Sacraments of Initiation
Part 5 Selected Pastoral Issues
Chapter i52 The Place for Initiation
Preliminary Questions
Describe the most beautiful baptistery you have seen. Where was it located? What did you like about it?
Bibliography
FDLC. Places for Baptism, Washington, DC: Federation of Diocesan Liturgical Commissions. Slides.
S. Anita Stauffer. Re-Examining Baptismal Fonts: Baptismal Space for the Contemporary Church, VHS video cassette, 36 min., Collegeville: The Liturgical Press, 1992. $59.50
BCL. Environment and Art, #78-77
Thomas Richstatter, O.F.M. "Your Parish Church: How Should It Look Today?" Catholic Update, Cincinnati: St. Anthony Messenger Press, November 1980.
History of Tomb Wombs
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1. Apostolic 0-399 |
River |
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2. Patristic 400 - 799 |
Cistern |
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3. Early Medieval 800-1199 |
Tub |
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4. Medieval 1200-1299 |
Gothic-tub raised |
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5. Late Medieval 1300-1499 |
Covered font. Gothic cover |
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6. Reformation 1500-1699 |
Font |
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7. After Trent 1700-1899 |
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8. Before Vat II 1900-1958 |
1950 Vigil restored |
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9. Vatican II 1958-1988 |
Importance of symbol. RCIA. Adult immersion. Infant immersion. Flowing water. BRK each time. No pool during lent? |
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10. After Vat II 1988-2040
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Tomb-wombs with flowing water at entrance replace holy water fonts and baptismal fonts. |
Theological Reflections
1. Where should initiation be celebrated?
a. outside: running water
b. inside: door
c. quotes from the early Church writers e.g. Didache
d. Initiation = Door
e. Door of the Church
f. tomb womb by door of the church
g. Renewal of baptismal promises as door to each Eucharist
h. Funeral: Door to Life
i. In sanctuary where everybody can see?
2. Unity of the symbol
a. one baptism, one door of the Church, one tomb womb.
b. multiple holy water fonts?
c. GENERAL LITURGICAL PRINCIPLE: Less is more.
3. Root symbol
a. tomb womb
b. font
c. holy water font
d. sign of sign of sign of sign of sign.
4. Should minister go into the water?
5. GENERAL LITURGICAL PRINCIPLE: If nothing can go wrong, perhaps nothing can go right
6. Placement
a. baptistery in front -- demolished when church was
lengthened
b. Baptistery to side -- often saved
7. Cover: to prevent taking the water for witches and black magic
8. The Churches in the pictures which follow look EMPTY
a. The BCL statement on Art and Environment in Catholic
Worship reminds us that a Church needs
a worshiping
community to complete it.
b. Looking at an Kings Island (Coney Island, Holiday
World) when it is closed for the winter and no
people are there. You have to
imagine what it would look like with the lights flashing the bands
playing the screech of the
roller coaster and the delighted cries of the little children.
c. A Church building is a "House for the Church, the
Assembly" and when there’s no one at home, it
will naturally look empty.
d. Picture frame complements the picture. One shouldn’t
be drawn to the frame but to the picture. O
what a beautiful picture frame!
FDLC Slides — Places for Baptism
FDLC. Places for Baptism
Part One: The Early Church Places for Baptism (=PFB) 1-15
Part Two: The Middle Ages PFB 16-23
Part Three: The Reformation to the Nineteenth Century PFB 24-25
Part Four: The Twentieth Century PFB 26-80
Part Five: The Easter Vigil PFB 80-113
Section One: Permanent Font
Section Two: Temporary Font
Part Six: Infant Baptism PFB 114-117
PART ONE: THE EARLY CHURCH (1-15)
The story of the architectural setting of baptism within the early Christian period does not begin until the opening decades of the third century. Baptisteries may have existed before then, but of these no literary evidence survives and no archaeological traces have so far been discovered. In he apostolic age baptism was administered in rivers and lakes, and even in the sea, while the gatherings for worship were held in private houses. When at length special architectural provision was made for the latter, we may assume that it would embrace the former, so that as accommodation was created for the liturgical assembly of the Church, it was also set aside for the sacrament of initiation into the Church. Nearly four hundred of these baptisteries, from the third to the seventh centuries, are now known, and here in stone, mosaic and fresco is a rich testimony to the importance of the sacrament and to the way in which it was administered and understood, not only in great cities like Rome, Jerusalem or Antioch, but even in remote country districts in Greece, Syria or North Africa. (J. G. Davies. The Architectural Setting of Baptism, p 2.)
