting up out of the waters is like the rising again from the grave”? (To the Bishops of Sicily, Ep. iv). St. Cyril of Jerusalem gives the same explanation. 8 So St. Thomas Aquinas, Summa Theol., III. lxvi. 7: ‘‘ The symbol of Christ’s burial is more expressively represented by immersion, and for that reason this mode of baptizing is more common ond more commend- able.” “ Acts xvi. 33, THE ARCHAOLOGY OF BAPTISM 3 normal and natural method of baptizing. In practice, however, though the immersion of infants caused little difficulty, it soon became scarcely possible to arrange for it in the case of grown-up people. It is said that St. Peter himself baptized converts at Rome in the Tiber, though the evidence of this is far from conclusive. It may have been possible for him to do so before the outbreak of the first great persecution under Nero, but after that date it would have been, of course, impos- sible. During the successive persecutions of Christians throughout the Roman Empire Baptism could only be administered in private, either in the seclusion of a house, or in the still greater secrecy of the vaults of the catacombs. From the very first Christians naturally met for worship at the house of one of the leading believers. In his Epistles St. Paul sends messages of greeting to the church that is in the house of Aquila and Priscilla,’ in the house of Nymphas,? and in the house of Philemon.? The shallow bath of a typical Roman house of the period would be suitable for the baptism of converts and would be the most readily available place for their immersion, and the earliest baptisteries appear to have been formed after its pattern. In the catacombs provision was undoubtedly made for the ad- ministration of Baptism, and the baptismal tanks found there are similar in shape and size to the baths of Roman houses. Three examples of these early baptisteries are certainly known at the present time. One of these was discovered in 1901 in the cemetery of St. Priscilla by Professor Marucchi. Its date is not certaim, and it may be as late as the fourth century, though Professor Marucchi himself was inclined to identify it with the place where, according to tradition, St. Peter baptized 1 Rom. xvi. 5; cf. 1 Cor, xvi. 19. 2 Col. iv. 15. 3 Philem. 2. 4 BAPTISMAL FONTS at Rome. A second example was discovered in 1876 in the Coemeterium Ostrianum near Sta. Agnese, and dates from the third century. Its hollow cut in the rock for the baptismal water is neither large nor deep. _ In the cemetery of Pontianus is a third baptismal tank, apparently of the sixth century, about three feet deep. In all these examples the receptacle for the water is so shallow that it cannot be supposed that the baptized person was literally submerged. It seems that the can- didate must have stood in the water, and then the “immersion ”’ was effected by pouring water over the head. At this poimt the evidence of pictorial repre- sentations becomes valuable, and that this was the customary method of administering the sacrament is shown by a number of paintings in the catacombs, some depicting the baptism of Christ, others the administra- tion of the Christian sacrament. Both are equally valuable as evidence, because each kind of picture would represent the ceremony as it was ordinarily adminis- tered, in order that it might be at once recognised by the faithful who looked upon it. The earliest repre- sentation of all is in the crypt of Lucma on the Appian ~ Way. This dates, at latest, from the beginning of the second century, and depicts the baptism of Christ. St. John Baptist is figured on the right hand of the pic- ture, and holds out his hand to a nude Christ, who is moving as from the water towards him. The dove is seen above Christ’s head towards the left. The water has disappeared through age, but judging from the relative positions of the figures it could scarcely have been depicted as rising above Christ’s knees. In the “Gallery of the Sacraments ’’ in the Catacomb of St. Call xtus are two other representations of Baptism which are of very early date, probably about a.p. 200. In one of these the baptizer stands on dry ground, and is THE ARCHAIOLOGY OF BAPTISM 5 clothed in a white toga. His right hand is stretched out over the head of a nude boy who stands in water reach- ing to the ankles. The other picture in the same cata- comb (Fig. 1) shows the baptizer with a cloth round his loins, and both he and the catechumen are standing in the water, which reaches to the ankles. The water which is being poured over the head of the baptized person is represented by strokes of blue paint, and a little distance away on the left a man is shown seated on a rock in the act of drawing a fish from the water. The testimony of these three earliest pictures of the Fic. 1.—Baptrism. From ‘“ GALLERY OF THE SACRAMENTS,’ CATACOMB oF S8t. CALLIXTUS. baptismal ceremony is entirely confirmed by the mass of later representations, so that there is a general agree- ment in the following noteworthy points: (a) The baptizer is clothed, showing that it was not customary for him to go down into deep water, but he stood either on dry land or in very shallow water near the bank. (6) The candidate is regularly shown as naked, for though the water were not deep enough for submersion, the baptismal washing involved the whole body. (c) The washing of the whole body was effected by pouring water over the head. If further confirmation 6 BAPTISMAL FONTS were needed, it would not be difficult to show that the evidence of pictures is borne out by references in early Christian literature. Thus in the Acts of St. Laurence the saint is said to have baptized a fellow- prisoner: “‘ He blessed the water, and, when he had undressed him, he poured the water over his head.” + So again in the story of the boy Athanasius baptizing his playmates on the seashore, he did this, not by submerging them altogether in the water, but by pouring it over them.’ 1 Surius, Vit. Sanct., Aug. 10, § 16. 2 Ruffinus, Hist. Hccles., I. 14. CHAPTER II THE BAPTISMAL PRACTICE OF EARLY CHRISTIAN MISSIONARIES WHEN the heathen tribes who had overrun the Roman Empire in the West were first converted to Christianity, it was the custom of the missionaries, after primitive precedent, to resort to a riverside for the baptism of their converts. Thus in early English history it is on record that on Christmas Day in the year 597 St. Augustine baptized upwards of 10,000 converts in the River Swale1 (Kent). Bede tells us that a little later Paulinus baptized his Northumbrian converts in the River “Glen,’? and that the same Apostle of the North was accustomed to baptize in the Swale (Yorks), because no oratories or baptisteries had yet been built, as the Church was only beginning its life in the province of Deira.* In some of these wholesale baptisms which marked the early progress of the Faith in Europe, when a king’s example in accepting Christianity was promptly followed by a great number of his subjects, the sacra- ment was administered in wooden tubs. An instance of this is depicted in a fifteenth-century MS. belonging to the Burgundian Library in Brussels, which contains a representation of the baptism of the Saxons conquered by Charlemagne. The crowned but otherwise nude 1 Gregory tells this in a letter to Eulogius, Bishop of Alexandria, written | June 598. See Haddan and Stubbs, Councils and Ecclesiastical Docu- ments relating to Great Britain and Ireland, III. 12. 2 Bede, Hist, Hecles., II. 14. 3 Ibid. 7 8 BAPTISMAL FONTS » figures of the king and queen are there shown in the foreground kneeling in hooped wooden tubs, while a number of their subjects, also nude, are being led to- wards similar hooped tubs arranged in rows in the background of the picture. Similarly in 1124 at Peyritz 7,000 Pomeranians were baptized in a few days in tubs. Mr. J. C. Wall refers in this connection to the evidence of a piece of fifteenth-century tapestry which used to be kept at Tournai, and in which was repre- sented the baptism of a family. In this hooped tubs are shown standing near a font, and while the font contains the father, the members of his family are being baptized in the tubs.1 Actual tubs being used for baptisms on a grand scale in the open air, it was a natural step that when a receptacle for the water was used for a baptism inside a church it should take a tub-like form, and we should expect that such shape would be adopted for the earliest stone fonts. A font within the church must have been used at a very early date at St. Martin’s Canterbury. Bede describes this church as having been built east of the city in the days when the Romans still occupied Britain, and tells us that Queen Bertha used it as her oratory. In this same church he says that St. Augustine and his companions used to meet for prayer, praise, the offering of masses, for preaching, and for baptizing.” The present stone font in St. Martin’s may be the identical one thus used at the time of St. Augustine’s mission. We cannot, however, be sure of this, for there are some puzzling features about the font. The orna- ment of the upper part with its imterlacing arcade is certainly akin to work subsequent to the Norman con- quest and might well be ascribed to the twelfth century, while the interlacing rings of the lower portion are 1 Porches and Fonts, by J. C. Wall, p. 286, 2 Bede, Hist. Eccles., I. 26. PRACTICE OF EARLY MISSIONARIES 9 related to much earlier work influenced by a Celtic type of design. But the most curious thing about this font is the manner of its construction. It is tub-like in shape, and formed by putting a number of stones to- gether, forming in this respect a remarkable contrast to medieval fonts in general, whose bowls are made out of one stone. The peculiar way in which this font at St. Martin’s is constructed separates it from the Norman fonts which it otherwise resembles, and is so far an argument in favour of its earlier date.1 Perhaps the most likely explanation is that the font is the actual one used at the time of St. Augustine’s mission, and that it was in the first mstance put together of plain stones, the ornament being added at a later time (Fig. 2). Besides streams and pools there were also in many places wells of water at hand for the baptism of their converts by early Christian missionaries, and some of these wells had been venerated as sacred in pagan times. The use of such ancient holy wells for the administration of Christian Baptism is a subject which, so far, has not been very thoroughly investigated. There can be little doubt, however, that where there was a holy well near the church it would be used for baptizing, and in such cases there would be no font provided im the church. Holy wells near churches are especially frequent in Wales and Cornwall, and amongst the old parish churches of Wales there is some evidence which points to the con- clusion that where there was a well near the church, there was no font amongst the instrumenta ecclesia. Llangelynin (Carnarvonshire), for example, has an ancient well, and the font in the church is certainly not older than the fourteenth century, while at Llan- 1 “* Such construction is more consonant with the methods of a people earlier than the Normans,” (J.C. Wall, Porches and Fonts, p. 188.) 10 BAPTISMAL FONTS thychwyn (Carnarvonshire), where there is no well, the font in the church is very much older. But the subject of holy wells assumes still further importance when we reflect that there is reason to believe that in some cases they determined the sites of churches. The founders of the earliest Christian sanctuaries fre- , ote ere eA Hy t! Uy Fie. 2.—Str. MArtTIn’s CANTERBURY. quently selected the spot for erecting a church because of the proximity of a holy well, and the water for bap- tism was, in such cases, drawn from the holy well * dedicated to the patron saint. The parish church of Hast Dereham (Norfolk) furnishes an illustration of this custom. Near the west end of the present church was the tomb of St. Withburga, who was buried there in PRACTICE OF EARLY MISSIONARIES 11 743. About fifty years later her relics were translated within the church, and the spring in the churchyard is said to have issued from the grave wherein she had lain. A chapel was later built over this miraculous spring, and for many centuries water drawn from it was used for baptisms in the font within the church. In addition to the cases where a site for a church was chosen near a holy well, as at Llangibby and Mathern (Monmouthshire) and at Llanwenog (Cardi- ganshire), chapels were sometimes built either directly above holy wells or in such close proximity to them that a simple arrangement could be made for the water from the sacred spring to flow into a reservoir within the chapel. It is probable that these well-chapels were erected in the first instance to serve as baptisteries. Several of such baptistery chapels remain in Cornwall. The structures are more or less intact at St. Cleer near Liskeard, at Dupath well im the parish of Callington, at St. Breward near Bodmin, and at St. Ruan Minor in the Lizard peninsula. At St. Levan, not far from the Land’s End, are traces of another such chapel near the sea ; and at St. Madron, close to Penzance, though the actual structure is ruined, the bases of the walls remain and its plan is very clearly traceable. In this last example the water from St. Madron’s well near-by passed through a channel in the south wall of the oratory into a reservoir in the south-west corner, and was drained out again through a trough towards the north. The internal measurements of the chapel are small—23 feet by 14— but it had an altar at the east end and stone seats remain along the other three sides. Wales has also a few remains of ancient sanctuaries connected with wells, of which the most famous is St. Non’s chapel by St. Non’s well on the rugged Pembrokeshire coast near St. David’s. Lanelian church (Denbighshire) appears to have been 12 BAPTISMAL FONTS built over a spring of water which was discovered beneath the floor when the church was restored.’ At Capel Teilo in the parish of Pembrey (Carmarthenshire) there may have been a baptistery chapel. Though nothing of the building now remains it is said that traces of it were to be seen a few years ago. The name obviously preserves the memory of a sanctuary of St. Teilo, and within a few yards of its site, to the south, was a spring known as Pistill Teilo? 1 See Archeologia Cambrensis, V. viii. 10. 2 Inventory of the Royal Commission on the Ancient Monuments of Wales and Monmouthshire: V. County of Carmarthen, p. 232, No. 686. CHAPTER III THE BAPTISTERY AS A SEPARATE STRUCTURE Tue historical evidence summarised in the foregoing chapters makes it plain that a development may be traced in the method of administering the sacrament of Baptism. In the first days of the spread of the Christian Faith converts were baptized by immersion in a stream, the whole ceremony taking place in the open air. But, a running stream not being always at hand, receptacles for the baptismal water were sometimes used, in which the candidates stood or knelt unclothed. Then with the organisation of the Church into parishes it became customary to baptize in some special well or pool near the church. The next step was the covering in of the well or spring by a structure specially designed for the administration of the sacrament, and thus originated the baptistery as a separate building apart from the church. In early times the festival seasons of Easter and Pentecost were special times for Baptism,’ and the administration of the sacrament was normally restricted to the chief church of a diocese, the Bishop himself being properly the minister of the sacrament. Thus, after freedom of worship was granted under Constantine the Great, baptisteries were erected near each cathedral church, but detached from it. This was the general custom in the Kast. St. Cyril of Jerusalem, who wrote in the latter half of the fourth century, described with 1 Tertullian, for example, in his De Baptismo, c. xix, tells us that Baptism was confined, except in cases of urgency, to these two great festivals. 13 14 BAPTISMAL FONTS some detail, in his Lectures on the Mysteries, the sacra- ment of Baptism as it was administered in his time, and he says it took place in the baptistery. In the West also the baptistery was in early times a structure separate from the church, and often continued so until the eighth or ninth century. On the Continent a good many of these detached baptisteries remain near cathedral churches, and though at a later period many of these have been adapted for use as ordinary churches and have suffered some alteration accordingly, their dedication in the name of St. John Baptist usually survives as a testimony to their original purpose and use. Examples of such detached baptisteries are found : (a) In France: Poitiers, St. Jean (later converted into a church). 4th century. Le Puy, St. Jean. 4th century. Riez. Vénasque. Fréjus. Aix-en-Provence. 6th century. Strasbourg. (b) In Germany, bishops’ churches and abbey churches had their separate baptisteries, which have been turned as a rule at a later period into churches. An original baptistery, now known as St. John Baptist’s church, still exists near the cathedral in the cities of Augsburg, Maestricht, Mainz, Ratisbon, Spires, and Worms, while near the minsters at Aix-la-Chapelle and Hssen are baptistery chapels situated to the west of the principal church and connected to it by an atrium. (c) Italy was very much more conservative in this respect than other countries of Western EKurope. Out of Italy very few baptisteries, as structures apart from the church, were built after the ninth century, but in BAPTISTERY AS A SEPARATE STRUCTURE 15 that country the custom of having a separate building for the baptistery near the cathedral continued down to the fourteenth century. These vary a great deal in their ground-plan and in their date—some, such as the church of St. Giovanni-in-Fonte, originally the baptistery to St. Giovanni Laterano in Rome, trace their founda- tion back to the fourth century, while one of the latest examples—that at Pistoja—was constructed between 1330 and 1350. The names of some of the more notable of these baptisteries, which often form a very picturesque feature of Italian cities, are here given, according to their ground-plan : Circular—Baveno (on Lake Maggiore); Bologna, Brescia, Chioggia, Pisa. Octagonal.—Cremona, Como, Florence, Lucca (the Capuchin church), Milan (St. Giovanni), Novara, Parma, Pavia, Pistoja, Ravenna (St. Giovanni), Spoleto (upon a square base), Torcello. Rectangular.—Lucca, Padua. Cruciform.—Biella, Pola. Basilica plan.