FONT, the vessel used in churches to hold the water for Christian baptism. In the apostolic period baptism was adminis tered at rivers or natural springs, Lat. fops (cf. Acts viii. 36), and no doubt the primitive form of the rite was by immersion in the water. Infusion—pouring water on the head of the neophyte— was early introduced into the west and north of Europe on ac count of the inconvenience of immersion, as well as its occasional danger; this form has never been countenanced in the Oriental churches. Aspersion, or sprinkling, was also admitted as valid, but recorded early examples of its use are rare (see BAPTISM) . These different modes of administering baptism have caused corresponding changes in the receptacles for the water. After the cessation of persecution, when ritual and ornament began to develop openly, special buildings were erected for administering the rite of baptism. This was obviously necessary, for a large piscina (basin or tank) in which candidates could be immersed would occupy too much space of the church floor itself. These baptisteries consisted of tanks entered by steps (an ascent of three, and descent of four, to the water was the normal but not the invariable number) and covered with a domed chamber (see BAPTISTERY).
By the century, however, the use of separate baptisteries had generally given place to that of fonts. The material of which these were made was stone, often decorative marble; as early as 524, however, the council of Lerida enacted that if a stone font were not procurable the presbyter was to provide a suitable vessel, to be used for the sacrament exclusively, which might be of any material. In the Eastern Church the font never became an im portant decorative article of church furniture.
Few if any fonts older than the 11th century survive. These are all of stone, except a few of lead; much less common are fonts of cast bronze (a fine example, dated 1112, exists at the Church of St. Barthelemy, Liege). The most ancient are plain cylindrical bowls, with a circular—sometimes cruciform or quatref oil—out line to the basin, either without support or with a single central pillar; occasionally there is more than one pillar. The basins are usually lined with lead to prevent absorption by the stone. The church of Efenechtyd, Denbigh, possesses an ancient font made of a single block of oak.
Fonts early began to be decorated with sculpture and relief. Arcading and interlacing work are common; so are symbol and pictorial representation. A very remarkable leaden font is pre served at Strasbourg, bearing reliefs representing scenes in the life of Christ. At Pont-a-Mousson on the Moselle are bas-reliefs of St. John the Baptist preaching, and baptizing Christ. Carya tides sometimes take the place of the pillars, and sculptured animals and grotesques of strange design not infrequently form the base. Most remarkable is the occasional persistence of pagan symbolism ; an interesting example is the very ancient font from Ottrava, Sweden, which, among a series of Christian symbols and figures on its panels, bears a representation of Thor (see G. Stephens' brochure, Thunor the Thunderer) .
In the 13th century octagonal fonts became commoner, and in the 14th and succeeding centuries they became the rule. In England no fonts can certainly be said to date before the Norman conquest, although it is possible that a few very rude examples, such as those of Washaway, Cornwall and Denton, Sussex, are actually of Saxon times ; of course we cannot count as "Saxon fonts" those adapted from pre-Norman sculptured stones origin ally designed for other purposes, such as that at Dolton, Devon shire. On the other hand, Norman fonts are very common, and are often the sole surviving relics of the Norman parish church. They are circular or square, sometimes plain, but generally cov ered with carving of arcades, figures, foliage, etc. Some of the best examples of "Norman" fonts in England (such as the notable specimen in Winchester cathedral) were probably imported from Belgium. Fonts of the Perpendicular period are very common, and are generally raised upon steps and a lofty stem, which, to gether with the body of the font, are frequently richly ornamented with panelling. It was also the custom during this period to orna ment the font with shields and coats of arms and other heraldic insignia, as at Herne, Kent.
In 1236 it was ordered by Edmund, archbishop of Canterbury, that baptismal fonts should be kept under lock and key, as a pre caution against sorcery. The ordinary position in the church was and is near. the entrance, usually to the left of the south door.