[First number is number in the carousel. Second number is number of the slide in the original FDLC set "Places for Baptism."]
Slide from the Easter Vigil Set. Water. Here is a good picture of the first baptismal fount. The first stage: no "religious" structures, places or rites. River, Ocean, Stream, Cistern. Consequently, we have little or no remains for there were no monuments.
Slide from the Easter Vigil Set. The "Where" of Baptism is intimately associated with the "Why", the "When", and the "Whom" of Baptism, according to the General Principle "Form Follows Function."
Slide from the Easter Vigil Set.
Slide from the Easter Vigil Set.
Slide from the Easter Vigil Set.
PFB 1. (Slide #1 from Places for Baptism, Bro. William Woeger, FSC, Liturgy Commission, Archdiocese of Omah, 100 North 62nd Street, Omaha, Nebraska (402) 558-3100. Purchased January 1988, $62.00.) Floor plans of early fonts/ baptisteries: a. Salona; b. Tipasa; c. Dar Kita; d. Djemila; e. Aquilela; f. Marseilles; g. Der Seta; h. Apoilonia; i. Tigzirt
2. Kelibia: font of the baptistery, 6th century, floor plan, elevation.
3. Kelibia: font. Photo: M. P. Fevrier and the Service des Antiquites de L’Algerie
4. Timgad: font. Photo: Dr. W.H.C. Frend
5. Djemila: exterior. Photo: M. P. Fevrier and the Service des Antiquites de L’Algerie
6. Djemila: interior. Photo: M. P. Fevrier and the Service des Antiquites de L’Algerie
7. Djemila: Interior, font area. Photo: M. P. Fevrier and the Service des Antiquites de L’Algerie
8. Sbeitla: font. Photo: Dr. W.H.C. Frend
9. Mount Nebo: Mosaic pavement depicts Paradise. Baptism introduces the candidate into the life of Paradise. Photo: Courtesy of Studium Biblicum Franciscanum
10. Poiters: 7th Century. Photo: Professor R. Lewis and M. Eygum
11. Shaita, Palestine: 6th or 7th Century
12. Meninx, Africa: cruciform font, Constantinian Period. Baptism is "into the death of Christ", with immersion recalling His death and emersion His resurrection
13. Ravenna: Orthodox baptistery. Photo: Marsell-Anderson
14. Henchir Messaouda: diagram of mosaics. The hart is frequently used as a symbol of the triumph over evil as the natural enemy is the snake. When the snake retreats into a crevasse the hart blows or regurgitates water into the fissure in order to drive it out. After destroying the snake the hart has great thirst and seeks out water. Thus the psalmist writes of longing for God as the hart longs for running streams. The baptismal parallel is obvious.
15. Albenga: vault mosaic of baptistery, 5th century.
16. Oued Ramel: floor mosaic in baptistery. Note image of hart with water. Dove depicts blessing of font.
PART TWO: THE MIDDLE AGES (16-23)
All the evidence indicates that once the detached baptistery had been abandoned as the architectural setting for baptism, the font was introduced into the church and sited close to its main doorway. The reasons for this position at the west end near the principal entrance were twofold. First, there was the symbolic reason; baptism, as John Carpenter, Bishop of Worcester, echoing many medieval divines, asserted in his Articles of 1480, is ‘the door of all sacraments’. Just as no man can enter the Church without initiation, so no one could enter the church without a visible reminder of the sacrament of initiation. Second, liturgical conservatism operated to produce the same result. Although the catechumenate had long ceased to exist, the tradition that the uninitiated should occupy a position at the back of the church was perpetuated in the positioning of the font. Moreover, many of the elements of the rites of the catechumens, such as the insufflation, the placing of salt on the tongue, the exorcism and the effeta, were preserved as the first part of the baptismal office under the title of "Ordo ad Faciendum Catechumenum" and this was directed to take place at the church door, close to where it was fitting that the font should stand for the performance in due course of the other parts of the service. (L. G. Davies. The Architectural Setting of Baptism, p 61.)