—Verona. In this country there is now no remaining example of a detached baptistery belonging to any of our cathe- dral churches, but we know that there was one at Canterbury, built by Archbishop Cuthbert in the middle of the eighth century and adjoining the east end of the cathedral. It was dedicated, as was usual, in the name of St. John Baptist. With the growth of parochial organisation it became the regular custom for the parish priest to baptize as the deputy of the bishop, who was all along regarded as technically the minister of Bap- tism, and who himself ratified the act later, when he completed the sacrament by the laying on of hands in Confirmation. Thus a font eventually became a requisite amongst the instrumenta of every parochial church, and its original position was in the narthex 16 BAPTISMAL FONTS or porch. All though the Middle Ages down to the reign of Edward VI the preliminary part of the Baptismal service was conducted at the church porch, a custom expressly continued by the rubrical directions in the service in the First Prayer Book of Edward VI issued in 1549. This liturgical purpose was doubtless one of the causes contributing to the erection of the deep and well- sheltered porches so often found attached to our ancient churches. CHAPTER IV TYPES OF FONTS IN GENERAL—THEIR SHAPE By the eleventh century the barbarians who had invaded the Roman Empire in the West began to settle down in their new homes; they had accepted Christianity, and the nations of modern Europe were beginning to emerge from the old order. It was everywhere a period of organisation and construction. The Norman Conquest marks the beginning of this period in our own land, and the century which followed it was a great church-building era. Cathedrals, abbeys, and churches sprang up all over the country. To this epoch our parish churches in general go back, and our fonts, with a few rare exceptions, begin with it. (1) These early fonts commonly assume a CYLIN- DRICAL OR TUB-LIKE SHAPE. ‘This form was doubtless a perpetuation, in more durable material, of the wooden tubs employed, as has been stated above, as receptacles for the baptismal water at an earlier date. Fonts of this kind, dating from the Norman period, are fairly common and are widely distributed, as the following list of examples shows : Anglesey : Compton. Hen-Eglwys (Fig. 25). Drayton. Llangeinwen. Enborne. Llangristiolus (Fig. 24). West Hanney. Llanidan (Fig. 30), Harwell. Trefdraeth, Letcombe Regis. Berkshire : Lockinge. Aldworth. East Shefford. Avington, Wallingford, St. Leonard’s. West Challow. 9 17 18 BAPTISMAL FONTS Buckinghamshire : Hook Norton, Boveney. Lewknor. «; Hughenden (Fig. 60). Mapledurham, Little Kimble. Salop : Stewkley. ~~ Berrington (Fig. 43). Wyrardsbury. Upton Cresset. Carmarthenshire : Somerset : Llanfihangel Abercywyn. Lullington (Fig. 102). Dorset : Surrey : Toller Porcorum, Alfold. Glamorgan : Sussex : Llantwit Major. Brighton, Mawdlam (Fig. 53). Didling. Wick. Denton. Gloucestershire : Lewes, St. Anne’s, Ampney Crucis. Tangmere. Bledington. Up-Waltham, Coln Rogers. Yapton. Mitcheldean, Yorkshire : Notgrove, Bessingby, Southrop. Flamborough (Fig, 57). Herefordshire : Kirkburn (Fig. 34), Dilwyn. Malton, Orleton (Fig. 47). North Grimston (Fig, 32), Hertfordshire : Rillington, Sandridge. Rudstone, Oxfordshire : Scalby. Beckley. Snainton, Black Bourton. Thwing. Goring. Wold Newton. (2) In some cases, however, the tub-like vessel or tank of early fonts takes a rectangular instead of a cylin- drical form, as at Brooke and Edith Weston (Rutland), and Reighton (Yorks). (3) Occasionally the tub-like outline in general per- sisted in later times, when developments had taken place and a polygonal form had for the most part replaced the earlier round or square font-bowls. Examples of this kind of survival occur at: Acton Burnell (Salop), an octagonal font of Early English style. Bakewell (Derby), an octagonal font of Decorated style (Fig. 44). = ee TYPES IN GENERAL—THEIR SHAPE 19 Bayton (Wilts), a font partly octagonal and partly circular, probably of the Early English period. Exton (Rutland), an octagonal font of Decorated style. Heckington (Lincs), a hexagonal font of Decorated style. Hitchin (Herts), a font of very unusual duo-decagonal plan belonging to the late Decorated or early Perpendicular period. Poynings (Sussex), an octagonal font of the Decorated style. Waltham St. Laurence (Berks), an octagonal font with typical Perpen- dicular panelling. (4) Before we pass on to note developments from the early tub-like form of font, this will be a convenient place to group together the curious and interesting cases where stones which had been previously worked and which approximated to the form of a tub or tank were adapted that they might serve as fonts. (a) At Old Radnor (Fig. 3) is a very remarkable example of an early font which appears to have been fashioned from a Druidical altar. This is a large block of igneous rock of the same formation as the neighbouring Stanner rocks and similar to the boulders known as the “Four Stones ’’—clearly part of a Druidic circle—in the plain below about a mile from the church. This strange font is a monolith, roughly circular in form, and shaped at the bottom into four rude feet. Its diameter at the top is from 3 feet 9 inches to 3 feet 11 inches. It bears a strong resemblance to altars used in early Semitic worship, and in early Christian times seems to have been found handy for conversion into a font by roughly hollowing out a basin in it. The basin is 9 to 10 inches deep and measures 2 feet 9 inches to 2 feet 10 inches across. The height of the whole, excluding the later platform upon which the font stands, is from 2 feet 6 inches to 2 feet 84 inches. (6) Material that had been worked by the Romans during their occupation of Britain was employed to a considerable extent by later builders of churches near 20 BAPTISMAL FONTS well-known Roman stations. Pre-Conquest churches at Brixworth (Northants), Langford (Essex), Ovingdean (Sussex), and Stoke d’Abernon (Surrey) show Roman brick-work built into the structure. Norman builders made like use of the same material, as we see on a large scale in the abbey church of St. Albans and at St. Botolph’s Priory Colchester, and the church builders i ort r “ a¥lt sat! “We ul Mi cull Fia. 3.—Oxtp RaApNnor. of Essex and Hertfordshire worked a great deal of Roman brick into their walls of rubble flint. Hexham Abbey (Northumberland) shows material from the Roman station of Corspotitum, Kenchester (Herefordshire) from Magna, Wroxeter (Salop) from Uriconium, and Over Denton (Cumberland) from the Great Wall, while m Chollerton church (Northumberland) the pillars of the nave arcade on the south side have been taken from some building at the station on the wall near-by. TYPES IN GENERAL—THEIR SHAPE 21 In view of the large extent to which material already worked by the Romans was thus used at a later period, we can readily understand that worked stones of a suitable shape and lying ready to hand would be adapted to serve as fonts. Sometimes dressed stones which had been parts of columns or their bases were hollowed out that they might hold the baptismal water. Fic. 4.—WRoOxXETER (SALOP). Examples of fonts so formed may be seen at Hexham (Northumberland), Kenchester (Hereford), Over Denton (Cumberland), and Wroxeter (Salop) (Fig. 4). In similar fashion Roman altars have occasionally been hollowed out and adapted at a later period for use as fonts. Chollerton church (Northumberland) has a good example of a Roman altar from Cilurnum which has been treated in this way, and Haydon Bridge (North- 22 BAPTISMAL FONTS umberland) has another Roman altar, from the ruins of Borcovicium, converted in like manner for the administration of the Christian sacrament. The church of St. Ours at Loches in Touraine possesses in its holy- water stoup near the west door one of the finest speci- mens of a cylindrical Roman altar extant, and this has for many centuries been adapted to its Christian use. At Staunton (Glos) is another example in this country of “pe ms f Fie. 5.—MELBuRY Buss (DORSET). a very ancient stone with peculiar ornament, which may have been a Roman altar, and which was at some period used for a font, though afterwards superseded by the one at present in use, of typical fifteenth-century design. (c) Besides these cases of adaptation of Roman relics there are some fonts having sculpture undoubtedly pre-Norman, yet which cannot be classed as pre-Con- quest fonts. These consist of portions of the shafts or bases of old Celtic crosses in which bowls have been hollowed out that they might serve as fonts. TYPES IN GENERAL—THEIR SHAPE 23 At Melbury Bubb (Dorset) (Fig. 5) the font is evidently formed out of a cylindrical shaft of a long cross. This has been inverted so that the wider diameter is upper- most, and a hollow has been scooped out for the bap- tismal basin. At Dolton (Devon) both the bowl and the pedestal of the font have been formed out of frag- ments of square shafts of Celtic crosses, but the two are quite unrelated and are altogether dissimilar in the * = cB Bs Th . — ae Meme ttt ut - tie ——— HT Th | WA, Hii}! AN 0 N Fic. 6.—PENMON (ANGLESEY). design of their ornament. Again, at Rothbury (North- umberland) a portion of the shaft of a cross bearing figures in bold relief does duty as a pedestal supporting a post-Reformation font-bowl of the seventeenth century. In Wales there is one example of a font of this class, in which early Celtic material has been adapted to its present purpose by later hands. This now stands in the south transept of the priory church at Penmon (Anglesey) (Fig. 6), and is formed out of the four-sided base of a high cross, having its faces adorned with key- 24 BAPTISMAL FONTS pattern of the diaper-and-fret type, such as is met with on other early crosses im North Wales, and upon the base of a cross at Llangyfelach (Glam). (5) From the early tub-shaped font that was common in the century following the Norman Conquest there was developed the typical medizval font, consisting of bowl, stem, and base, by stages that can be traced through existing examples. (a) The tub-like vessel was reduced sometimes so as not to measure much more in height than the depth of the bowl hollowed out within, and being thus reduced more to the size of a basm it was mounted upon a pedestal, as at Enborne (Berks), Berrington (Salop) (Fig. 43), Rothley (Leics), and West Thorney (Sussex). (6) In fonts of this kind, however, it is by no means easy to judge their original appearance, because the pedestals on which many of them now stand belong to a period subsequent, and sometimes long subsequent, to the Norman bowl. Where the original pedestal remains, it is sometimes altogether wider than the tub-like bowl, as at Harwell (Berks) ; but more often the bowl is sup- ported not directly by the base upon which it is mounted, but there intervenes a short cylindrical shaft to carry the bowl, as at Black Bourton (Oxon) and Hinton Parva (Wilts). Thus was produced a form approxi- mating to a cup-like shape, as in the last-named example, but this line of development tended in general to pro-- duce the type of font m which a bowl—cylindrical or rectangular—stands upon a shaft, upon which it ap- pears as simply superimposed without any connection of structural design. Of the very many early fonts belonging to this class the following may be referred to as examples: Brayton (Yorks), Llanwenog (Cardigan) (Fig. 40), Llanwrthwl (Brecon) (Fig. 7), and Upton (Bucks), having TYPES IN GENERAL—THEIR SHAPE 25 round bowls; St. Elvis at Solva and Johnston (Pem- brokeshire), having rectangular bowls. Occasionally the bowl and shaft of a font of this type are hewn out of a single stone, as at Patricio (Brecon) (Fig. 23), where the shaft is very short, and at Llanfi- hangel Helygen (Radnor), where it is very much length- ened. (c) A different method of treatment of the early Fic. 7.—LLANWRTHWL (BRECON). tub-shaped fonts tended to produce from them cup- shaped fonts, and eventually the conventional type having a bowl upon a pedestal. In some very charac- teristic cylindrical Norman fonts we note the fashion of girding them round. Sometimes this is done with a simple roll moulding, as at Little Billmg (Northants), East Challow (Berks), Poltimore (Devon), and Stretton Sugwas (Hereford). In other cases we come across early fonts bound round with the cable moulding that is characteristic 26 BAPTISMAL FONTS of the Norman style in architecture. Examples of such treatment occur at Folkton (Yorks) and Bierton (Bucks), while the handsome Norman font at Chickerell (Dorset) shows a rather more elaborate form of similar adorn- ment. A tightening of the girdle of cable moulding contracts the tub-like vessel in the middle, causing it to assume an appearance approaching to cup-like form, as at Eardisley (Hereford) (Fig. 22), Morwenstow (Corn- wall), South Milton (Devon), and Bishop’s Teignton (Devon), the complete cup-shape being evolved by the lengthening of the stem, as in the graceful example at Combe-in-Teignhead (Devon). A cup-shaped font in the same line of development but of different outline is shown in the font at Wyck Rissington (Glos). Thus was inaugurated the type of font whose general outline, consisting of bowl, stem, and base, was retained through- out the succeeding ages. (d) We note, however, the beginning of a develop- ment in another direction when engaged shafts are carved at the angles of a rectangular tub-like font, as at Reighton (Yorks). The four columns at the angles are sometimes carved into bolder relief so as to appear as shafts sup- porting the bowl, as in the examples at Belaugh (Nor- folk), Southacre (Norfolk), and Tillmgham (Essex). From such forms as these just mentioned it was a very easy step to a font consisting of a rectangular bowl upon a large central shaft, with four slender supporting shafts at the angles. In this way was developed a type of font, characteristic of the Norman period in archi- tecture, examples of which are found to exist over a very wide area and in some districts, as in Sussex, are so numerous as to form the dominant type. A list is here given of good specimens of this class of font in different parts of the country and varying slightly in detail. TYPES IN GENERAL—THEIR SHAPE 27 Buckinghamshire : Norfolk : Chalfont St. Giles. Burnham Norton. Iver. Cantley. Cornwall Coltishall (Fig. 42), Oury. Reepham. Egloshayle. Sculthorpe. Gwithian. Shipdham (in fragments), Linkinhorne. Great Snoring. Landewednack. Phillack, Oxfordshire : Poundstock, Iffley. Poughill. St. Germans, Rutland : St. Madron. Egleton, Essex : Broomfield. Sussex : Burnham-on-OCrouch, Aldingbourne. Fryerning. Amberley. East Horndon. Ashurst. Laindon. Barnham, Hampshire : Chichester, St. Olave’s, Winchester Cathedral. Dori Leneing. Buriton. as ele Kingsclere. Pulborough (the angle-shafts now : missing). Hertfordshire : New Shoreham (Fig. 45), Aldenham, Sidlesham, Lincolnshire : | Southover (Lewes). Lincoln Cathedral (Fig. 93). Warnham. The examples named above all have rectangular bowls, but some fonts of this same type are found with circular bowls, such as Chaddleworth (Berks), Colkirk (Norfolk), Congresbury (Somerset), Driffield (Yorks), Elmstone (Kent), Manton (Rutland), South Petherwyn (Cornwall), and Thornton-le-Dale (Yorks). Another example of round bowl upon five shafts is afforded by the curious and very early font at Tintagel (Cornwall). This, however, appears to have followed a slightly different lime of development, for the four sloping outward shafts look like struts inserted to support 28 BAPTISMAL FONTS the bowl, and do not seem to be related to angle-shafts carved upon it. A round bowl with five shafts is also the plan of the © magnificent series of fonts classed as belonging to the Bodmin group (see below, p. 126). While some members of the Bodmin group are early, the type persisted long after Norman times, and the same is true of the whole class of fonts supported upon five shafts. Very graceful Harly English specimens, with round bowls, occur at Eaton Bray (Beds) (Fig. 61) and Leighton Buzzard in the same county. Still later examples preserving the old Norman outline of square bowl with five supporting shafts occur at Ruan Lani- horne (Cornwall) and Bibury (Glos), and with circular bowls at All Saints’ Leicester and Ratby (Leics). (ce) The principal lines of development from the primitive tub-shaped font have now been traced, and though the type last dealt with, the bowl supported upon a group of shafts, survived through the subsequent development of Gothic style, it was the cup-like form which set the regular pattern, so that the normal font of the fourteenth and fifteenth centuries consisted of a bowl, a stem or pedestal, and a base. The bowl in early fonts was, as we have seen, rectangular or circular. The most important change in the shape of the font from Norman times onwards until the Reformation was the introduction of a multangular bowl, and the large majority of font-bowls assumed an octagon shape. We have an early example of the introduction of the _ octagonal shape in a font of tub-like form at Dixton (Monmouthshire), and an octagonal font of fourteenth- century date at Ardington (Berks) preserves a like conservative appearance in general. The feeling towards an octagonal form by the cham- fering of the angles of square font-bowls is apparent % TYPES IN GENERAL—THEIR SHAPE 29 in some examples of the Norman period, as at Shepreth (Cambs), and St. Mary’s Thetford (Suffolk). In the very large class of Norman fonts supported upon five pillars we find that the usual square bowl is occasionally abandoned for one of octagonal form, whose ornamental arcading, of round arches, testifies to its early date, as at Bosham (Sussex), Hemingford Abbots and St. Ives (Hunts), and Langham (Norfolk). The octagonal form persisted in fonts of the same class in the thirteenth century, with the change that in the Karly English style pointed arches take the place of rounded ones in the shallow incised arcading, as in the examples following : Bucks ; Denham (Fig. 59). Cornwall : Creed and Lelant. Herts : Broxbourne and Harpenden. Norfolk : Beighton, Burnham Thorpe, Congham, Easton, Filby, Ingham, Limpenhoe, Letheringsett, Lyng, Mattishall Burgh, Moulton, Sporle, and Stody. Suffolk : Beccles and Belton. Sussex : Sutton, A little later the same general design with octagonal bowl bore an arcade of the Karly English style in relief, as at Billmgford (Norfolk), and we see the persistence of the form in a font of the Decorated style at Luton (Beds). Karly fonts with octagonal bowls of different types are seen in such examples as Thame (Oxon) and Higham Ferrers (Northants). Some very fine fonts of the Early English period con- form in their general appearance to the Norman five- pillared type, but the octagonal bowl has been definitely adopted in place of the early rectangular or round one, as at Ketton (Rutland) (Fig. 9) and Lakenheath (Suf- folk) (Fig. 8). 30 BAPTISMAL FONTS The octagonal bowl then became the normal font- bowl in this country during the thirteenth, fourteenth, and fifteenth centuries, while the Early English, Decor- ated, and Perpendicular styles prevailed in architecture. Sometimes the bowls were curved, preserving the cup- shape of some early examples, as at EHllesborough (Bucks), but most often the bowls were straightsided, and plain octagonal fonts of this kind form a very large Fic, 8.