17. Floor plan of fonts/baptisteries:
a. Chaddesley Corbett: Font opposite the entrance door in the north aisle.
b. Toledo: Font east of the entrance door to the north aisle.
c. Burton Latimer: Font just east of the entrance door in the north aisle.
d. St. Martin, Cologne: Font immediately to the left of the entrance door in the west facade, thus frequently occupying the first bay in the north aisle.
e. Rushden: Font in a central position at the back of the church at the intersection of lines running between doors in the north and south walls and in the west wall.
f. Nouvion-le-Vineux: Font immediately to the right of the entrance door in the west facade, thus frequently occupying the first bay in the south aisle.
g. Amiens: In certain cathedrals, where the most-used entrance was often in one of the transepts, the font was placed there accordingly. Indeed, the position of the font, where there is more than one door, often indicates where the main entrance was in the Middle Ages.
18. St. John Lateran, Rome: The Lateran baptistery is an example of continued development on a single site. The first baptistery, dating from the beginning of the century was square. When this was enlarged about 350 A.D. it was transformed into a circle having eight columns along its interior wall. Finally, during the years 432-440 a porch was added and the circle was changed into an octagon. The center of the room is entirely filled by the font and surrounded by eight columns. Photo: Mansell-Anderson.
19. Cley: font. Photo: Edwin Smith.
20. Bridekirk, Cumberland: font. A two-headed hydra thrashes about powerlessly over a scene of baptism of Christ, suggesting the triumph of Christ over the forces of evil. Photo: Professor E. K. Waterhouse.
21. Lucca: font. Water gushes from the upper receptacle into the lower basin. Children were held in the flow of water for baptism. These large basins of water were not actually necessary for baptism and with the exception of very large church buildings were out of place. Thus, when fonts began to be placed within the church proper they were much smaller and new forms evolved. Photo: Rev. J. C. Dickinson.
22. Ewelme: font with cover. Baptismal water was required for some forms of witchcraft, thus it became necessary to cover and lock fonts by the Medieval period. At first lids were simple and flat but later evolved into decorative objects. The font cover at Ewelme, surmounted by a figure of Saint Michael is an example of this development. Photo: Ms. F. H. Crossley.
23. Trunch, Norfolk: font with baldachin or canopy of carved wood. This is an example of a non-utilitarian addition to the font. Photo: A. F. Kersting.
24. Pisa: Baptistery. Medieval baptisteries ceased to be used solely for baptism. Many became chapels dedicated to St. John the Baptist, hence altars were added and in the case of Pisa, a pulpit was installed in 1260, designed by Nicholas Pisano. Photo: A. F. Kersting.
PART THREE: THE REFORMATION TO THE NINETEENTH CENTURY (24-25)
The Roman Church was largely unaffected by the Reformation Movement in regard to baptism and continued to operate out of a Medieval model. There would, however, be a gradual movement toward effusion over a divided font with locked cover. In some of the Reform Churches there would be a movement toward public baptism while in some Churches baptism would move out of the church building and into the home. Thus, throughout this period the location, design, use and in some cases, the very presence of the font varies greatly. The 19th century would witness the Gothic Revival and result in a return to the medieval architectural setting for baptism in many churches of England. (L.G. Davies. The Architectural Setting of Baptism, p 106.)
25. Tours: font in the baptistery. Font is located near the main entrance and only effusion is possible. This design is more typical of 17th-19th century bowls with Renaissance characteristics.
26. Ruabon: baptismal bowl on wooden pillar. By mid-18th century, the font as place had all but disappeared in some regions. The font itself was reduced to a decorative bowl.