—LAKENHEATH (SUFFOLK). class, perhaps the majority of fourteenth-century fonts, besides a large number of fifteenth-century ones, being of this pattern. A list is here given of representative examples : Bedfordshire : Totternhoe (in the churchyard). Berkshire ; Kintbury, Ruscombe. Cambridgeshire: Haslingfield. Cheshire: Bowdon, Marton (bowl in the porch), Warburton, Wilmslow (in the churchyard), Cornwall : North Petherwyn, Pillaton, Stithians, Stoke Climsland. TYPES IN GENERAL—THEIR SHAPE 31 Devonshire: Kelly. Essex: Blackmore, Great Burstead, Sandon, and Woodham Ferrers. Gloucestershire > Stowell. Hampshire : Sydmonton. Herefordshire: All Saints’ Hereford, Abbey Dore, Llandinabo, Sarnesfield. Hertfordshire : Radwell, St. Ippolyts. Huntingdonshire : St. Mary’s Huntingdon. a a . mot . a = es Hil 7 SESS i tle | V4 Fia. 9.—KeEtTTon (RUTLAND). Kent; Hollingbourne, Leeds, Leybourne, Milsted, Ripple, Rodmersham, St. Margaret-at-Cliffe, Smeeth. Lancashire: Clitheroe, Mytton. Lincolnshire: Long Sutton. Monmouthshire : Skenfrith. Norfolk: Barton Bendish (St. Andrew’s), Beeston, Bexwell, Bodney, Brancaster, East Bradenham, West Bradenham, Brinington, Brisley, Burnham Overy, Caston, Cranwich, Cranworth, Great Cressingham, Crimplesham, Griston, Hockwold, Holme Hale, Horstead, Houghton St. Giles, West Lexham, Narford, Oulton, Oxwick, South Raynham, Great Ryburgh, Newton-by-Castleacre, West Somerton, Stanford, ¢ 32 BAPTISMAL FONTS Swanton Morley, Themelthorpe, Thornage, Weeting, Wellingham, Wereham, Welborne (in the churchyard), Wilton, Wood Norton, Wretton. Rutlandshire : North Luffenham, Wing. Somersetshire : Clevedon, Kenn, Walton-in-Gordano, Suffolk: Barnham, Flempton, Santon Downham, Woolpit, Sussex: West Chiltington, Eastergate, Iden, Oving, Upper Beding, Westhampnett, East Preston. Yorkshire: Allerston, (f) While, upon the departure from the early square or circular bowls, the octagonal form thus became the usual one for fonts, there are not wanting occasional examples exhibiting a different number of sides. Of these, hexagonal forms are not infrequent, as at Llandy- friog (Cardigan), Erbistock (Denbighshire), Llanbister (Radnorshire), Heckington (Lincs), and the original Karly English font at Wymondham (Norfolk), the fragments of which are now preserved within the church. (g) Heptagonal fonts are scarce, but examples occur at Llanilar and Tregaron (Cardigan) (Fig. 10) and Pendine (Carmarthen). There is a drawback attaching to a figure with an uneven number of sides, in that the whole tends to appear off the centre when seen from certain points of view, and this blemish no doubt accounts for the fact that a heptagonal form was seldom adopted for the font. (h) Of a pentagonal font there are only two examples extant—at Bletherston (Pem) and Hollington (Sussex). (1) A triangular form, like a pentagon, seems quite unsuitable for a font, but it has been adopted im at least one case—at Ridlington (Rutland). (7) Multangular fonts of more sides than eight are less uncommon, handsome decagons occurring at Wan- tage (Berks), an Early English example, and at Llanrian (Pem), a fifteenth-century bowl of typical Perpendicular style upon a modern pedestal (Fig. 11). Other decagonal ‘(NWHq) NVIUNVIJ—'[T ‘OL ‘(NVDIGUVO) NOUVHOTUT—'OLT *OLT 33 34 BAPTISMAL FONTS examples are found at Llangranog (Cardigan) and Hargham (Norfolk). (k) A twelve-sided example is furnished by the very handsome font at Hitchin (Herts), and at Detling (Kent) is another instance of this very uncommon form, in the latter case a large plain bowl upon plain cylindrical supports. yg = LPs ofl ~ Tino Fia. 12.—LLANGOEDMORE (CARDIGAN). Some minor variations in the shape of fonts next call for notice. (1) It was not unnatural that when the font took the form of a square bowl upon a circular stem the bowl should be so treated as to assume the shape familiar to Norman workers as the scalloped capital. Typical examples occur at Castlemartin (Pem), Clovelly (Devon), Kingston Seymour (Somerset), Llangoedmore (Cardigan) (Fig. 12), St. Twinnels (Pem), Weston-in- Gordano (Somerset), and Dearham (Cumb), the last- named having rude diaper-work and grotesque monsters TYPES IN GENERAL—THEIR SHAPE 35 with volutes at the angles. More curious is the tub-like font at Toller Porcorum (Dorset), whose adornment of volutes causes the whole to assume the form of a large Ionic capital. The capital also occurs as the ground- form of the very splendid class of fonts treated below as the Aylesbury group (see p. 123). x mI = i Ny Lin SS Fic. 13.—TROED-YR-AUR (CARDIGAN). (ui) The*attachment of angle-shafts to a rectangular bowl sometimes caused it, especially when there was little or no other ornament, to take a form resembling a section of a pillar, as in the following curious examples : Barrington (Cambs) (superimposed upon a later base), Henllan (Cardigan), Tresillian (Cornwall), Troed-yr-aur (Cardigan) (Fig. 13), and Worthing (Norfolk). 36 BAPTISMAL FONTS (i111) In some cases the sides of a font are made concave. The largest and grandest example so treated is the fine fifteenth-century font at Mattishall (Norfolk). Kent has an imposing group of fonts with concave sides and octagonal in plan. The members of the group are at Boughton Aluph, Boxley (base), Folkestone, Graveney, Headcorn (bowl), Minster-in-Sheppey, St. Nicholas’ Rochester, Saltwood, and Sutton Valence, and there is b= ° = Fia. 14.—NortH FAMBRIDGE (ESSEX). another group of octagonal fonts in Essex presenting the same feature of concave sides to the bowl. Two of these are handsome, viz. Prittlewell and North Fambridge (Fig. 14), while a third at Ashingdon is plain and massive in appearance. Swineshead (Lincolnshire) also has a large plain font with concave sides alike to the bowl and stem, and at Woolpit (Suffolk) a smaller and graceful plain octagon font has a well-moulded base with concave sides. South Kilvington (Yorks) hasa handsome and elaborately adorned font with very marked concave sides, TYPES IN GENERAL—THEIR SHAPE 37 and there is a similar one at Catterick not many miles away. At Weston (Warwick) the alternate sides of bowl and stem of an octagonal font are concave, the four flat sides being of much narrower dimensions. (iv) Perhaps less pleasing are the comparatively few amongst old fonts whose sides are convex in form. A bowl circular on the inside whose outer surface has been worked into four convex sides between angle-shafts is found at Caversham (Oxon) erected upon a modern base of five pillars. At Westwell (Oxon) is an almost plain font of quatrefoil form within and without. Stanford-le-Hope (Hissex) has an octagonal bowl with very strongly curved sides, and a near parallel to it is afforded by the curious font at Pembridge (Hereford). (6) The Reformation movement of the sixteenth century, though not intended by its leaders in this country at the first to carry with it a change of doctrine, brought with it towards the close of the Tudor period a change of attitude alike to the teaching and the ceremonial of the Church. In Queen Elizabeth’s reign those who had been on the Continent during the Marian persecution returned home. During the time of their banishment they had taken refuge chiefly in Strasbourg, Zurich, Frankfort, and Geneva, strongholds of the Calvinistic school, where the Reformers had departed farthest from Rome, and in their reaction from abuses had given up much of Catholic Christianity. Many of the English exiles assimilated themselves to their sur- roundings abroad, and eventually returned to this country thoroughly out of sympathy with the traditional system and ceremonial of the English Church. From this time onward the greatest confusion prevailed in the performance of Divine worship and in the celebration of the rites of the Church, the ecclesiastical authorities, though supported by the Queen, having the utmost 38 BAPTISMAL FONTS difficulty in securing decency and order. In place of the ceremonial immersion in Baptism, which had been expressly ordered to continue in the English Prayer Book of 1549, and which was still stated in the Prayer Book of 1558 as the normal method of administering the sacrament, the Calvinistic custom of baptizing in basins spread in this country. Many allusions to this custom are found in Visitation Articles and Injunctions which attempted to check it. Thus the famous Elizabethan Advertisements of 1564 contain the direction, “ That the font be not removed, nor that the curate do baptize in parish churches in any basons.”’ Archbishop Parker about the same time issued Vzsztation Articles (1569), and in these occurs the inquiry, ““ whether your curates | or ministers, or any of them, do use to minister the sacrament of Baptism in basons, or else in the font standing in the place accustomed. And whether the said font be decently kept.’’ In the reign of Charles I, under Archbishop Laud’s influence, there was a revival of Catholic doctrine and practice, and further efforts were made to stem the tide of Puritan neglect and slovenly ministration of sacraments. Laud’s Visitation Articles, issued while he was Bishop of London (1631), have the clause, ““ Whether doth your minister baptize any children in any bason or other vessel than in the ordinary font, being placed in the church, or doth he put a bason in it? ’’ Bishop Wren of Norwich, a divine of the same school and uncle of the great architect, in his Orders and Directions for his diocese gives this ruling, amongst others: “ That the font at baptism be filled with clean water, and no dishes, pails, or basons, 1 The Reformers in general discouraged the practice of immersion. In Lutheran Denmark the custom obtained of baptizing in a brass dish placed within the font. A good many handsome dishes still in use in that country date from the seventeenth century. TYPES IN GENERAL—THEIR SHAPE 39 be used in it, or instead of it.”’ Quotations like these, to which many more might be added, indicate the great difficulty experienced by the ecclesiastical authorities in securing something like decency in the administration of the sacraments. The period of disorder inaugurated by the Reformation culminated in the Puritan regime of the Commonwealth, and during this period many ancient fonts perished, being either wantonly destroyed or, in many cases, degraded to base uses and removed from the old parish churches that they might serve for flower-vases in gardens, pig-troughs in farmyards, or other secular purposes. Here it may be noted that the miscalled restorations of the nineteenth century were also responsible for the destruction of much that was ancient and valuable in old churches, and many fonts in particular disappeared at that time. Some of these have never been recovered, but others have been restored to their sacred use, while many may still be seen in a more or less mutilated con- dition in or near the churches to which they once belonged, and examples occur all over the country, indicating how widespread was the havoc wrought. Former fonts are still serving base uses at Pett (Sussex), Tenbury (Worcs), and Welborne (Norfolk), where they do duty as flower-vases in the churchyards. At Greatham (Sussex) a leaden font-bowl serves a similar purpose in the Manor House garden adjoining the church ; while at Brandiston (Norfolk) and Dunkirk (Kent) old fonts have been converted into sundials. More strangely still, at Llanfihangel Lledrod (Cardiganshire) the old font’s bowl and base, both square, have been utilised as coping-stones to the pillars on either side of the north gate to the churchyard, the shaft which once con- nected them being placed as a sort of finial upon the eastern entrance to the enclosure. 40 BAPTISMAL FONTS Some fonts stand unused in the churchyard, as at Aberporth and Llanfihangel-y-Creuddyn (Cardigan), , Folkestone, Northwold (Norfolk), and Totternhoe (Beds) ; or the bowl les unused outside the church, as at Goring (Oxon), and Warham All Saints’ (Norfolk). In some cases fonts that were once cast out have been in recent times recovered and restored to their sacred use, aS at Lewes, St. John-sub-Castro, Littlehampton (the bowl placed in the daughter-church of St. James) and Walberton (Sussex), Newland (Worcs), Rodmer- sham (Kent), and Minstead (Hants), where the bowl was rescued from the parsonage stable. In not a few cases, too, have derelict fonts been re-erected in the church, though no longer used for the administration of Baptism. This has been done with interesting old fonts at Barsham (Suffolk), Chalgrave (Beds), Chipping Campden (Glos) _ (built into the east wall of the south aisle), Henfyniw (in the porch of a daughter church at Aberaeron) and Llanarth (Cardigan), Hampstead Norris (Berks), Kul- peck (Hereford), Pevensey (Sussex), and Bowdon (Ches). Besides these entire examples portions of old fonts may often be seen lying upon the floor of the church, as at Wing (base), Aston Clinton (bowl), and Taplow (bowl and base) (Bucks) ; Llandyssul (bowl), Silian (bowl), Ciliau- Aeron (bowl), Llanllwchaiarn (bowl and stem), Yspytty Ystwyth (stem), Trefilan (base), and Gwnnws (frag- ments) (Cardigan); Laugharne (bowl in porch) (Car- marthen); Marton (bowl in porch) (Ches); Germoe (bowl) and Gunwalloe (bowl) (Cornwall); Navestock (base) (Essex); Coity (bowl) (Glamorgan); King’s Walden (bowl) (Herts); Rockfield (bowl) (Mon) ; Beechamwell (bowl in porch), Carbrooke (base), Croxton (bowl), Necton (fragments), Shipdham (fragments), and Wymondham (fragments) (Norfolk); Stoke Dry (bowl) TYPES IN GENERAL—THEIR SHAPE 41 and Uppingham (bowl) (Rutland); South Bersted (fragments) and Lurgashall (a fragment in the south cloister) (Sussex). Only after many adventurous wanderings have some fonts been restored to their sacred use, and this not always in their original home. The very interesting font at Cenarth (Carmarthen) belonged at first to the church at Llandisiliogogo in the adjoiming county of Cardigan. For some time the bowl did duty as a pig- trough in a farmyard, and when Cenarth church was rebuilt in 1872 it was removed into it and placed in its present position upon a very incongruous pedestal. Another example of an old font in a new church is found at the chapel-of-ease at Sarnau in the parish of Penbryn (Cardigan). This is a large square Norman bowl that was rescued from base uses in the parish of Cenarth (Carmarthen). It would seem therefore that this is the old font of Cenarth once more restored to its sacred use, though at some distance from its original home, where its place has been occupied by the fine bowl that has strayed from Llandisiliogogo. To illustrate the strange wanderings which have been the lot of some ancient fonts we may refer to the case of the fifteenth-century font of Stratford-on-Avon, which is probably the bowl in which Shakespeare was baptized. This was removed to the churchyard in the eighteenth century, and after lying neglected for some time was carried away and made to serve secular uses. In the last century it stood in the grounds of the Shake- speare Hotel, but has now been recovered and replaced in the church, though its mutilated condition renders it unfit for use. Similar adventures must have befallen a great many old fonts in the careless and irreverent days that preceded the beginnings of the Anglo-Catholic revival in the last century, and the fate of the very fine 42 BAPTISMAL FONTS Norman font-bowl now in Stone church (Bucks) (Fig. 15) may be quoted as another example. Originally it belonged to the church of Hampstead Norris (Berks), but was cast out in 1767, when that church received the gift of a new font, and found its way to London. There it had several homes before it was recognized as a fine piece of Norman work. The whitewash having been ~ Fie. 15.—SToNE (Bucks). carefully scraped off, it was eventually presented to Stone. (a) We have spoken above of the breach with the ancient doctrine and ceremonial of our Church which marked the later part of the sixteenth century. But in spite of the changes accompanying the Reformation in religion and the Renaissance in art, Gothic tradition lingered in architecture, and a corresponding feeling or TYPES IN GENERAL—THEIR SHAPE 43 taste survived sometimes in the accessories of worship, so that here and there post-Reformation fonts were designed and constructed on medieval and traditional lines. St. John’s-on-the-Wall in the city of Bristol has an Hlizabethan font, which, though of very unusual all i M95) I, \ : ng Hl : H Fic. 16.—Str. JoHn’s-ON-THE-WALL BRISTOL. shape, conforms in its general outline and proportions to the old idea of a font (Fig. 16). St. Nicholas’ King’s Lynn, whose earlier font stands disused upon the floor, has a large and handsome octagonal font, with strap- work and other ornament characteristic of the earlier half of the seventeenth century, whose general appear- ance closely corresponds to that of a typical fifteenth- At BAPTISMAL FONTS century font, and there is a good contemporary parallel in the neighbouring church of Terrington St. John. Other seventeenth-century examples of fonts of good traditional outline and having large bowls occur at Lambourn (Berks), Credenhill (Hereford) (Fig. 98), and at Maidstone, where the parish church of All Saints’ has a well-proportioned octagonal font, temp. James I, but the adornment of the bow! and the curves of the stem clearly indicate the period to which it belongs. The Laudian revival of churchmanship was responsible for some large fonts of good design, such as the one in Exeter Cathedral that was made for the christening of the youngest child of Charles I, and fonts more or less conforming to the traditional lines were placed in the churches dedicated in the name of the same king at Falmouth and Tunbridge Wells. Some- times, too, in the later Stuart period we find a font made after an early pattern, such as the one at Atcham (Salop), which resembles the Norman font at West Thorney in Sussex. Other attempts to go back to earlier precedent were productive of somewhat clumsy results, as at Stow-on-the-Wold and Ruardean (Glos). (6) But the change of taste and the enthusiasm for Classical art which followed upon the revived interest in Classical learning of the Reformation periodeventually caused an entire departure from the traditional form of the font. Through the work of Inigo Jones and Sir Christopher Wren a neo-Classical style was established in Architecture, and fonts conformed to the new fashion, generally taking the shape of small vases standing upon slender pillars, and resembling garden sundials or flower-vases rather than vessels for the administration of Baptism, for the ancient ceremony of immersion, still ruled in the Prayer Book as the normal method of TYPES IN GENERAL—THEIR SHAPE 45 baptizing infants, was quite out of the question, so small and shallow was the receptacle for the water. Hxamples of fonts of this class are : Berkshire : Chaddleworth. Buckinghamshire ; Little Hampden. Cheshire: Cheadle, Pott Shrigley, Knutsford, Macclesfield, Christ Church Macclesfield, Poynton. Devonshire : Werrington (Fig. 41). Essex: Billericay. Gloucestershire : St. Nicholas’ Bristol Bridge, Christ Church (City) Bristol (see below on wooden fonts), St. Mary-de-Crypt Gloucester, Newent. Hampshire: All Saints’ Southampton. Herefordshire: St. Peter’s Hereford. Hertfordshire : Essendon (see below, p. 135), Hoddesdon, Redbourn. Kent: Ash, St. Peter’s-in-Thanet, Lancashire: St. Anne’s Manchester, Denton. Middlesex : Very many of the London City churches and others of Sir Christopher Wren’s school, as St. Catherine Cree, St. Stephen’s Wal- brook, All Hallows Lombard Street, and St. Martin’s-in-the-Fields, Norfolk: Burnham Market, Holme-next-the-Sea, Croxton, Northwold (in the churchyard), North Runcton, Titchwell, Warham St. Mary. Pembrokeshire ; Narberth. Rutland : Ayston. Salop : St. Chad’s Shrewsbury. Suffolk : Holy Trinity Bungay, St. Mary’s Bungay. Sussex ; Beckley, Northiam (Fig. 17), Pett (in the churchyard), Warming- hurst. Occasionally in fonts of this general description the bowl is of fairly large dimensions, though only a small basin is hollowed out in the top of it to hold the bap- tismal water, as at Hampstead Norris (Berks), and St. Mary’s Maldon (Hssex). (c) More rarely fonts of this era assume the shape of a jar or urn. An example of the former is the octagonal font of jar-like form that was dug up in the chancel at Hartshorne (Derbyshire) when the church was restored in 1782. At St. Catherine’s Milford Haven (Pem) is a very ancient Egyptian urn of por- phyry inscribed on the plinth: ‘“ MDCCCI Brought 46 BAPTISMAL FONTS from Egypt by Bishop Pococke.” This urn became the property of Lady Hamilton, Nelson’s friend, and was by her presented to St. Catherine’s church that it might serve for a font, though there is no evidence to show that it was ever used for the administration of Baptism. . (d) In spite of the general tendency towards Classical forms that marked the seventeenth and eighteenth centuries, a feeling for the older Gothic design still lingered in some cases, even though the font conformed to the attenuated pattern which had become the fashion. This is seen in such examples as those at Deddington (Oxon) and Beechamwell (Norfolk). Such reversion to earlier Gothic type sometimes is found along with persistence of the post-Reformation practice of baptizing in basins. A most curious witness in this respect remains in the shape of a font still preserved at St. Mary’s Haverfordwest, though no longer in use. It is of stone, and was made in the last century. So far as its general appearance goes, it is a fairly good imita- tion of a pedestal of fifteenth-century design, but it has no bowl, and instead of a bowl there is sculptured a shallow little basin of stone resting upon the top of the pedestal (Fig. 18). Fic. 17.—NorrTaiam (SussEx). TYPES IN GENERAL—THEIR SHAPE 47 (7) Before concluding the part of our subject which deals with the shape of the font, some smaller groups of design should be noted here for the sake of completeness : (a) While early fonts very commonly followed the Sa SH = Fic. 18.—St. Mary’s HAVERFORDWEST (PEM). pattern of tubs such as had been in use for the administration of the sacrament, they occasionally assumed rather the form of baths or tanks. Such fonts are met with more commonly on the Continent and sometimes on a very large scale, as at Le Dorat (Haute- Vienne, France). Norman fonts of tank-like form occur 48 BAPTISMAL FONTS in this country at Llanfair-y-Cwmmwd (Anglesey) and Bridekirk (Cumberland) (Fig. 19). (6) The design of the large group of fonts supported upon five shafts survived, as has been shown above, from the Norman into the succeeding Gothic styles, and the surrounding shafts quite naturally developed into an open arcade surrounding the central shaft and supporting the bowl. Examples of this rather pleasing arrange- ment occur at Arkesden (Essex), Hast Barsham and North Creake (Norfolk), and—a more ornate design— at Barnack (Northants). When we consider that the genius of Gothic architecture lay in the employment of open arches, and its beauty largely in the use of pierced tracery, it seems somewhat remarkable that open arches or pierced forms are comparatively seldom used for the support of font-bowls. In fonts that are later than those just mentioned pierced forms, however, occasionally occur, though unrelated to them im conception. The pierced pedestals sometimes found in fifteenth-century fonts are rather examples where the typical panelling of the Perpendicular style has been, contrary to the more usual fashion, pierced through, as at Barrowby (Lincs), Conway (Carnarvon), West Drayton (Middlesex), St. Mary’s Shrewsbury, and St. Paul’s Worthing, a font brought from Chichester Cathedral. The curious font at Chepstow (Mon), where the bowl is supported upon a central shaft surrounded by detached buttresses, is reminiscent of the earlier type. (c) Another class of fonts—a very small one in this country—remains to be noted, viz. those which have a smaller and subsidiary bowl, either marked off by a division within the bowl or attached to it on the out- side. According to the Roman rite, the drippings from the child’s head are not to be allowed to fall into the font, but are to be caught in a basin placed beneath. ‘sh -d Surv} GHAVADTIONOA 06 91H MAIAAdIad “er 6b -d Surovy "AUMTSIGAUVA “46 “OM “LSHNHAAAd “16 “PM TYPES IN GENERAL—THEIR SHAPE 49 Accordingly many Continental fonts have a portion of the bowl divided off for this purpose. There is no old font in England similarly arranged, but an octagonal bowl is preserved in Prince’s Tower, Jersey, which has the remains of a smaller bowl carved within it. There are, however, a few curious ancient examples in this country, where a small bowl is attached to the usual one. The wooden bowl preserved at Pengwern (Merio- neth) (see below, p. 138) is of uncertain date, but must have come down from a remote period. By the side of the receptacle for the baptismal water a much smaller bowl has been hollowed out, which was probably intended for the holy oil and the spoon used in the chrism or anointing which accompanied the administra- tion of the sacrament. The association of the chrism with Baptism in the Celtic Church has received archeo- logical confirmation through the discovery, near springs or on the banks of rivers, of bronze spoons of late Celtic workmanship, some of them bearing an incised cross. Some of these baptismal spoons have been found in Wales, at Llanfair-dyfiryn-Clwyd (Denbighshire) and at Penbryn (Cardigan). The pair discovered at Penbryn are now preserved in the Ashmolean Museum at Oxford. A few old stone fonts have, in like manner, a subsidiary bowl to contain the holy oil or for the spoon to rest in, as in the fine example at Youlgrave (Derbyshire) (Fig. 20). The same kind of arrangement is occasionally met with in France, as in the large and early font at La Bazeuge (Haute-Vienne), a finely sculptured one at Bérulles (Aube), and a later one at St.-Jean, Dijon. Pro- bably also the mutilated thirteenth-century font which © now stands outside the west door of Folkestone parish church, which has a curious projection at the side with a small hollow above in the rim of the bowl, should be placed in the same class with the fonts just mentioned. 4 50 BAPTISMAL FONTS (d) In quite recent times a somewhat pretentious and fanciful type of font has found favour in a few places, in which finely sculptured angelic figures form the dominant feature, and there is an entire departure from the traditional Christian font. At Barmouth (Merion) a kneeling angel in marble holds a large shell which serves as a bowl for the baptismal water, the conception being borrowed from Thorwaldsen’s kneeling angel in our Lady’s Church at Copenhagen. The costly marble church at Bodelwyddan (Flints) contains a font of similar design—a little girl, kneeling, holds the shell- shaped basin, while a smaller child stands beside her. An even more elaborate example of the same class has been erected in Milton Abbey (Dorset), where two angels representing Faith and Victory stand on either side of a large rock at the foot of which is a shell holding the baptismal water. CHAPTER V TYPES OF FONTS IN GENERAL— THEIR ORNAMENT (1) Harty Fonts wirH ORNAMENT OF CELTIC CHARACTER It has been noted above that our fonts really begin, as a regular part of our church furniture, in the great church-building era which followed upon the Norman Conquest. There must have been, however, fonts within some churches at an earlier period. Bede’s reference to St. Augustine’s baptizing in St. Martin’s church at Canterbury implies that there was a font within the church at that time,’ and the present font in the church may be the identical one used at the time of St. Augustine’s mission, for its adornment of inter- lacing circles is clearly related to Celtic forms of orna- ment. Some of the plain and rudely shaped cylindrical fonts may date from before the coming of the Normans, but there are comparatively few that we can assign with anything like certainty to so early a period. In two cases, Bingley (Yorks) and Patricio (Brecon) (Fig. 97), an inscription upon the font assigns it to a pre-Conquest date,? but generally it is the character of the ornament which affords the surest indication of the period to which the font belongs. When a font exhibits orna- ment in the form of spirals or interlacing cords, akin to the sculpture upon early Celtic crosses, or to the decora- 1 See above, p. 8. 2 See below on Inscribed Fonts, p. 150, 51 52 BAPTISMAL FONTS tion of illuminated MSS. of pre-Conquest date, we may be sure that it belongs either to Saxon times, or to a time soon after the Norman Conquest, its ornament having been designed under Celtic influence. Notable examples of fonts with adornment of Celtic character are the following : Deerhurst (Glos) (Fig. 21)—A tub-shaped font very artistically adorned, its surface being covered by a fine Fic. 23.—Patricio (BRECON). pattern of diverging spirals that has an Irish look about it. Probably it was set up at the same time that the church itself was built, and there is a general agree- ment that this is of pre-Conquest origin. Some of the ornament on this font is similar to carving upon a door-jamb in the eighth-century church of St. Laurence at Bradford-on-Avon (Wilts), and is of a type that occurs nowhere else in England. Dr. G. F. Browne suggested that the ornament in both cases may have been executed TYPES IN GENERAL—THEIR ORNAMENT 53 under the influence of the monks of Malmesbury Abbey, which was founded from Ireland. The ornament of the Deerhurst font consists entirely of a diaper of Celtic design, but in other examples of adornment of Celtic design there is an admixture of decoration of another class. At Llangristiolus (Anglesey) (Hig. 24) a band of interlacing lines is enclosed in an arcade of Norman character, while in some splendid and Fig. 24.—LLANGRISTIOLUS (ANGLESEY). very ornate early fonts, decoration derived from Celtic models is mingled with elaborate figure-sculpture. Notable instances are at Chaddesley Corbet (Worcs), Stottesdon (Salop) (Fig. 26), Hardisley (Hereford) (Fig. 22), Castle Frome (Hereford) (Figs. 27, 28), Holdgate (Salop) (Fig. 29), Brecon Priory, and Locking (Som). Interlacing patterns from a Celtic source are also a feature of the very handsome group of Norman fonts found in West Norfolk (see below, p. 124). 54 BAPTISMAL FONTS (2) Harty Fonts WITH ORNAMENT INFLUENCED BY Ciassic DEsIen In some cases the ornament of Norman fonts shows an affinity, not so much with the interlacing patterns that characterise early Celtic art, but rather with Classic design. The very interesting font at Hen- Kglwys (Anglesey) (Fig. 25) has a band of key-pattern ~ round the upper part of the bowl, and the adornment ae ss mone Fic. 25.—Hrn-Eciwys (ANGLESEY). of its lower part occurs also in a slightly different form at Trefdraeth (Anglesey). Of more flowing character but with decided Classic feeling about it is the ornament in high relief on the fonts at Llangeinwen and Llanidan (Anglesey) (Fig. 30), Maids Moreton (Bucks), Torting- ton (Sussex), Wold Newton (Yorks), and in the graceful Devonshire examples at Bishops Teignton and South Brent. Akin to these last is the adornment of the small Cornish group of fonts executed in the stone known as green catacleuse (see below, p. 133). An ‘NOCGSHLLOLS 96 ‘S14 ‘PS *d Surv] “HNOGA ATLSVO (26 “514 Fic, 28, CASTLE FROME, facing p. 55. TYPES IN GENERAL—THEIR ORNAMENT 55 elaborately sculptured Norman font-bowl with orna- ment in high relief and of Classic character occurs at St. Woolos, Newport (Mon). (3) Harty Fonts with Banps oF SCROLL-woRK Akin to the classes above described are those fonts which have for their adornment bands of scroll-work. TINGS at tts Osa RTT ry Wise a : i) Wi DS Fia. 30.—LiLANIDAN (ANGLESEY). In some cases we find a wide horizontal band of such ornament practically covering the whole bowl, as at Kast Tuddenham (Norfolk), Little Snoring (Norfolk), and the old font at Chipping Campden (Glos),now disused and built into the east wall of the south aisle. In the same category may be placed the very much worn and defaced bowl of the font at Chesterfield (Derbyshire). Perhaps the handsomest of all fonts bearing ornament 56 BAPTISMAL FONTS of this kind is that at Great (or West) Shefford (Berks) (Fig. 31), where the whole bowl is encircled by parallel bands of scroll-ornament and scalloped at the bottom. More common are examples where one band of scroll- ornament encircles the bowl. Sometimes a band of such ornament occurs at the top of a bowl having other orna- ment below, as at Deerhurst (Glos) (Fig. 21), Wansford — 3 | ty Fh ma mn $) es YY ZONS/2 i 76) =< te pie) i TRS oe a) See ait Mase a i V oe A Nf Gy Fi \9 AE pica ' q g ral Y Ae Lif. Fic. 31.—WestT SHEFFORD (BERKS). (Northants), or Hook Norton (Oxon); more often it forms the only adornment of a plain round bowl, as at Whitstone (Devon). More rarely such scroll-work is found as a band at the base of the bowl, as at Bempton (Yorks), and we have it exceptionally at Leckhampstead (Berks) in both positions—at the top and the base. A large Norman font at St. Issells (Pem) has a square bowl with a panel of scroll-like ornament upon each side. “gS +d surovy THHSWIOD” ‘ss oh WIaD HLYON GE P14 ‘ae a ee _ Ww = ee "LS -d suioey "HINITAUMY “Ss “OL ‘NUNGAAIM “Fe “OW TYPES IN GENERAL—THEIR ORNAMENT 57 (4) Harty Fonts with FIGURE-SCULPTURE Elaborate figure-sculpture, generally somewhat rude in execution, occurs in early fonts that are also ornamented with interlacing designs, as at Chaddesley Corbet (Worcs), Stottesdon and Holdgate (Salop) (Figs. 26 and 29), and Hardisley and Castle Frome (Hereford) (Figs. 22 and 27, 28). Similar figure-sculpture also occurs on a good many fonts of the eleventh century, its details or the character of the ornament connected with it clearly indicating the Norman period. This early figure-sculpture may be classified according to the subjects represented : (a) Grotesque Animals.—Some font-bowls have car- vings of grotesque animals or dragon-like monsters, as at Chaddesley Corbet (Worcs), and as in the case of several of those belonging to the Tournai marble group of fonts (see below, p. 133). Such monsters are evidently akin to those represented on earlier monuments such as stone crosses, a good example remaining in the converted font-bowl at Melbury Bubb (Dorset) (Fig. 5). (6) Prctorial Representations.—Sometimes grotesque monsters appear not as isolated figures, but take their place in a vividly depicted scene, and are shown as in conflict with, or as being hunted by, man. The finely executed fonts at Hardisley (Hereford) (Fig. 22) and Alphington (Devon) have representations of this kind mingled with scroll-work and interlacing lines. Such pictures upon a font were probably intended to set forth man’s subjugation of the powers of evil—an appropriate subject for the laver of regeneration. No doubt the same thought underlies the elaborate and much-discussed figure-sculpture of the fine Norman font-bowl at Stone (Bucks) (Fig. 15), where man is shown taming fierce creatures. ‘There is still less doubt that this idea is 58 BAPTISMAL FONTS embodied in the font at Avebury (Wilts), where the triumph of grace through the ministry of the Church is set forth by the figure of a bishop slaying the Serpent, and at Hast Haddon (Northants) by the figure of a knight with a cross upon his shield slaying a dragon. Or the idea of conflict to which the Christian is pledged in Baptism is set forth by man striving with man, as in the wrestling scene upon the Cowlam font (Yorks). From symbolical representations such as those just referred to, it was natural that early sculptors should pass to depicting scriptural scenes. The Baptism of our Lord, frequently represented in early Christian times, is depicted on fonts belonging to the Norman period at Bridekirk (Cumberland), Castle Frome (Hereford), St. Nicholas’ Brighton, and Kirkburn (Yorks). At Bridekirk (Fig. 19) our Lord is immersed in the water up to the waist, the Baptist’s right hand is stretched out in the act of affusion, while in his left hand is held a vessel containing the oil for the chrism, and the Holy Spirit in the form of a dove is bending over our Lord. On the font at Castle Frome (Hereford) (Fig. 27) the same subject is treated very graphically, though in a more conventional manner. The water of Jordan appears as a circular pool, in which fishes are swimming, with Christ seated in its centre. St. John Baptist wears a girded alb with a maniple upon his right arm, and the representation is evidently influenced by the ceremonial of the sacrament, as administered in a circular font-bowl, with which the sculptor was familiar. The dove hovers over Christ, and the Divine hand is extended in benediction from above. 