PART FOUR: THE TWENTIETH CENTURY (26-80)
In the years following WW II, there was a great deal of rebuilding to be done of church buildings in Europe. The liturgical movement of this century begins to be expressed in the design of many of these buildings. The location as well as the design of the font during this period, together with the restoration of the Triduum/Easter Vigil by Pius XII served to set the stage for the most recent development in the Rites of Christian Initiation.
27. Audincourt: Baptistery. The 1950's witnessed the return of the baptistery as an adjacent structure in Europe and the U.S.A. This became particularly true in new Roman Catholic structures following the restoration of the Triduum by Pius XII. Photo: Rev. Dr. G. Cope.
28. Saint Maria-Konigin, Cologne: Baptistery. Note sealed font. Photo: Rev. Dr. G. Cope.
29. Saint Richard, Three Bridges: Font. Note location of font near sanctuary in public worship space. Font area is lowered, suggestive of pools found in early church. Photo: N. F. Cachemaille-Day.
30. Saint George, Rugby: floor plan. Font is located to right of sanctuary and choir.
31. Saint Reinhold, Dusseldorf-Gerresheim: floor plan. Font located near entrance on axis with altar and pulpit.
32. Saint Clement, Alexandria, Virginia: floor plan. Font located near entrance on axis with altar and pulpit.
33. Saint George, Letchworth: floor plan. Font located at point of entry with the nave.
34. Saint Mary Southgate, Crawley: floor plan. Font located in center of nave forward of overflow seating.
35. Saint John, Collegeville, MN: floor plan. Font is located in narthex. Area surrounding font is lower than entrance floor level. While the font is sealed, it has flowing water around it.
36. Co-Cathedral of St. Theresa, Honolulu, Hawaii: overview Johnson, Tsushima, Luersen, Lowery (Architects, Inc.). Photo: Ron Sutton.
37. Same as above.
38. Save as above. font. View toward font from assembly.
39. Same as above. font.
40. Same as above. font. Close up view of baptismal font looking towards the assembly. Note use of native stone (basdt lava) for upper basin.
41. St. Anthony Kailua, Honolulu, Hawaii. Johnson, Tsushima, Luersen, Lowery (Architects).
42. Same as above. Design offers three options for baptism. Photo: David Franzen. 1. High font allows for full immersion of infants or effusion over the forehead of adults. 2. A large pool, containing a depth of 32" of water, allows full immersion of adults, and has enough side of 5' for two. 3. A shallow pool with 12" of water is where an adult or young child stands for baptism by effusion over the entire body.
43. Same as above. A water circulation system, which includes heating, provides movement through three pools and enhances the sacramental sign of "living and flowing water." The system has a water treatment process with bromine that keeps the water clean and odorless.
44. Church of the Holy Eucharist, Tabernacle, New Jersey. Diocese of Trenton. Henry Jung, AIA, Architect. Richard S. Vosco, MFA, PhD, Liturgical Designer. Photo: Richard Vosco. The font is located in the narthex of the church which allows large numbers of people to gather about. The font may be seen from within the eucharistic assembly space.
45. Same as above.
46. Same as above.
47. St. John Bosco, Brockville, Ontario. Archdiocese of Kingston. Architect: Vince Colizza, MRAIC, OAA. Liturgical Designer: Richard S. Vosco, MFA, PhD. Photo: Richard S. Vosco. The font is located in the narthex of the church which allows large numbers of people to gather about. The font may be seen from within the eucharistic assembly space.
48. Same as above.
49. Same as above.
50. St. Nicholas, Hays, Kansas. Diocese of Salina. Architect: Wayne Brungardt-Stecklein & Brungardt. Liturgical Designer/Consultant: Br. William Woeger, F.S.C. Photo: Larry Ginske.
51. Same as above. Font is located to the right of the sanctuary in an area set aside for baptism and in view of the congregation. Materials are sand blasted concrete with tile liner. Ambry for oils is located in the wall behind the fonts. Easter candle holder is integrated in the overall design.