3 Since Baptism is the sacrament of our re-creation in the Second Adam, it is natural that subjects relating to the Creation of the First Adam and the Fall should TYPES IN GENERAL—THEIR ORNAMENT 59 find a place in the figure-sculpture of the font. The font at Hast Meon (Hants) is a notable example. On one side is shown the creation of Eve and God’s command not to eat of the fruit of the Tree. Adjoining on the same side is a representation of the Fall, with Eve receiving an apple out of the jaws of the Serpent, which is coiled in the branches of a tree with con- ventional foliage. On the adjacent side is the expulsion from Eden, and the subsequent labour of our first parents is indicated by the figures of Adam being taught to dig by an angel who holds a spade, and of Eve em- ployed with her distaff. Other representations of the Fall figured on Norman fonts are referred to below (p. 78). Scenes from the life of our Lord are not infrequently portrayed upon fonts of the Norman period : The Adoration of the Magi, the Massacre of the Inno- cents, and the Flight into Egypt at Ingleton (Yorks) (see also below, p. 78). The Temptation at Cottam (Yorks). The Last Supper at St. Nicholas’ Brighton and at North Grimston (Yorks)—the latter a crude representation (Fig. 32). The cylindrical font at Brighton has bands of ornament characteristic of the Norman style, and a very finely executed representation of the institution of the Holy Eucharist. Our Lord and the Apostles are shown seated behind a draped table. Only six Apostles are represented, three on each side of Christ, the rest of the font being taken up by other sculptured scenes (see below, pp. 60, 61). Our Lord’s features differ from the conventional likeness in that He has no full beard, but a bare chin with a small beard of the “ im- perial ’ type. He is depicted in the act of consecration, the left hand resting upon a flat loaf on the table, and the right hand raised over a chalice in the act of bene- diction. — The Crucifixion, which is rudely represented upon 60 BAPTISMAL FONTS a font at Wattenscheid (Westphalia) as early as 1000 a.p., is figured upon a Norman font at Coleshill (Warwick), together with arcading and _ scroll-work characteristic of the period (Fig. 38). The crucifix is contained within an ornamental circle, and the attendant figures of our Lady and St. John are behind the circle, partly within and partly without it. The Descent from the Cross is sculptured on the font © at North Grimston (Yorks) and the Ascension at Kirkburn (Yorks). On the last-named font is also represented our Lord’s charge to St. Peter, with the delivery of the keys. Besides Scriptural scenes, the lives of the Saints some- times furnish subjects for the adornment of fonts: The martyrdom of St. Andrew, of St. Laurence, and the incident of St. Margaret and the Dragon are vividly presented on the font at Cottam (Yorks). But of stories of the saints, it is those connected with the life of St. Nicholas that figure most frequently on fonts. The font of Winchester Cathedral, besides the forms of monsters which are common to it and other members of the Tournai marble group (see below, p. 133), has upon two of its sides vivid representations of stories connected with St. Nicholas. Upon the west side of the bowl the saint restores to life three boys who had been murdered by an innkeeper that he might make their bodies into sausages. Other figures upon the same side illustrate the journey of a nobleman to offer a cup to St. Nicholas in thanksgiving for the birth of a son, the drowning of the son and loss of the cup on the voyage, and the restoration of both by the saint. On the south side of the bowl of the same font St. Nicholas is depicted giving dowries to the daughters of a poor nobleman to enable them to marry. Another incident in the story of St. Nicholas is the subject of one of the panels on the font at St. Nicholas’ * TYPES IN GENERAL—THEIR ORNAMENT 61 Brighton. Some pilgrims started upon a voyage to visit the saint. To them appeared a woman who handed them a vessel of ointment bidding them carry it to the church. The woman was an evil spirit in disguise, and what she gave them was a fire-ball intended for the destruction of St. Nicholas’ sanctuary. But the saint appeared and bade the mariners cast the object into the sea, whereupon it burst into flame. Adjoining this is a much smaller panel containing only two figures, the subject of which is doubtful. Two of the scenes, out of the four depicted on the font, are Biblical, viz. the Baptism of our Lord and the Last Supper. Probably this one, like the last described, is intended to represent something connected with St. Nicholas. A man is shown kneeling upon his right knee and apparently offering to a seated figure a round object like a cake, which rests upon a cloth in his left hand. This sculpture has proved a puzzle to antiquaries who have described this font, but it is quite likely that it has reference to what used to be known amongst sailors as “ St. Nicholas’ bread.” Until quite recent times Greek sailors took to sea small loaves known by this name, which they would throw into the waves in time of storm. (c) Symbolic Animals.—Besides the grotesque or dragon-like animal forms which occur on early fonts (see above, p. 57), some animal sculpture is evidently intended to be symbolic. The most obvious examples are those where the symbolism has an evident Scriptural basis. Thus the Agnus Dez is figured upon the fonts at Stottesdon (Salop) (Fig. 26), Kirkburn (Yorks), and Thames Ditton (Surrey). The Serpent, in accordance with Genesis 11., stands for the evil spirit, and is shown in representations of the Fall upon early fonts at Kast Meon (Hants), and Fincham (Norfolk). Itis probable also that serpentine or dragon- 62 BAPTISMAL FONTS like forms which are sometimes depicted in conflict with man are intended to stand for the powers of evil. Examples occur at East Haddon (Northants), Avebury (Wilts), and Eardisley (Hereford) (Fig. 22). A serpent is depicted at Hinton Parva (Wilts) with birds (doves) and fishes symbolising the Birr OY MAW conflict between Christian souls amas \ JESS and the power of evil. The sD wooden font at West Wycombe (Bucks) (Fig. 36) also has = doves pursued by a serpent. | A The Zion has in Scripture | a double symbolism. It may | (\ sometimes stand for the power \ of Christ as the Lion of Judah A in accordance with Rev. v. 5, but appears to be used more Ul Ni often to typify the evil spirit who “ goeth about as a roaring Q lion seeking whom he may y devour” (1 St. Pet. v. 8). Lions are sometimes repre- & sented around the base of early = fonts, as in the very ancient Gy a . example at Wattenscheid OG “NG. = (Westphalia). In this position a8et they would seem to stand for the powers of evil, and are thus Fig. 36.—West Wyoomsz figured beneath the font as waa! being at the laver of regenera- tion baulked of their prey. It agrees with this interpre- tation of the symbolism of the lions that in some later fonts also creatures representing powers of evil are figured around the bases of fonts (see below, p. 117). Thatim the fine font of St. Mary’s Stafford the fierce-looking lions TYPES IN GENERAL—THEIR ORNAMENT 63 stand for evil spirits is rendered clear by the inscription upon the font—DISCRETUS NON ES SI NON FUGIS, ECCE LEONES—‘‘ You are a fool if you do not flee; look out for the lions! ’’ (see below on Inscribed Fonts, p. 164). These lions at Stafford are boldly sculptured and vividly portrayed, as are also the four detached and Byzantine- = ore eet tr itt gee Eitan Pet ai pe Fia. 37.—LiLANARTH (CARDIGAN). looking lions séjant grouped around the base of the Norman font at Hereford Cathedral. The old font dilapi- dated and disused but now recovered and set up within the church at Llanarth (Cardigan) (Fig. 37) has also prowling round its base four magnificent lions in bold relief, whose stealthy movement is very naturally in- dicated. At Shobdon (Hereford) beneath a plain font- 64 BAPTISMAL FONTS bowl are large figures of lions of highly conventional form that encircle the pedestal. Other examples are much less finished and artistic than those already men- tioned. At Crowan (Cornwall) and at St. Ives in the same county lions of conventional and somewhat rude form are indicated upon the font pedestals in low relief. Beasts resembling lions are also sculptured upon the sides of the square font-bowl at St. Peter’s Ipswich (see below on Tournai Marble Fonts, p. 133), though in that case their symbolism is uncertain. In this category of animal figures for whose symbolism there is Scriptural warrant we must include the emblems of the four Evangelists. The four living creatures with wings and having the faces of a man, a lion, an ox, and an eagle respectively, which were seen by St. John in his heavenly vision (Rev. iv. 6, 7), were at an early period in Christian art used as emblems of the Hvan- gelists. ‘They occur on a good many fonts of the later medieval period in England, and are especially frequent amongst the figure-sculpture of the fine Hast Anglian fonts of the fifteenth century (see below, p. 112), but are comparatively rare upon earlier fonts. The splendid font at Castle Frome (Hereford), already referred to for its adornment of Celtic character and its representation of Christ’s baptism (Fig. 27), has also the symbols of the Evangelists upon its bowl, carved in high relief, and vividly though crudely portrayed. The illustration (Fig. 27) shows the ox of St. Luke and the hinder part of the lion of St. Mark. | There are two Welsh fonts of the Norman period upon which the Evangelistic symbols also appear. The interesting font-bowl at Llanfair-Clydogau (Cardigan) (Fig. 38) was at one time disused and cast away, but has been recovered and, after beg kept for some time within the church, is now again set up for its sacred use, TYPES IN GENERAL—THEIR ORNAMENT 65 though the plain square pillar of white brick upon which it stands is the reverse of beautiful. The bowl, which has evidently experienced exposure and rough usage, bears at about equal distances representations of four strange- looking figures. These have been misunderstood and Fie. 38.—LiLANFAIR-CLyDOoGAU (CARDIGAN). wrongly described by those who have written upon the antiquities of Cardiganshire!; but there can be no 1 Meyrick (History and Antiquities of Cardigan, p. 221) and Eyre Evans (Cardiganshire, p. 216) had no idea of the meaning of the figures. Horsfall Turner (Walks and Wanderings in County Cardigan, p. 245) was content to repeat their descriptions, though he examined the font through a window of the locked church. 5 66 BAPTISMAL FONTS doubt that they are intended for the emblems of the Evangelists. The man (a face only), the lion, and the ox are conventional in form, and especially is this so in the case of the lion, who would not be recognisable as such were it not for his companion figures. The eagle of St. John, however, is a fine bird in bold relief, and in better preservation than the other figures. The Lampeter font was removed from the old parish church on its demolition in 1822, and eventually found a resting-place at the chapel-of-ease at Maestir, about two miles distant. The bowl is externally square, and at the angles are figures which are clearly the symbols of the four Evangelists. They are in high relief, and the carving is in general almost as sharp as when first executed, though the ox of St. Luke has suffered from exposure. The workmanship of this font is altogether superior to that of the one at Llanfair-Clydogau, and differs from it in indicating clearly the wings belonging to the four creatures, In the fine group of Tournai Marble Fonts (see below, p. 133) various creatures are sculptured upon | the sides of the bowls, and, in two cases, some of the Evangelistic emblems find a place amongst them. The west side of the font at St. Michael’s South- ampton has the eagle of St. John, the lion of St. Mark, and the angel of St. Matthew; each creature is winged and has a nimbus, while the eagle has a book between its talons to make the symbolism still more clear. Amongst the griffons carved upon the font at Lincoln Cathedral are two creatures whose feet rest upon books, and which are probably in- tended to stand for the lion of St. Mark and the ox of St. Luke. Doves in Christian symbolism stand sometimes for TYPES IN GENERAL—THEIR ORNAMENT 67 disciples of Christ in accordance with our Lord’s words as recorded in St. Matt. x. 16. The sacramental sus- tenance of the Christian soul seems, therefore, to be indicated on the Winchester font, where doves are shown feeding upon bunches of grapes, and upon the font at St. Mary, Bourne (Hants), where they are represented as drinking from cups (see below on Tournai Marble Fonts, p. 133). The birds figured side by side with a serpent and fish on the font at Hinton Parva (Wilts) evidently stand for Christian souls. Symbolic doves appear on the early font at Castle Frome (Fig. 28), and also occur upon the curious wooden post-Reformation font at West Wycombe (Bucks) (Fig. 36). Of symbolic animals outside the range of Biblical symbolism the most noteworthy is the Fish. Though no precise symbolic meaning is attached to this creature in the New Testament, it appears in close connection with our Lord on the occasions of His miraculous feeding of the multitude, and was often used as an emblem by the earliest Christians, being frequently figured in the cata- combs, and engraved upon articles in common use, such as seals and rings. ‘The fish is treated as an emblem of our Lord Himself by Tertullian, and St. Augustine (De Schism. Donat., III. 2) explains that the fish was taken to stand for Christ because in Greek the initial letters of the phrase “ Jesus Christ the Son of God, Saviour” spell the word IX@T2, ie. Fish. It was natural that fishes should also be taken as symbolic of Christian people, for they are born anew in the water, as Tertullian explains (De Baptismo, i.): “‘ We smaller fishes, after the example of our Fish (Christ), are born in the water, and it is only by continuing in the water that we are safe.” A further reason for comparing Christian people to fishes was found by early Fathers 68 BAPTISMAL FONTS in the fact that they are brought into the Church by the Apostolic preaching, just as fish were caught in miracu- lous draught by the disciples in the New Testament whom Christ called to be fishers of men. The figure of the fish naturally appears in baptismal scenes, as in the representation of the baptism of our Lord in the Cata- comb of St. Callixtus (Fig. 1), and upon the font at Castle Frome (Hereford) (Fig. 27). The fish as typifyig Fic, 39.— INTERIOR OF FONT-BOWL AT RAMSBURY (WILTS). Christ or the Christian is figured upon the fonts at Hinton Parva (Wilts), Stone (Bucks) (Fig. 15), and Slaugham (Sussex), while the font at Ramsbury (Wilts) (Fig. 39) is unique im having life-like re- presentations of fishes carved within the bowl, so that they appear to swim in the baptismal water, and suggest the thought expressed by Tertullian, and quoted above, as to the Christian being born in the element of water. 3 a TYPES IN GENERAL—THEIR ORNAMENT 69 The Salamander is another symbolic animal that some- times appears upon fonts. This creature was supposed to be generated and to exist in the element of fire, and hence it was looked upon as typical of the Christian, who is baptized with the Holy Ghost and with fire (St. Luke i. 16), or it was thought emblematical of the Christian, who by grace imparted at the font is able to resist the fire of temptation (1 St. Pet. 1.7, iv.12). The salamander appears side by side with the fish upon the font-bowl at Stone (Bucks) (Fig. 15), and as supporting the small subsidiary bowl of the font at Youlgrave (Derby) (Fig. 20). On the north side of the square bowl at Winchester Cathedral are three medallions, each containing a creature, the outer ones representing birds (doves) and the centre one a salamander (see below on Tournai Marble Fonts, p. 133). Creatures generally thought to be salamanders also encircle the base of the otherwise plain font at Salehurst (Sussex), though these last might represent demons, powers of evil being very often represented beneath the bow! of the font, as being overcome by the grace of the sacrament (see pp. 117, 118). It is quite likely also that some of the creatures shown upon elaborately adorned members of the Bod- min group of Cornish fonts (see p. 126) may be intended for salamanders. Signs of the zodiac, which appear in the mouldings of some Norman doorways, as at Iffley (Oxon), are also sometimes represented amongst the figure-sculpture of the font. Sagittarius appears upon the bowl at Darenth (Kent) and at Hook Norton (Oxon), in the latter case in connection with Aquarius. The fine leaden font at Brookland (Kent) has the signs of the zodiac round the upper part of the bowl. Figures emblematic of the occupations of the months occur in connection with the signs of the zodiac on 70 BAPTISMAL FONTS the font at Brookland just referred to. wise are as follows : January: a double-faced figure August: reaping; Virgo above. (Janus) with goblet in hand; September: threshing; Libra Aquarius above, above. February: ploughing; Pisces October: treading the winepress ; above. Scorpio above. March: pruning; Aries above. November: tending swine; Sagit- April: grafting; Taurus above. tarius above. May: hawking; Gemini above. December: killing an animal for June: mowing; Cancer above. food ; Capricornus above, July: haymaking; Leo above. At Burnham Deepdale (Norfolk) the occupations of the months are somewhat differently depicted. January: drinking. June: weeding. February: seated warming by a July: mowing. fire. August: gathering sheaves in har- March: digging. vest. April: pruning. September: threshing. May: outdoor processions orgames, October: vintage. indicated by a figure bearing a November: pig-killing. flag. December: feasting at table. It is to be noted that in both these fonts at Brookland and Burnham Deepdale the various emblems and scenes depicted are each one contained within a bay of a shallow arcade (see below on the combination of architectural features with figure-sculpture, p. 77). Amongst fonts adorned with figure-sculpture there are some that are difficult to classify. More or less conventional figures sometimes form a principal part of the ornament, yet these do not appear to be connected so as to form any pictorial representation, nor is their symbolism by any means clear, so that they may be merely decorative figures. A good example of this sort of ornament is seen at Locking (Som), where the angles of a square bowl are formed into upright human figures, TYPES IN GENERAL—THEIR ORNAMENT 71 whose arms, stretched out at right angles to their bodies, extend around the font. The rest of the surface of each side of the bowl is taken up with typical scroll-like orna- ment of the Norman period. At Curdworth (Warwick) is another curious example of rude and early figure- sculpture, where figures (apparently of ecclesiastics) whose hands and feet are their dominant features occupy the whole surface of the bowl over a large part of its extent. The font at Stoke Canon (Devon) has some figure-sculpture remarkable for boldness of design, but the rudeness of its execution and the rough usage it has been subjected to render it difficult to give a meaning to the figures. The bowl, which is practically cylindrical, is divided into four compartments by animals with their heads downward, the compart- ments between having crosses of interlacing lines. The pedestal is of slightly smaller dimensions, having at the angles under the animals figures with arms uplifted, supporting the bowl, and four other figures between these, a good deal mutilated and difficult to interpret. (d) Fonts with Sculptured Heads.—There is a widely distributed type of font whose ornament consists of human heads, generally four in number and placed at approximately equal distances apart around the bowl. The significance of these carved faces is very uncertain, and the fact that they are found over a wide area forbids us to seek any restricted explanation, or to see in them a representation of local legend. I think, however, it is possible to give a reasonable account of their origin. Karly round font-bowls sometimes have projections or bosses, roughly formed but resembling handles. Thus a font at St. John’s Hospital, Canterbury, which is certainly a very early one and possibly pre-Conquest, has a single projection which has been worked into the form of a blind cup-handle. At St. Germoe (Cornwall) 72 BAPTISMAL FONTS is a cup-like bowl with a long projection corresponding to a handle and a round boss which has been worked into the rough semblance of a human face. But a more common type has four equidistant projections giving the appearance of rude handles, and bowls of this kind may be seen at Llanmerewig, Pennant Melangell, and Snead (Montgomeryshire), and at Chirbury (Hereford). Then a little later, when more ornate fonts were desired, the four projecting bosses would invite decoration, and their shape and outline would very naturally suggest to the craftsman that he should form them into the like- ness of a human head. This is probably how the type of font with four heads or faces at about equal distances around the bowl arose. Good examples may be seen at Llanwrthwl (Brecon) (Fig. 7), Tintagel (Cornwall), Rhayader (Radnor), St. Harmons (Radnor), and Silian (Cardigan). If this suggestion as to the development of this class of font is correct, it would appear that there is no special symbolism attaching to the decoration of a font with four heads, nor need we suppose that the faces were intended to represent any particular persons or characters, though at Pencarreg (Carmarthen) the fact that one head is crowned, while another is tonsured, seems to indicate that these heads stand for a king and an ecclesiastic respectively. Sculp- tured heads occur at the angles of square bowls that are otherwise richly ornamented at Aston-le-Walls (Nor- thants), Tickencote (Rutland), and Palgrave (Suffolk), and are prominent features of types of fonts that form the splendid Launceston and Bodmin groups in Cornwall (see below, p. 126). Four heads also occur in connection with an ornamental border, as at West Haddon (Nor- thants), St. Enodor (Cornwall), and Cenarth (Car- marthen). In the last case the bowl is round and has ornament in relief of a very simple festoon form, irregu- \ TYPES IN GENERAL—THEIR ORNAMENT 73 larly executed; within the loops at four points are faces also, in relief, and at one of these points where the loop is extra large there are two faces instead of one. The much mutilated bowl at Llanllwchaiarn (Cardigan) shows a kindred design upon a square bowl with a shal- low arcading and a head at each angle. While the number of heads is subject to some variation, the usual number is four, as also in some French examples such as Chéreng (Nord), Magneville (Manche), and Notre- Dame, Etampes. Occasionally the four heads are dis- posed around the base instead of upon the bowl, as at North Burton (Yorks) and Treneglos (Cornwall), and four heads occur exceptionally around the lower rim of a circular bowl at Alderley (Ches), a design copied in the modern font at Prestbury in the same county. The round bowl at Cenarth (Carmarthen) has, however, five heads, as noted above, while the oblong font at Llanfair-y-Cwmmwd (Anglesey) has six. The fonts at Berrington (Salop) (Fig. 43) and South Milton (Devon) have a larger number disposed at intervals round the bowl, while at Llanwenog (Cardigan) (Fig. 40) the adornment consists of a ring of twelve large faces, all alike, which cover the whole surface of the bowl and are indicated only by comparatively shallow lines. Some- what analogous is the font at Holt (Worcs), where large grotesque heads mingled with interlacing scrolls sur- round the bowl, and grotesque heads with scroll-work are not uncommon on Norman fonts, as at Castle Rising (Norfolk). Heads frequently appear as an orna- ment of fonts subsequent to the Norman period, as at Castlethorpe (Bucks), where they are two only, and on the octagonal font at Exton (Rutland), one at each angle. Winged heads figure commonly as supporting the bowls of fifteenth-century fonts (see below, p. 110), and the four heads reappear as characteristic adornments of 74 to Fic. 41.—Weprrineton (DEVON). | Fic. 40.—LuaNnwEnoG (CARDIGAN). el TYPES IN GENERAL—THEIR ORNAMENT 75 post-Reformation fonts of Classical design, as at Tun- bridge Wells, Werrington (Devon) (Fig. 41), Billericay (Essex), St. Mary’s Bungay (Suffolk), and Exeter Cathedral. (5) Fonts witH ARCHITECTURAL ORNAMENT OF THE NorMAN PERIOD (a) Arcaded Fonts.—It was frequently the fashion of Norman builders to adorn a blank wall-space with a reproduction on a reduced scale of the pillars and arches characteristic of their style. A miniature arcade was thus sometimes employed as a decorative feature of an interior wall-surface, as in the aisles of Peterborough Cathedral, and in the chancel of Stow (Lincs). The belfry stage of towers of the Norman period was often treated in a similar manner, as at St. John’s Devizes, St. Clement’s Sandwich, and Corringham (Essex). It was therefore quite natural that the sides of large square Norman font-bowls should invite this kind of treatment, so that we find it characteristic of a large number of the fonts of the period. In some cases the arcading is rather rudely represented by a succession of shallow sunk panels with semicircular heads. Often this kind of arcading forms the only adornment of a font-bowl, as in the following examples : Taplow (Bucks) (fragment pre- served). Egloshayle (Cornwall). St. Mary’s Dover. Adisham (Kent). Hougham (Kent). River (Kent). Tilmanstone (Kent), Cantley (Norfolk), Coltishall (Norfolk) (Fig. 42). Reepham (Norfolk). Amberley (Sussex). Aldingbourne (Sussex). Bosham (Sussex), St. Olave’s Chichester. Felpham (Sussex). Lurgashall (Sussex) (fragment pre- served). Pulborough (Sussex). Warnham (Sussex). Wiggonholt (Sussex). ae Sa, >. 76 BAPTISMAL FONTS Sometimes such arcading occurs together with other forms of ornament upon the same bowl, as at : East Guldeford (Kent). Barnham (Sussex). Shipdham (Norfolk). Pagham (Sussex). Warham All Saints’ (Norfolk). New Shoreham (Sussex) (Fig. 45). Fig. 42.—CoiTisHALL (NORFOLK). Frequently an arcade in relief, imitating closely the structural arcade of the period, adorns a Norman font- bowl, as in the following cases : Clewer (Berks). Binstead (Sussex). Upton (Bucks). Tortington (Sussex). Drayton Beauchamp (Bucks). St. Helen’s York, Whitchurch (Hereford), Hemingbrough (Yorks) (Fig. 46). Llandrinio (Montgomery). Rillington (Yorks). Brize Norton (Oxon), Ayton (Yorks). Brooke (Rutland). Bessingby (Yorks). Manton (Rutland). Hinton Parva (Wilts). Hemingford Abbots (Hunts). Sometimes, as in other Norman decorative work, the Z S = Oo ei pe o4 ica aa) Fic. 43) “LL +d Burovy ‘“HONOAPONINAH $ 9F “OlN ‘WVHHYOHS MUN TYPES IN GENERAL—THEIR ORNAMENT 77 semicircular arches of an arcade are made to interlace, as in the fonts at: Purley (Berks). Sandridge (Herts). Llanfihangel Abercywyn (Carmar- St. Ives (Hunts). then). Oakham (Rutland). Tidmarsh (Berks). Great Durnford (Wilts). East Horndon (Essex), And such interlacing arcades occur as a minor feature with a great deal of ornament of other kinds upon the same bowl in such examples as : Bere Regis (Dorset). Lullington (Somerset) (Fig. 102). St. Martin’s Canterbury (Fig. 2). Avebury (Wilts), In some very beautiful and richly adorned fonts of the Norman period figure-sculpture is combined with an arcade. The figures are generally representations of saints, and are unconnected one with another, each figure occupying a bay, as at: Avington (Berks). Wansford (Northants) (Fig. 48). Orleton (Hereford) (Fig. 47). Belton (Lincs) has within its arcade some conventional ornament, a grotesque animal, and a series of human figures, one of whom, in allusion to the name of the place, is shown as ringing bells. To these we should add the group of three fonts, evidently produced by the same hand, or by the same school of workmen, at Hereford Cathedral, Micheldean (Glos), and Rendcombe (Glos) (Fig. 49). In these cases the figures are intended to represent the Apostles, each being distinguished by his emblem. The two closely related fonts of Stanton Fitzwarren (Wilts) (Fig. 50) and Southrop (Glos) also have a full-length figure within each bay of an arcade. They belong to a later period of the Norman style, and have the arches of trefoil shape ; each figure is an armed 78 BAPTISMAL FONTS knight contending with some monster, and is intended to stand for a Christian virtue battling with a vice. Figures within arcading also form a frequent manner of ornament for font-bowls that are cast in lead (see below on leaden fonts, p. 144). Sometimes the figures contained within an arcade are to be taken together as forming a scene. Upon the rudely sculptured bowl at Kirkby (Lincs) the Fall and Expulsion from Eden is shown in this way. At Cowlam (Yorks) (Fig. 56) are similarly represented the Adoration of the Magi, the Massacre of the Inno- cents, and our Lord’s Baptism. At Oxhill (Warwick) the figures of Adam and Eve and the Tree occupy three bays of an arcade, and on the square bowl at Fincham (Norfolk) the Fall is similarly represented. This font has three bays of an arcade upon each side. St. Joseph, the Blessed Virgin, and the Holy Child in the Manger occupy one side. Above the Child the heads of an ass and an ox are seen, while above them again shines the Star, and upon the adjoining side of the bowl the Three Magi, with crowns on their heads, approach bearing their gifts. The fourth side of this very interesting font shows us under the centre arch Christ being baptized, with St. John Baptist in the right bay and the figure of a bishop in the left bay of the arcade. The font of St. Nicholas’ Brighton, already alluded to for its remarkable figure- sculpture, has in one of its smaller compartments Christ’s Baptism within an arcade. In a few cases emblems, instead of figures, are con- tained within each bay of an arcade. The bowl at Yapton (Sussex) has long crosses disposed in this manner, and there is a very similar example at Alfold (Surrey). At Enborne (Berks) and at Sherburn (Yorks) each bay of an encircling arcade is occupied by a staff, the heads of the staves assuming a variety of forms, some of these TYPES IN GENERAL—THEIR ORNAMENT 79 figures at Enborne being apparently representations of the crosses erected in early times in churchyards or by the wayside. (6) Cable Ornament.—The great variety of ornament employed by the Norman builders in the mouldings of their arches proved also a fertile source of suggestion for the adornment of the font. A band of cable ornament was very frequent at this period, and sometimes was the sole adornment of the font, as in the examples at : Bierton (Bucks), Tresmere (Cornwall). Egloskerry (Cornwall). Notgrove (Glos). Launcells (Cornwall), 1 Folkton (Yorks). Tremaine (Cornwall), Backwell (Somerset). Wick (Glam), Congresbury (Somerset), In at least one example a huge band of cable encircles the whole of a tub-like font—viz.at Mapledurham (Oxon). But the examples are much more numerous where a cable moulding occurs with more or less ornament of another character belonging to the same period, as at: Avington (Berks). Kington (Hereford), Clewer (Berks), Wormley (Herts). Mevagissey (Cornwall). » Abergavenny (Mon). Morwenstow (Cornwall), East Tuddenham (Norfolk). St. Sithney (Cornwall). Thame (Oxon), » St. Stephen-by-Launceston (Corn- Lamphey (Pem) (Fig. 51). wall). St. Mary’s Pembroke. Stratton (Cornwall), Uzmaston (Pem). Bishops Teignton (Devon). Berrington (Salop) (Fig. 43). Combe-in-Teignhead (Devon). Upton Cresset (Salop). South Brent (Devon), Alfold (Surrey). Bideford (Devon). Tortington (Sussex). St. Mary Steps (Exeter). Wyre Piddle (Worcs) (Fig. 55). South Milton (Devon), Sherburn (Yorks), Chickerell (Dorset). Wold Newton (Yorks). Mawdlam (Glam), North Grimston (Yorks) (Fig, 32). Eardisley (Hereford) (Fig. 22). (c) Zigzag Ornament.—The zigzag or chevron, -so characteristic an adornment of arches in the Norman 80 BAPTISMAL FONTS style, appears, as we should expect, as an ornament of the font. It is well seen in such examples as : Incised upon the bowl : In relief upon the bowl: Iver (Bucks). Clewer (Berks). Barsham (Suffolk). Purley (Berks). Steyning (Sussex). Ruan Minor (Cornwall), Kingsclere (Hants). Ampney St. Mary (Glos). Thetford St. Mary’s. Wyre Piddle (Worcs) (Fig. 55). Bangor-Teifi (Cardigan). St. Sithney (Cornwall). Stratton (Cornwall). In panels on the bowl: St. Lythan’s (Glam), Upon the stem : West Thorney (Sussex). Hartland (Devon). Hemel Hempstead (Herts). It occurs at Bessingby (Yorks) in the greatest profusion, where it is arranged in patterns within the bays of an arcade, the arcade itself, and even the rim of the font, being also covered with it. The font at Rothley (Leics) may also be considered as receiving its adornment which covers its whole surface, by an application of zigzag on a large scale. (2) A normal ornament of arch-mouldings which occasionally appears upon fonts is the nazl-head, bands of which are used to form the appearance of a large cable at Mapledurham (Oxon), and which encircles the bowl of the octagonal font at Llandrillo-yn-Rhos (Car- narvon). 3 (e) A star ornament, commonly enclosed within a circle, is not infrequent on fonts of this period, and is effectively used in such examples as Lamphey (Pem) (Fig. 51), Mevagissey (Cornwall), and Bere Regis (Dorset). A large star upon the side of the bowl is also a characteristic feature of the Launceston group of fonts in Cornwall (see below, p. 126). (f) Bosses are curiously made to serve as the chief Fic. 47. ORLETON, Fic. 48. WANSFORD. facing p. 8o. Fa ~ 1g ‘d Stuiovy “NOU AAVMZLIA NOLNVIS ‘0g “DIY ao CHV) al dAWOOGUNAA 6 14 > TYPES IN GENERAL—THEIR ORNAMENT 81 ornament of the early font at Llanfair-Orllwyn (Cardi- gan) (Fig. 52), and somewhat similar ones are disposed round the lower part of the bowl at Stanton St. Quintin (Wilts). Bosses occupy the centres of panels in the highly ornate font at Wormley (Herts), and alter- ) Sta Me te Bi | — Fie. 79.—YaxuHAM (NORFOLK). B, for Adam Bosville, patron of the living in the four- teenth century, whose coat-of-arms is shown in the panel between the two letters. The unusually good font at Irstead (Norfolk) (Fig. 76) has a curious pattern behind the devices of its panels. This has often been wrongly described, but is evidently intended to represent clouds, and resembles the heraldic charge of nebuly. Upon this background of cloud are shown, in separate panels, a 120 BAPTISMAL FONTS hand with a scroll, the Agnus Det, the Head of Christ within a nimbus with a cross, and another head within a circle. At this period fonts belonging to an earlier age some- times received decorative treatment. Examples of this kind must be fairly numerous, though not always easy to detect. A good instance is the large round bowl at Mountfield (Sussex), which, originally plain, has been divided into panels and towards the end of the fifteenth century adorned with roses and fleurs-de-lys, so frequent - in the decorative work of Tudor times. Note on General Features of Perpendicular Fonts In closing this review of Perpendicular fonts, some general features which added greatly to their splendour deserve particular notice. The chief of these are : (a) The use of colour in their decoration.—Many of the fonts with figure-sculpture, like the screen-work of the same period, retain, more or less, traces of the elaborate colouring with which they were beautified. Red and green, with occasional touches of black and gold, were the colours usually employed. Examples are seen at Wheatacre and Acle (Norfolk) (Fig. 74). (b) Their mounting upon large stepped platforms.— This is a fashion especially characteristic of Kast Anglia, and adds very much to the effect of some of the splendid fifteenth-century fonts of the district. Still further richness of effect is gained by the panelling of the rises of the steps of these platforms and their adornment with quatrefoils and other devices. Examples are seen in the illustrations of Happisburgh (Fig. 73), Upton (Fig. 80), and Acle (Norfolk) (Fig. 74). (c) The development of the spure-like font-cover.—During _— this period, from which so much that is beautiful in TYPES IN GENERAL—THEIR ORNAMENT 121 _ the way of church fittings and furniture has come down to us, the cover of the font received attention and under- went a great development. Covers were provided for } } a i a Fic. 80.—Upton (NoRrFo.Lk). fonts to keep the water pure and clean, it being renewed and consecrated at stated intervals. The earlier covers were almost always flat lids, but few are extant older than the fourteenth century, though the staples for fastening them down sometimes remain, or marks 122 BAPTISMAL FONTS where such fastenings have been may be traced in the rim of the font. In the Perpendicular period, however, a striking development took place, and the font-cover assumed a spire-like form, with delicate architectural detail in miniature, in the shape of tracery, buttresses, and pinnacles, as at Worstead and Castle Acre (Norfolk), Ufford (Suffolk), Frieston and Fosdyke (Lincs), and Ewelme (Oxon). The finest specimens are in Kast Anglia, and the one at Ufford soars no less than 18 feet above the font. There are also extant some very fine post-Reformation tall covers conservative in their general design, as at Walpole St. Peter and Terrington St. Clement (Norfolk), the latter beautifully painted, and Plymstock (Devon). Sometimes such erection becomes more in the nature of a canopy over the font, which rises from pillars that rest upon the ground, as at St. Peter Mancroft Norwich, Trunch and Bacton (Norfolk), and Durham Cathedral—the last a Renaiss- ance example, and the work of Bishop Cosin. Luton (Beds) is peculiar in having a stone erection of the like kind surrounding and containing the font, and belong- ing to the Decorated style. The subject of font- covers belongs to the heading of Ecclesiastical Wood- work, and is too large for treatment in a work intended to deal particularly with the design of the fonts them- selves. CHAPTER VI SOME NOTABLE GROUPS OF FONTS ACCORDING TO DESIGN BrsipEs certain characteristics which mark fonts in general at particular epochs, there were some very pronounced types of design which found special favour in certain localities. Of such local classes of fonts the following are the most notable : (1) Tae AYLEesBuRY GROUP A large and handsome type of Norman font with circular and boldly fluted bowl. A band of ornament of Classical character encircles the top of the bowl in most examples, and the cable moulding generally occurs. In some members of the group there is a very effective band of feathery ornament, and the characteristic base takes the form of a large and richly ornamented inverted capital. Examples are at Aylesbury, Bledlow, Buckland (bowl only), Chenies, Great Kimble (Fig. 81), Great Missenden (base only), Little Missenden, Wing (base only), Pitstone, and Weston Turville, all in Bucks. Dunstable and Houghton Regis (Beds). HKydon (Northants). A Norman bow! of allied design occurs at Haddenham (Bucks), and a rendering of the same theme with detail of Pointed style at Dinton (Bucks), _ wand 124 BAPTISMAL FONTS (2) Toe West NorFoLtkK Group Another well-marked group of Norman fonts is found | in West Norfolk. While they rival, if they do not excel, the members of the Aylesbury group in their Fic. 81.—Great KimsiEe (Bucks). conception and execution, their design is quite different, for they belong not to the tub-shaped class of font, but have square bowls supported upon angle-shafts. The bowls are literally covered with rich ornament, in which interlacing lines or cords play the most prominent part. GROUPS ACCORDING TO DESIGN 125 All the adornment is of this kind at Toftrees (Fig. 82) and Shernborne, with the addition of a large face in the lower part of each side of the bowl in the latter example. At Scunthorpe on one side is shown the Adoration of the Magi within an interlacing arcade, the remaining sides being covered with interlacing decoration reminiscent of Celtic work, as in the other members of the group. Fic, 82.—Torrrers (NoRFOoLk). The capitals, and in most examples the bases of the supporting columns, are finely carved, and a notable feature is the presence of a column at each angle of the bowl also. These last are, at Toftrees and Shernborne, of large proportions and very ornate. The upper rim of the bowl has grotesque heads at the angles at Toftrees and Scunthorpe. 126 BAPTISMAL FONTS Other members of the group, though varying some- what in detail, are found at Breccles and Burnham Deepdale, the latter remarkable for its figure-sculpture illustrating the occupations of the months (see above, p. 70). (3) Toe Launceston GROUP A very distinct type of large font, with bowl of cushion capital shape supported upon a single shaft, and having a human head at each angle, with on each face a six-pointed star, or in a few cases (as at Callington) a tree, encircled by grotesque monsters. The members of this group are found at : St. Thomas’ Launceston. Laneast. Altarnun (retaining its original Lawhitton. colour) (Fig. 83). Lezant (the heads at the angles Callington. have been hacked off). Jacobstow, Tideford. Landrake, Warbstow, . This Norman design was reproduced, so far as general appearance goes, but with fifteenth-century detail, at Lifton, in the same district, but just over the border in Devon. (4) Tue Bopmin Group The ornament of this group is after Norman design, but it may have been executed at a later period, for fashions in architectural ornament sometimes lingered long, especially in the remoter parts of the country. The bowls are circular, richly ornamented as a rule with a variety of figures, amongst which dragons, stars, trees, and interlacing lines or cables are prominent. The bowls are supported by a central shaft, and upheld GROUPS ACCORDING TO DESIGN 127 by four slender pillars reaching to the rim of the bowl, which have human or angelic heads instead of capitals. i Tri 4 Fic. 83.—ALTARNUN (CORNWALL). The members of this group are found at: St. Austell. Luxulyan, Bodmin, St. Mawgan-in-Pydar (bowl St. Ewe (exceptional in having the adorned with shields only), bowl quite plain). Newlyn East. St. Gorran, South-Hill (Fig, 84), Lamorran (with plain bowl). Tregoney, St. Kea, St. Veryan. 128 BAPTISMAL FONTS This very handsome type of font was continued locally down to the Perpendicular style, two remarkable examples occurring at Padstow and St. Merryn, with typical carved figure-sculpture of the fifteenth century executed in the dark green Cornish stone known as catacleuse. A third survival of the Bodmin form to a late date is found at Boconnoc, in this case without any figure-sculpture, the adornment consisting only of Fia. 84.—SoutH-Hint (CoRNWALL), panelling and tracery of typical Cornish Perpendicular style. : (5) Tue HasTBOURNE GROUP In a part of the country where fonts in general are comparatively plain and figure-sculpture is rare, the neighbourhood of Eastbourne is characterised by a group of fonts of individual and peculiar design. These fonts belong to the fifteenth century, and are curious” GROUPS ACCORDING TO DESIGN 129 for their date in being oblong in plan and of the tank type. Contrary to the usual fashion of their date, the bowl is plain, while the lower part has characteristic Perpendicular panelling, and the angles are worked into shafts. The examples of this uniform group occur at Alfriston, Barcombe, Beddingham, West Dean, ~ . AMM \ x mo vi MN rae * ? _—— I ee ee | A — ee is et bee 2 vei Ws : =. | 4 se mT Saas —gf i ———— 7 _—S— 7 | —— $$ ———__—. Fia. 85.—EASTBOURNE (SUSSEX). Hastbourne (Fig. 85), Hurstmonceaux, Jevington, Southease, and Willingdon, all in Sussex, and within the district about Hastbourne and Lewes. (6) Tae Seven SacRAMENTS GROUP No treatment of groups of fonts would be complete without mention of the splendid series of fifteenth- 9 130 BAPTISMAL FONTS century octagonal fonts whose panels contain delicately executed and lifelike scenes illustrating the administra- _tion of the seven sacraments of the Church. Some members of this group rank amongst the most beautiful of the splendid East Anglian fonts of the Perpendicular period. With two exceptions—those at Farningham (Kent) and Nettlecombe (Somerset)—these fonts belong to Hast Anglia, and most of them retain traces of the gold and colours with which they were once resplendent. Twenty-two examples occur in Norfolk : Alderford. Marsham. Binham. Martham. Brooke. Norwich Cathedral. Burgh-next-Aylsham. Sall. Clay-next-the-Sea. Seething. Earsham. Sloley. East Dereham. South Oreake. Gayton Thorpe. Little Walsingham. Great Witchingham (Fig. 86). Walsoken. Gresham. Wendling. Loddon. West Lynn. In Suffolk are twelve examples : Badingham. Melton. Cratfield. Monk Soham, Denston. Southwold. Gorleston. Westhall. Great Glemham. Weston. Laxfield. Woodbridge. The sacraments occupying seven panels, there remains the eighth to be filled, and this is occupied by different subjects in the various fonts of the group. For example, at Gayton Thorpe the Coronation of our Lady is shown ; at Gresham, Seething, Wendling, and Weston the Baptism of our Lord; at Little Walsingham, South Creake, and Alderford, the Crucifixion; at Great Witchingham (Fig. 86), and Gorleston, Christ in Glory ; GROUPS ACCORDING TO DESIGN 131 at Binham and Nettlecombe, the Holy Trinity ; and at Farningham, the Act of Communion. Apart from their artistic excellence, these representa- tions of the sacraments are of very great interest and value for their testimony to the manners and costumes of the period to which they belong. Lcclesiastical KY BR) Veg tl | i | | Fia. 86.—GREAT WITCHINGHAM (NORFOLK). vestments are clearly shown, while such customs as the raising of a lighted candle and the ringing of the sacring bell at the elevation of the Host are depicted in lifelike manner at Great Witchingham (Fig. 86), Alder- ford, Sall, and Gresham. Two lights are shown as the ornaments of the altar at Gresham. Immersion is depicted as the method of baptizing. The spiritual 132 BAPTISMAL FONTS result of the sacrament of Penance is effectively por- trayed by the figure of an angel standing over the penitent and driving away the devil. Before leaving this part of our subject, two small groups, each with its own special interest, should be referred to. (7) Tot HererorD GRouUP This consists of three fonts, of which the one at Here- ford Cathedral is the best known. The other members are in the adjoining county of Gloucester, at Micheldean and Rendcombe (Fig. 49). The bowls are of tublike form adorned with good figure-sculpture within an arcade of fine Norman detail. The font of Hereford Cathedral is distinguished from the others in having four lions séjant disposed around the base (see above, p. 63). (8) THe LurcasHALL GROUP For the sake of its eccentricity, a pattern of post- Reformation font that found a certain amount of favour in Sussex should not be omitted from our cate- gory. This belongs to the seventeenth century, and occurs at Lurgashall and in the neighbouring parish of North Chapel. The Lurgashall example is dated 1661, and the other appears to have been copied from it. The fonts are square, and belong to the tublike class, but their peculiar expression is gained by carving their surface into the semblance of square blocks which alternately protrude and recede. . CHAPTER VII SOME NOTABLE GROUPS OF FONTS ACCORDING TO MATERIAL (1) Fonts oF Tournar MarBie Tuts large and handsome type of font is made of a dark marble imported by Norman builders from quarries near Tournai in Belgium. The representatives of the class occur at Winchester Cathedral, East Meon, St. Mary Bourne, and St. Michael’s Southampton (all in Hants), Lincoln Cathedral (Fig. 93) and Thornton Curtis (Lincs), and St. Peter’s Ipswich. The bowls are square in all cases, and on their under-sides are carved the capitals of angle-shafts upon which they were intended to be placed. These angle-shafts occur at Winchester, Kast Meon, St. Michael’s Southampton, and Lincoln, but no longer exist in the other examples, which now rest upon a central shaft only. The bowls are carved with grotesque monsters at St. Peter’s Ipswich and Thornton Curtis; with monsters and emblems of the Evangelists at Lincoln and St. Michael’s Southampton ; with doves eating grapes at Winchester, or drinking at St. Mary Bourne. Two of the fonts belonging to the group have very interesting figure- sculpture, illustrating the Creation, the Fall, and the Expulsion from Eden at East Meon, and at Winchester stories from the life of St. Nicholas. (2) Fonts oF CoRNISH CATACLEUSE Two belated members of the Bodmin group have been already referred to as worked in local dark green 133 134 BAPTISMAL FONTS catacleuse. But apart from these the same fine material occurs in a small Cornish class of font, found in three examples, viz. at Fowey, Ladock, and St. Feock. These are very graceful cup-shaped fonts with finely carved ornament of that rather classical type which Fie. 87.—Lapock (CORNWALL). we meet with sometimes in the Norman period. The | bases are varied in all three examples, the most striking and original appearing at Ladock (Fig. 87). (3) Fonts IN wHIcH CoRNIsH SERPENTINE Is EMPLOYED The dark green serpentine of the rocks of the Lizard district has been used only to a limited extent in ~GROUPS ACCORDING TO MATERIAL 135 ecclesiastical decorative work, in spite of its fine appear- ance. At Cury and Landewednack, however, it is employed with excellent effect for the angle-shafts of fonts whose general outline resembles those of the Bodmin group. (4) Fonts oF Brick Brick fonts are rare, but there are occasional examples in those districts where suitable stone was scarce, and where we find brick largely used in church building. Potter Heigham (Norfolk) has a very good fifteenth- century specimen of octagonal font raised upon a fine platform, all formed of moulded bricks. Chignal Smealy (Essex) has another and rather more simple example, in a county characterised by a great deal of fine brickwork of the fifteenth and sixteenth centuries, and in a church wholly of this material, even in such details as pillars and arches, piscina and window tracery. Sir Stephen Glynne, in his Churches of Kent (1850), mentions that “the font is of brick” at Kennarding- ton, but there is now no trace of this example, which was probably removed and replaced by the present stone one when the church was restored about twenty years ago. (5) Fonts oF ARTIFICIAL STONE Artificial material other than brick was sometimes employed for fonts in post-Reformation times. Essendon (Herts) has a curiosity in the shape of a wedgwood bowl that stands upon a wooden pillar. To the earliest days of the Gothic revival belong some handsome fonts imitating typical fifteenth-century examples, and made in “ artificial stone’ by Coad. Of this kind is the font at Eglwys Newydd (Cardiganshire), executed in 1792 136 BAPTISMAL FONTS for Thomas Johnes of Hafod. A duplicate, made in the same mould, was placed in Debden church (Essex). Cherubs’ heads support the bowl, and the panelling around it is good and adorned alternately with roses N02 2 the f Ke, SS ¢ Kay Sf I o~ Seay yd) > KS A rata’ =i ony ASST ort) = iL) bs If, ROP; 4 vy Ny iJ ie Oe nN q! * Ys \ oS * Wore Gi Qe La Fic. 88.—LEA (GLos). and heraldic shields. There are, however, the character- istic faults of post-Reformation times. The interior of the bow] is absurdly small, and its rim is “ stepped ” in a way quite out of character with the rest of the design. The buttresses at the angles of the stem are weak in GROUPS ACCORDING TO MATERIAL 137 outline, and the statuettes between them are too small in scale and poorly moulded. (6) ImportED Fonts oF ForricN MARBLE Here and there we find an example of a font of foreign material and workmanship which has been imported into this country. A very interesting case of the kind is at Lea, near Micheldean (Glos) (Fig. 88). This apparently was made for a holy-water stoup. The material is Italian marble, elaborately carved, and adorned besides with small bands of Italian mosaic. A cluster of rams’ heads immediately supports the bowl, and the slender stem is curiously knotted in the centre, resting for base upon the figure of an apparelled elephant. The very elaborately rebuilt church at Elveden (Suffolk) has been fitted with a handsome font of Italian material and work. The octagonal bowl rests upon an open arcade supported by eight twisted columns, and its panels are filled with figure-sculpture and heraldic shields surrounded by foliage, alternately. CHAPTER VIII WOODEN FONTS WHEN the font became a regular part of the furniture of each parochial church, it was almost always made of stone, and stone thus became the canonical material © for the font. Thus we find St. Edmund, Archbishop of Canterbury, decreeing in 1236 that there should be “a stone baptistery [1.e. a font] in every baptismal [1.e. parochial] church.”” Other material, however, was sometimes used, and first we will deal with those that Fic. 89.—Dinas Mawppwy (MERIon). were made of wood. Wooden fonts do not seem to have been numerous at any period, and owing to the perishable nature of the material but few specimens have survived. A list of these, with a short description of each, is here appended : (1) Dinas Mawddwy (Merion) (Fig. 89). A wooden bowl, probably intended for use as a font, was dug up in a bog here, and is now kept at the mansion of Peng- wern. It is formed from a piece of knotty oak, levelled 138 WOODEN FONTS 139 at the top and the bottom, and a basin is scooped out measuring 11 inches across and 34 inches deep ; beside this is another smaller hollow, 3 inches across and about an inch deep. The border is rudely ornamented with sprays of leaves, and has also the word aTHRYWYN engraved upon it. The date of this relic is uncertain, Wy? A TD J 4 1 . i\ » _— —_. a aa EE A ~ (3 Wh Se f Fia. 90.—EFENECHTYD (DENBIGHSHIRE). but it has probably come down from a remote period, and the smaller receptacle by the side of the bowl for the baptismal water was most likely intended for the holy oil and the spoon used in the chrism which accom- panied the administration of the sacrament. (2) Efenechtyd (Denbighshire) (Fig. 90). This is formed out of a tree-trunk which has been roughly Rag 140 BAPTISMAL FONTS worked externally into fourteen facets of irregular width, and at the base is a course of bosses deeply severed. It seems to belong to the Norman period, for its form clearly imitates a tub—an early shape as a rule for the font—and re- sembles the undoubtedly Norman font at Tang- mere (Sussex). The exe- cution, being rude, affords no certain clue as to the date, but the circular stone base has an early appearance, and favours a Norman date for the font as a whole. (3) Mark’s Tey (Essex) (Fig. 91). A handsome octagonal font, which in its plan and in the de- tails of its ornament re- sembles the typical stone font of the fifteenth century. (4) Ash (Surrey), a Bridekirk, 48 Dearham, 34 Millom, 107 © Over Denton, 21 FONTS REFERRED TO 171 DERBYSHIRE Ashbourne, 88, 90 Ashover, 144 Bakewell, 18, 93 Bradley, 88, 90 Chesterfield, 55 Hartington, 100 Hartshorne, 45 Norbury, 90 Norton, 90, 92 Youlgrave, 49, 69 DEVONSHIRE Alphington, 57 Bideford, 79 Bishops Teignton, 26, 54, 79 Clovelly, 34 Combe-in-Teignhead, 26, 79 Dolton, 23 Exeter, Cathedral, 44, 75 — St. Mary Steps, 79 Hartland, 80, 87 Kelly, 31 Plymstock, 122 Poltimore, 25 Puddington, 101 South Brent, 54, 79 South Milton, 26, 73, 79 Torquay, St. John’s, 166 Werrington, 45, 75 Whitstone, 56 DoRSET Bere Regis, 77,80 =~ Chickerell, 26, 79 Melbury Bubb, 23, 57 Milton Abbey, 50 Toller Porcorum, 18, 35 Wareham, 144, 145 DuRHAM Durham, Cathedral, 122 Essex Arkesden, 48 Ashingdon, 36 Billericay, 45, 75 Blackmore, 31 Broomfield, 27, 88 Burnham-on-Crouch, 27 Chignal Smealy, 135 Debden, 136 Dedham,163 | Doddinghurst, 103 East Horndon, 27 Fryerning, 27, 83 Great Burstead, 31 Hadleigh, 163 Harlow, 163 Kelvedon Hatch, 103 Laindon, 27, 88 Margaretting, 103 Mark’s Tey, 140 Maldon, St. Mary’s, 45 Navestock, 40 North Fambridge, 36 Prittlewell, 36 Sandon, 31 Southminster, 103, 104 Stanford-le-Hope, 37 Stondon Massey, 103 Tillingham, 26 Tollesbury, 164 Woodham Ferrers, 31 GLOUCESTERSHIRE Ampney Crucis, 18 Ampney St. Mary, 80 Bibury, 28 Bledington, 18 Bourton-on-the-Water, 101 Bristol, Christ Church (City), 45, 142 — St. John’s-on-the-Wall, 43 — St. Nicholas’ Bristol Bridge, 45 — St. Philip’s, 86 Chipping Campden, 40, 55 Coln Rogers, 18 Deerhurst, 52, 56 Down Hatherley, 144, 146 Frampton-on-Severn, 144, 145, 146 Gloucester, St. Mary-de- Crypt, 45 Haresfield, 144, 146 Icomb, 101 Lancant, 144 Lea, 137 Little Rissington, 103 Mitcheldean, 18, 77, 132 Nether Swell, 103 Newent, 45 Northleach, 103, 111, 117 Notgrove, 18, 79 Oxenhall, 144 Rendcombe, 77, 132 Ruardean, 44, 155 Sandhurst, 144, 145 Slimbridge, 144 Southrop, 18, 77 Staunton, 22, 101 Stow-on-the-Wold, 44 Stowell, 31 Syston, 144, 145 Thornbury, 86 Tidenham, 144, 145 Upper Swell, 101 iy: 172 West Hampnett, 103 Wyck Rissington, 26 Yate, 103 HAMPSHIRE Buriton, 27 East Meon, 59, 61, 133 Eastleigh, 166 Kingsclere, 27, 80 Kingsworthy, 97 Minstead, 40 Odiham, 161 St. Mary Bourne, 67, 133 Southampton, All Saints’, 45 — St. Mary’s, 166 — St. Michael’s, 66, 133 Sydmonton, 31 Tangley, 144 Whitchurch, 103 Winchester, Cathedral, 27, 60, 67, 69, 133 HEREFORDSHIRE Abbey Dore, 31 Aston Ingham, 144, 146, 156 Burghill, 144, 146 Castle Frome, 53, 57, 58, 64, 67, 68, 118 Chirbury, 72 Credenhill, 44, 152 Dilwyn, 18 Downton-on-the-Rock, 142 Eardisley, 26, 53, 57, 62, 79 Hereford, All Saints’, 31 — Cathedral, 63, 77, 132 — 8t. Peter, 45 Kenchester, 21 ~ Kilpeck, 40 Kington, 79, 167 Leominster, 163 Llandinabo, 31 Llangarren, 103 Orleton, 18, 77 Pembridge, 37 Ross, 103, 104 Sarnesfield, 31 Shobdon, 63 Stretton Sugwas, 25 Walford, 103, 104 Weobley, 96 Whitchurch, 76 HERTFORDSHIRE Aldenham, 27 Broxbourne, 29, 88 Caldicote, 104 Essendon, 45, 135 INDEX I Harpenden, 29 Hemel Hempstead, 80, 87 Hitchin, 19, 34, 93 Hoddesdon, 45 King’s Walden, 40 Offley, 96 Radwell, 31 Redbourn, 45 St. Alban’s Cathedral, 147 St. Ippolyts, 31 Sandridge, 18, 77 Stotfold, 103 Ware, 95 Wheathampstead, 97, 98, 99 Wormley, 79, 81 HUNTINGDONSHIRE Buckden, 103 Hemingford Abbots, 29, 76 Huntingdon, St. Mary’s, 31 Little Gidding, 147 St. Ives, 29, 77 KEntT Adisham, 75 Ash, 45 Boughton Aluph, 36 Boxley, 36 Brookland, 69, 70, 144, 146 Canterbury, St. George’s, 90 — St. John’s Hospital, 71 — St. Martin’s, 8, 9, 77 Cranbrook, 167 Darenth, 69 Detling, 34 Dover, St.'Mary’s, 75 Dunkirk, 39, 163 East Guldeford, 76 Elmstone, 27 Eythorne, 144, 145, 155 Farningham, 130, 131 Folkestone, 36, 40, 49. Frindsbury, 107 Graveney, 36, 107. Hackington, 152 — Halstow, 144, 145 Harbledown, St. Nicholas’, 105 Headcorn, 36 Herne, 107 Hollingbourne, 31 Hougham, 75 Hythe, 97 Kennardington, 135 Leeds, 31 Leybourne, 31 ¥ Maidstone, All Saints’, 44 Margate, 107 Milsted, 31 FONTS REFERRED TO © 173 Minster-in-Sheppey, 36 Ripple, 31, 155 River, 75 Rochester, St. Nicholas’, 36, 159 Rodmersham, 31, 40 St. Margaret-at-Cliffe, 31 St. Peter-in-Thanet, 45, 152 Saltwood, 36, 162 Sandwich, St. Clement’s, 107 — St. Mary’s, 103 Sittingbourne, 107 Smeeth, 31 Staple, 108, 111, 112, 115 Sutton Valence, 36 Tenterden, 101 Tilmanstone, 75 Tunbridge Wells, 44, 75 Wychling, 144 LANCASHIRE Burnley, 107, 109 Clitheroe, 3l Denton, 45 Manchester, St. Anne’s, 45 Mytton, 31 Rufford, 164 Whalley, 109 LEICESTERSHIRE Burrough, 90, 92 Goadby Marwood, 96 Leicester, All Saints’, 28, 90 Market Bosworth, 92 Melton Mowbray, 163 Noseley, 96 Ratby, 28, 92 Rothley, 24, 80 Stoke Golding, 93 Twyford, 92 Waltham-on-the-Wolds, 91 LINCOLNSHIRE Barnetby-le-Wold, 144 Barrowby, 48, 96 Belton, 77 Bourne, 162 Bradley, 97, 164 Carlton Scroope, 96 Cranwell, 148 Ewerby, ‘98 Fosdyke, 122 Frieston, 122 Haydor, 96 Heckington, 19, 32, 92 - Horbling, 99 Kirkby, 78 Knaith, 97 Lincoln, Cathedral, 27, 66, 133 Long Sutton, 31 Market Deeping, 104 Strubby, 97 Swayton, 98, 99 Swineshead, 36 Thornton Curtis, 133 Thorpe, 88 Threckingham, 165 Weston, 91 MIDDLESEX London, All Hallows’ Lombard Street, 45 — Holy Trinity Marylebone, 167 — St. Catherine’s Cree, 45 — St. Ethelburga’s Bishopsgate, 164 — St. James’ Piccadilly, 141 — St. Martin’s-in-the-Fields, 45 — St. Martin Ludgate, 164 — St. Stephen’s Walbrook, 45 Uxbridge, 103 : West Drayton, 48, 94, 118 MoNMOUTHSHIRE Abergavenny, 79 Blaenavon, 148 Chepstow, 48 Dixton, 28 Ebbw Vale, Christ Church, 167 Llanfrechfa, 167 Newport, St. Woolos’, 55 Rockfield, 40 Skenfrith, 31 NORFOLK Acle, 108, 109, 111, 112, 115, 120, 157 Aldeby, 104 Alderford, 130 Ashill, 104 Aylsham, 107 Bacton, 122 Bale, 104 Barton Bendish, St. Andrew’s, 31 Barton Turf, 100 Beechamwell, 40, 66 Beeston, 31 Beetley, 104 Beighton, 29, 88 Belaugh, 26 Bexwell, 31 Billingford, 29,88 | Binham, 130 ee. Bintry, 97 Bittering, 88 174 INDEX I Blakeney, 108,111,112 ™ Garvestone, 104 Blofield, 113 Gayton, 101 Bodney, 31 Gayton Thorpe, 130 Brancaster, 31 Gaywood, 162 Brandiston, 39 Geldeston, 107, 108, 115 Breccles, 126 Gooderstone, 104 Brinington, 31 Great Cressingham, 31 Brisley, 31 Great Dunham, 111, 112 Brooke, 130 Great Ellingham, 104 Brumstead, 101 7 Great Massingham, 92 Brundall, 144, 145 Great Ryburgh, 31 Burgh-next-Aylsham, 130 Great Snoring, 27 Burgh St. Peter, 104 Great Witchingham, 130, 131 Burnham Deepdale, 70, 126 Gresham, 130, 131 az Burnham Market, 45 Gressenhall, 111 O94 Burnham Norton, 27 Griston, 31, 156 Burnham Overy, 31 Guestwick, 108 Burnham Thorpe, 29 Gunthorpe, 107, 111, 112 Burnham Westgate, 101 Haddiscoe, 112, 115 Caister, 104, 109 Happisburgh, 109, 111, 112, 115, Caister St. Edmund, 158 120 Cantley, 27, 75 Hargham, 34 Carbrooke, 40 Haveringland, 100: Castleacre, 122 Hemblington, 112, 114, 118 Castle Rising, 73 Hempstead, 111, 115 Caston, 31 ; Hemsby, 112, 115 Catfield, 97 Hickling, 104 - Cawston, 100 Higham, 163 Cley-next-the-Sea, 130 Hilborough, 97 Cockley Cley, 101 Hindringham, 107, 112, 118 Colkirk, 27 Hockwold, 31 Coltishall, 27, 75 Hoe, 104 Congham, 29 Holme Hale, 31 Cranwich, 31 Holme-next-the-Sea, 45 Cranworth, 31 Holt, 83 Crimplesham, 31 Honingham, 101 Cringleford, 104 Horning, 100, 109 Cromer, 118 Horningtoft, 107, 111, 112, 113, Croxton, 40, 45 115 Deopham, 97 Horsey, 88 Dickleburgh, 115 Horstead, 31 Diss, 111, 112 Houghton St. Giles, 31 Earsham, 130 Hoveton St. John, 104 East Barsham, 48 Ingham, 29, 88 oe East Bradenham, 31 Irstead, 115, 119 | East Dereham, 130 Ketteringham, 112, 118 East Harling, 104 Kettlestone, 109 , East Raynham, 104 King’s Lynn, St. Nicholas’, 43, 101 East Ruston, 111, 117 Knapton, 164 East Tuddenham, 55, 79 Langford, 104 East Walton, 101 Langham, 29 East Winch, 107 Lessingham, 88 Easton, 29 Letheringsett, 29, 88 Elsing, 97 Limpenhoe, 29, 88 Fakenham, 112, 118 Litcham, 104 Field Dalling, 108, 109 Little Dunham, 104 Filby, 29, 88 Little Snoring, 55 » Fincham, 67,78 © Little Walsingham, 130 Foulden, 109 Loddon, 130 FONTS REFERRED TO Longley Castle, 163 Ludham, 109, 111, 112, 113, 115 Lyng, 29 Marsham, 130 Martham, 130 Mattishall, 36 Mattishall Burgh, 29 Mautby, 104 Mileham, 101 Morston, 112 Moulton, 29, 88 Mundford, 104 Narford, 31 Necton, 40 New Buckenham, 115 Newton by Castleacre, 31 North Barsham, 88 North Burlingham, 104, 109 North Creake, 48 North Runcton, 45 North Walsham, 100 Northwold, 40, 45 Norwich, All Saints’, 112 — Cathedral, 130 — St. George Tombland, 88 — St. John-de-Sepulchre, 115 — St. Peter Mancroft, 122 — §t. Swithun, 115 Ormsby St. Margaret, 104 Oulton, 31 Ovington, 104 Oxborough, 97 Oxwick, 31 Postwick, 104 Potter Heigham, 135 Redenhall, 108, 111, 112, 115 Reepham, 27, 75 Repps-with-Bastwick, 104 Reymerston, 112 Ringland, 111, 112, 115 Rockland All Saints’, 97, 98 Sall, 130, 131 Salthouse, 111, 112, 115 Scarning, 90, 91 Sculthorpe, 27 Scunthorpe, 125 Seething, 130 Shelfanger, 119 Shereford, 87 Sheringham, 97 Shernborne, 125 Shipdham, 27, 40, 76, 104 Sloley, 130 South Creake, 130 South Walsham, 100 South Pickenham, 101 Southacre, 26, 87 Sporle, 29 Stalham, 112, 114, 118 Stanford, 31 Stody, 29 Strumpshaw, 111, 115 Swanton Morley, 32 Terrington St. Clement, 100, 122 Terrington St. John, 44 Themelthorpe, 32 Thompson, 97, 98 Thornage, 32 | Thornham, 104 Threxford, 104 Thrigby, 101 Tilney All Saints’, 161 Titchwell, 45 Tittleshall, 101 Toftrees, 125 Trunch, 122 Upton, 109, 111, 112, 114, 120 Walpole St. Peter, 122, 164 Walsoken, 130, 158 Warham All Saints’, 40, 76, 83 Warham St. Mary, 45 Waxham, 101 Weasenham St. Peter, 105 Weeting, 32 Welborne, 32, 39 Wellingham, 32 Wendling, 130 Wereham, 32 West Bradenham, 31 West Dereham, 101 West Lexham, 31 West Lynn, 130 West Runton, 100 West Somerton, 31 Wheatacre Burgh, 107, 111, 115, 120 Whissonsett, 101 Wicklewood, 104 Wilton, 32 Wiveton, 100 Wood Norton, 32 Worstead, 101, 122 Worthing, 35 : Wretton, 32 Wymondham, 32, 40, 108, 109, 111, 112,115 . Yaxham, 118 NoRTHAMPTONSHIRE Aston-le-Walls, 72 Barnack, 48, 91 East Haddon, 58, 62 Eydon, 123 Fotheringhay, 104 Hardwicke, 88 Higham Ferrers, 29, 83 Irchester, 88 175 ¥ 176 Little Billing, 25, 149, 160 Northampton, St. Peter’s, 96 Rushton, 166 Wansford, 46, 77 West. Haddon, 72 NoRTHUMBERLAND Chollerton, 21 Haydon Bridge, 21 Hexham, 21, 92 Rothbury, 23 NorrinaHAMSHIRE Newark-on-Trent, 158 Nottingham, St. Mary’s, 163 OxFORDSHIRE Beckley, 18 Black Bourton, 18, 24 Bloxham, 96 Brize Norton, 76 Burford, 93, 165 Caversham, 37 _Clanfield, 104 Claydon, 143 Deddington, 46 Dorchester, 144, 145 Ewelme, 122 Goring, 18, 40 Hook Norton, 18, 56, 69 Iffley, 27 Kiddington, 96 Lewknor, 18 Mapledurham, 18, 79, 80 Northleigh, 143 Nuffield, 159 Taynton, 100 Thame, 29, 79 Warborough, 144, 145 Westwell, 37 Woodstock, 96 RUTLAND Ayston, 45 Brooke, 18, 76 Cottesmore, 100 Edith Weston, 18 Egleton, 27, 83 Exton, 19, 73, 92 Ketton, 29, 90 Manton, 27, 76 North Luffenham, 32 Oakham, 77 Ridlington, 32 South Luffenham, 102 Stoke Dry, 40 Teigh, 142 INDEX I Tickencote, 72 Uppingham, 41 Wing, 32 SALOP Acton Burnell, 18, 88 Adderley, 158 Atcham, 54, 155 Berrington, 18, 24, 73, 79 Holdgate, 53, 57 Kinnerley, 163 Melverley, 163 Shrewsbury, St. Chad’s, 45 — St. Mary’s, 48 Stottesdon, 53, 57, 61 Tong, 104 Upton Cresset, 18, 79 Wroxeter, 21 SOMERSET Axbridge, 111 Backwell, 79 Clevedon, 32 Congresbury, 27, 79 Kenn, 32 Kingston Seymour, 34 Locking, 53, 70 Lullington, 18, 77, 158 Nailsea, 108 Nettlecombe, 130, 131 Tickenham, 88 Walton-in-Gordano, 32 Weston-in-Gordano, 34 STAFFORDSHIRE Stafford, St. Mary’s, 62, 164 SUFFOLK Badingham, 130 Barnham, 32 Barsham, 40, 80, 104 Barton Mills, 97 Beccles, 29 Belton, 29 Blythburgh, 111 Bradwell, 108, 109, 111, 112, 115 Bungay, Holy Trinity, 45 — St. Mary’s, 45, 75 Burgh Castle, 108, 109, 111, 112, 113, 115 Butley, 108, 111, 112, 113, 115 Chediston, 111, 112, 115 Cookley, 108, 109, 111, 112, 113 Cratfield, 130 Denston, 130 Earl Soham, 157 Elvedon, 137 FONTS REFERRED TO Eriswell, 102 Flempton, 32 Fornham St. Martin, 100 Gorleston, 130 Great Glemham, 130 Halesworth, 109, 111, 112, 115 Holton, 104 Ipswich, St. Margaret’s, 163 — St. Peter’s, 64, 133 Lakenheath, 29, 90, 91 Laxfield, 130 Lound, 107, 111, 112, 113, 115 Melton, 130 Mettingham, 109, 112, 113, 115 Mildenhall, 104 Monk Soham, 130 Palgrave, 72, 87 Santon Downham, 32 Saxmundham, 115 Shipmeadow, 107, 111, 115 Southwold, 130 Spexhall, 104 Stoke-by-Nayland, 112 Thetford, St. Mary’s, 29, 80 Ufford, 122 2 hana 106, 111, 112, 113,115 alberswick, 109, lll, 112, 143, 115 Wenhaston, 100 West Stow, 104 Westhall, 130 Weston, 130 Wissett, 109, 111, 112, 115 Woodbridge, 130 Woolpit, 32, 36 Worlingworth, 163 SURREY Alfold, 18, 78, 79 Ash, 140 Chobham, 140 Lambeth, 167 Petersham, All Saints’, 167 Thames Ditton, 61 Upper Norwood, St. John’s, 167 Walton-on-the-Hill, 144, 145 SussExX Aldingbourne, 27, 75 Alfriston, 129 Amberley, 27, 75 Arundel, 100 Ashurst, 27 Barcombe, 129 Barnham, 27, 76, 83 Beckley, 45 | Beddingham, 129 Binstead, 76 12 Bosham, 29, 75 Boxgrove, 104 177 Brighton, St. Nicholas’, 18, 58, 59, 60, 78 Broadwater, 102 Burpham, 104 Bury, 104 Chichester, Cathedral, 48 — St. Olave’s, 27, 75 Cowfold, 104 Denton, 18 Didling, 18 East Preston, 32 Eastbourne, 129 Eastergate, 32 Edburton, 144, 145 Etchingham, 99 Felpham, 75 Fittleworth, 104 Greatham, 39, 144 Hailsham, 100 Hastings, All Saints,’ 100, 109 — St. Clement’s, 108 Hollington, 32 Horsham, 104 Hurstmonceaux, 129 Iden, 32 Jevington, 129 Lewes, St. Anne’s, 18 — St. John-sub-Castro, 40 — Southover, 27 Littlehampton, 40 Lurgashall, 41, 75, 132 Mountfield, 120 New Shoreham, 27, 76 North Chapel, 132 North Lancing, 27 Northiam, 45 Oving, 32 Pagham, 27, 76, 83 Parham, 144, 145, 162 Parham House, 140 Pett, 39, 45, 152 Pevensey, 40 Poynings, 19, 92 Pulborough, 27, 75 Pyecombe, 144, 145 Salehurst, 69 Shipley, 90 Sidlesham, 27, 83 Slaugham, 68 Slinfold, 102 South Berstead, 41 Southease, 129 Steyning, 80 Stopham, 102 Sullington, 104 Sutton, 29, 88 Tangmere, 18, 140 178 INDEX I Thakeham, 104 Tortington, 54, 76, 79 Up Waltham, 18 Upper Beding, 32 Walberton, 40 Warminghurst, 45 Warnham, 27, 75 Washington, 100 West Chiltington, 32 West Dean, 129 West Itchenor, 88 West Thorney, 24, 44, 80 Westham, 100 Westhampnett, 32 Wiggonholt, 75 Willingdon, 129 Worthing, St. Paul’s, 48 Yapton, 18, 78 WARWICKSHIRE Brailes, 96 Coleshill, 60 Curdworth, 71 Lillington, 104 Oxhill, 78 Stratford-on-Avon, 41 Weston, 37 Wolston, 92 WILTSHIRE Avebury, 58, 62, 77 Baydon, 19, 88 Cricklade, St. Sampson’s, 100 Great Durnford, 77 Hinton Parva, 24, 62, 67, 68, 76 North Bradley, Southwick, 167 Potterne, 160 Ramsbury, 68 Stanton Fitzwarren, 77 Stanton St. Quintin, 81 W ORCESTERSHIRE Badsey, 142 Chaddesley Corbet, 53, 57 Elmley Castle, 118 Holt, 73 Longdon, 142 Newland, 40 Severn Stoke, 165 Tenbury, 39 Wyre Piddle, 79, 80 YORKSHIRE Ackworth, 156 Allerston, 32 Ayton, 76 Bainton, 85 Barmston, 85 Bempton, 56 Bessingby, 18, 76, 80 Beverley, St. Mary’s, 158 Bingley, 51, 149, 156 Birkin, 155 Bolton-juxta-Bowland, 157 Brayton, 24 Bubwith, 150 Carnaby, 85 Catterick, 37, 165 Cawthorne, 156 Chapel Allerton, 162 Cottam, 59, 60 Cowlam, 58, 78 Edlington, 154 Featherstone, 152 Flamborough, 18 Folkton, 26, 79 , Goodmanham, 157, 159, 161 Great Driffield, 27 Hemingbrough, 76 Hull, St. Mary’s, 162 Ingleton, 59 Kirkburn, 18, 58, 60, 61 Malton, 18 Nafferton, 85 North Burton, 73 North Grimston, 18, 59, 79 Patrington, 96 Reighton, 18, 26 Rillington, 18, 76 Rothwell, 155 Rudstone, 18, 85 Sandal Magna, 155 Scalby, 18 Sherburn, 78, 79 Snainton, 18 South Kilvington, 36, 107 Thornton-le-Dale, 27 Thwing, 18 Weaverthorpe, 85 Wensley, 165 Wold Newton, 18, 54, 79 York, St. Helen’s, 76 WALES ANGLESEY Hen Eglwys, 17, 54 Llanfair-y-Cwmmwd, 48, 73 Llangeinwen, 17, 54 Llangristiolus, 17, 53. Llanidan, 17, 54 Penmon, 23 Trefdraeth, 17, 54 FONTS REFERRED TO 179 BrREcON Brecon, Priory, 53, 165 Llanwrthwl, 24, 72 Patricio, 25, 51, 150 CARDIGANSHIRE Aberaeron, 81 Aberporth, 40 Bangor Teifi, 80 Bettws Bledrws, 81 Capel Cynon, 142 Cardigan, 103 Ciliau Aeron, 40 Eglwys Newydd, 135 Gwnnws, 40 Henfyniw, 40, 81 Henllan, 35 Lampeter, 66 Llanarth, 40, 63 Llanbadarn Fawr, 88 Llandisilio Gogo, 41 Llandyfriog, 32 Llandyssul, 40 Llanfair Clydogau, 64 Llanfair Orllwyn, 81 Llanfihangel Lledrod, 39 Llanfihangel-y-Creuddyn, 40 Llanfihangel Ystrad, 86 Llangoedmore, 34 Llangranog, 34 Llangwyryfon, 143 Llanilar, 32 Llanllwchaiarn, 40, 73 Llanwenog, 24, 73 Llanychaiarn, 166 Maestir, 66 Mount, 86 . Sarnau, 41, 86 Silian, 40, 72 Trefilan, 40 Tregaron, 32 Tremain, 86 Troed-yr-Aur, 35 Yspytty Ystwyth, 40 CARMARTHENSHIRE Bettws-Ammanford, 167 Carmarthen, St. Peter’s, 104 Cenarth, 41, 72, 73 Laugharne, 40 Llanddowror, 103 Llanelly, All Saints’, 167 Llanfihangel Abercywyn, 18, 77 Pencarreg, 72 Pendine, 32, 86 CARNARVONSHIRE Conway, 48, 103 Llandrillo-yn-Rhos, 80 Llangelynin, 10 Llanrhychwyn, 10 DENBIGHSHIRE Efenechtyd, 139 Erbistock, 32 Holt, 107 Trefarth, 167 FLINTSHIRE Bodelwyddan, 50 Be GLAMORGANSHIRE Aberdare, 167 Cardiff, St. David’s, 167 — St. John’s, 167 — St. Stephen’s, 167 Coity, 40 Cwmparce, 167 Gelligaer, 167 Llangenydd, 86 Llanmadoc, 86 Llantrissant, 167 Llantwit Major, 18 Maesteg, 167 Mawdlam, 18, 79 Morriston, St. David’s, 167 Pontlottyn, 167 Rhosilly, 87 St. Lythans, 80 Ton Pentre, 167 Wick, 18, 79 MERIONETHSHIRE Barmouth, 50 Dinas Mawddwy, 49, 138, 160 Pengwern, 49, 138, 160 MoNTGOMERYSHIRE Llandrinio, 76 Llanmerewig, 72 Pennant Melangell, 72 Snead, 72 PEMBROKESHIRE Bletherston, 32 Burton, 87 Castlemartin, 34, 87 Fishguard, 167 Freystrop, 87 Haverfordwest, St. Mary’s, 46 Hayscastle, 87 180 INDEX I Hodgeston, 87 Johnston, 25, 87 Jordanston, 87 Lamphey, 79, 80, 87 Llanrian, 32, 107 Manorbier, 87 Marloes, 167 Mathry, 167 Milford Haven, 45, 153 Narberth, 45 Pembroke, St. Mary’s, 79, 87 Penally, 87 Prendergast, 87 Rudbaxton, 87 St. David’s, Cathedral, 88 St. Florence, 87 St. Issells, 56 St. Twinnels, 34 Solva, 25 Uzmaston, 79, 87 RADNORSHIRE Llanbister, 32, 167 Llanfihangel Helygen, 25 Old Radnor, 19 Rhayader, 72 St. Harmons, 72 BELGIUM Liége, St. Barthélemy, 147 Louvain, St. Pierre, 147 DENMARK Kolding, 161 FRANCE Abbeville, 147 Bérulles, 49 Chéreng, 73 Dijon, St.-Jean, 49 Espauberg, 146 Etampes, Notre-Dame, 73 — 8t.-Gilles, 148 La Bazeuge, 49 Le Dorat, 47, 147 Magneville, 73 Mesnil-Mauger, 146 St.-Evroult-de-Montfort, 146 GERMANY Wattenscheid, 60, 62 JERSEY Prince’s Tower, 49 INDEX II NAMES AND SUBJECTS Advertisements of 1564, 38 Agnus Dei, 61 Altars, Roman, used as fonts, 21 ; as holy water stoup, 22 Annunciation, the, on font, 96 Aquarius, 69 Ascension, the, on font, 60, 113 Augustine, St., of Canterbury; baptized converts, 7; at Canter- bury, 8, 9, 51 Augustine, St., of Hippo, on symbol of Fish, 67 Baker, Oliver, on wooden font in Herefordshire, 143 Baptism, institution of, 1; primi- tive method of, 1, 2; seasons for, 13 Baptisteries, in the Catacombs, 3 ; in France, 14; in Germany, 14; in Italy, 14, 15 Barnabas, Epistle of, on method of Baptism, 2 n. Basins used in Baptism, 37-8 Bede, the Ven.; on baptisms by Paulinus, 7; and by St. Augus- tine, 8 Brixworth, Roman material used at, 20 Browne, Dr. G. F., on Deerhurst font, 52 Calvinism, influence of, 38 Canterbury, St. Augustine at, 8; Baptistery at, 15 Capel Teilo, well-chapel at, 12 Castor, tower at, 84 Catacombs (Rome), Baptisteries in, 3,4; representations of Baptism in, 4,5; figure of fish in, 68 Cawston, figure of wild man at, 116 Chollerton, Roman material at, 20 Chrism in Baptism, 49 181 Christ, Baptism of, represented in Catacombs, 4, 5; and on fonts, 58, 78, 112, 130 — in Glory, on font, 130 Coad, maker of fonts, 135 Colchester, St. Botolph’s Priory, Roman material at, 20 Commonwealth, destruction of fonts during, 39 Coronation of B.V.M. on font, 130 Corringham, tower at, 75 Covers of fonts, 121, 122, 164 Creation, represented on fonts, 59, 133 Cross, descent from the, on font, 60 Crosses, Celtic, used as fonts, 22, 23 Crucifixion, on fonts, 60, 93, 94, 112, 113, 130 Cuthbert, Archbishop, built Bap- tistery at Canterbury, 15 Dashwood, Sir Francis, work of at West Wycombe, 141 Demons on fonts, 117 Denmark, method of baptism in, 36 n., 161 Devizes, St. John’s, tower at, 75 Doctors of the Church on font, 112 Doves on fonts, 67, 84, 133, 142 Dragon on font, 58 Druidic stone used as font, 19 Dupath, well-chapel at, 11 East Dereham, holy well at, 11 Egypt, Flight into, on fonts, 59, Li3 Elephant as base of font, 137 Evangelists, symbols of, on fonts, 64, 133 Fall, the, on fonts, 59, 78, 133, 141 Fish on fonts, 67, 68 182 Genillin Foel, Prince of Powys, 151 Gibbons, Grinling, font attributed to, 141 Glynne, Sir Stephen, on brick font in Kent, 135 Hamilton, Lady, gave font to Mil- ford Haven, 46 Heraldry on fonts, 105-7, 161 Herwald, Bishop of Llandaff, 151 Hexham, Roman material at, 20 ae Pa figure of wild man at, 16 Holyrood, former font at, 147 Hunting scenes on font, 95 Iffley, doorway at, 69 Innocents, Massacre of, on fonts, 57, 58 Johnes, Thomas, of Hafod, 136 Jones, Inigo, 44 Kenchester, Roman material at, 20 Kimberley, Arms of Earl of, 116 Langford, Roman material at, 20 Last Supper on fonts, 59 Laud, Archbishop, Visitation articles of, 38 Laudian revival, 44 Lions on fonts, 62-4, 113, 114, 132, 164 Llanelian, baptistery church at, 12 Llangelynin, holy well at, 11 Llangibby, holy well at, 11 Llangyfelach, cross at, 24 Loches, stoup at, 22 Magi, on fonts, 59, 78, 125 Malmesbury Abbey, influence of, 53 . Marian persecution, effect of, 37 Marucchi, Professor, on early Bap- tisteries, 3 Mathern, holy well at, 11 Meyrick on fonts in Cardiganshire, 65 n., 143 Monsters, on fonts, 57, 133 Months, occupations of the, 69, 70, 126, 146 Nativity, the, on fonts, 78, 113 Norwich, St. Michael-at-Plea, figure of wild man at, 116 INDEX II Over Denton, Roman material at, rs Ovingdean, Roman material at, 20 Parker, Archbishop, Visitation articles of, 38 Passion, emblems of the, 96, 108 Paulinus baptized converts, 7 Peterborough Cathedral, decorative arcade at, 75 Pieta on fonts, 94, 112 Potter Heigham, figure of wild man at, 116 Resurrection, the, on font, 113 Roman material, used by English church builders, 19-21 Sagittarius, 69 | St. Albans, Roman material at, 20 St. Andrew, martyrdom of, on font, 60 St. Breward, well-chapel at, 11. St. Catherine on font, 96 St. Christopher on font, 95 St. Cleer, well-chapel at, 11 St. Cyril (of Jerusalem), on the place of Baptism, 14 St. Davids, St. Non’s chapel at, 13 St. Edmund, Archbishop of Canter- bury, 138 St. George on font, 96 St. Gregory, on baptism of Saxons, 7 St. James on font, 96 St. John Baptist on fonts, 58, 78, 96, 112, 130 St. Laurence on font, 60 St. Leo, on method of baptism, 2n. 2 St. Levan, well-chapel at, 11 St. Madron, well-chapel at, 11 St. Margaret on fonts, 60, 96 St. Nicholas on fonts, 60, 61, 133 St. Ruan Minor, well-chapel at, Il St. Thomas Aquinas, on method of baptism, 2 n. 3 St. Withburga, well of, 11 Saints on fonts, 112, 114 Saints, emblems of the, 109 Salamander on fonts, 69 Sandwich, tower at, 75 Santa Sophia Constantinople, palin- drome inscription at, 163 Serpent on fonts, 58, 61, 62, 142 SL h faa, fet NAMES AND SUBJECTS Spoons used at Baptism, 49 Stoke d’Abernon, Roman material at, 20 Stoup at Loches, 22 Stow, decorative arcade at, 75 Strata Florida Abbey, influence of, 82 Sussex, dominant type of font in, 26 Temptation, the, on font, 59 Tertullian, on seasons of baptism, 13 nm. 1; on the fish as a symbol, 67 183 Thorwaldsen, 50 Trinity, the Holy, on fonts, 112, 131 Wells, holy, 9 Well-chapels, 11 Westwood, 151 Wild men or ‘‘ Wodehouses,’’ 116 Winterton, figure of wild man at, 116 Wren, Bishop, Directions of, 38 Wren, Sir Christopher, 44, 45 Wroxeter, Roman material at, 20 Zodiac, signs of the, 69, 146 Oe ttn ant ry SOE OD Pe ee AP ete Ae egies yy Ie Petre