52. Same as above.
53. Same as above. View of upper basin.
54. Same as above.
55. Upper portion of font allows for immersion of infants.
56. Sacred Heart Church, Warsaw, Indiana. Architect: Troyer and Associates, Mishawska, Ind. Liturgical Designer: William Beard A.I.A. Liturgical Consultant: Rev. Richard J. Conyers, C.S.C. Photo: Richard J. Conyers, Font located at entry to worship space.
57. Same as above.
58. St. Stephen’s Catholic Community, Nashville, Tenn./Diocese of Nashville. Architect: michael Plunk-Edwards & Hotchkiss Architects, Inc. Liturgical consultant: Bro. William Woeger, F.S.C. Photo: Sam Flowers. View from behind baptismal font looking toward worship space. Baptism pool, aggregate concrete, similar to floor material. Poured on sight with tile lining. Located just inside main entry to worship space. Flexible furnishings allow for congregation to be oriented toward font when appropriate.
59. Same as above.
60. Corpus Christi Church, South Bend, Ind. Diocese of Ft. Wayne/S. Bend. Architect: Panzica Architects, Inc. Photo: Richard J. Conyers, C.S.C. The font is located in narthex. Open area allows for waking or greeting rites of christian burial.
61. Same as above.
62. Cathedral of Sts. Peter & Paul, Indianapolis, Ind. Archdiocese of Indianapolis. Design: Edward Sovik-Sovik, Mathre, Sathrum, Quanbeck Architects. Liturgical Consultant: Rev. Steven Jarrell. Elevated view of baptismal font.
63. Same as above. Safety laws: wire net. Removal steps. Laws vary from state to state. Your architect wold know those it is part of his business. Like open Jaccuzzi laws.
64. Same as above. Members of assembly pass font on entering worship area.
65. St. Paul of the Cross, Columbia City, Ind. Architect: Gibson, Tourney & Kim, Ft. Wayne, Ind. Design: William Beard A.I.A. Liturgical consultant: Rev. Richard J. Conyers, C.S.C. Photo: Rev. Richard J. Conyers, C.S.C. Frontal view of baptistery.
66. Same as above. View of baptistery located in foyer.
67. Same as above. Side view of baptistery across foyer.
68. St. Boniface, Cold Spring, Minnesota. Consultant/designer: Frank Kacmarcik. Photo: Larry Ginzske. Entry and baptismal font area with view looking toward worship space.
69. Church of the Good Shepherd, Spring, Texas. Architect: Robert Herloz - Spencer-Herloz Architects. Photo: Sr. Joan Niehaus. Note location of baptismal font in midst of assembly.
70. Same as above.
71. St. Columbkille Church, Papillion, Ne. Architect: Gary Bowen - Bohr, Vermeer, Haecher Architects. Liturgical Consultant: Br. William Woeger, F.S.C.
72. St. Thomas More Church, Austin, Texas. Consultant: Sr. Mary Peter Tremonte. Photo: Sr. Joan Niehaus. View of baptismal pool located in narthex.
73. Sacred Heart Church, Manvel, Texas. Diocese of Galveston/Houston. Designer: Rev. Don Newmann. Construction: J.C. Neumann. Baptismal font located outside near the front door. Congregation passes font upon entering building.
74. Same as above. Presider baptizes candidate by submerging.
75. St. Marks Church, San Antonio, Texas. Diocese of San Antonio. Architectural design: Sr. Mary Peter Tremonte. View of baptismal font and pool which has relief panel made of bronze. Font is located near sanctuary area.
76. St. Leo’s Church, Pipestone, Minnesota. Diocese of Winona. Architect: Edward Sovik - Sovik, Mathre, Sathrum, Quanbeck. View of baptismal font and assembly area.
77. Same as above. View toward baptismal font from narthex.
78. Our Savior Lutheran Church, Jackson, Minnesota. Architect: Edward Sovik-Sovik, Mathre, Sethrum, Quanbeck. Font located near entry to worship space.
79. Church of St. John the Evangelist, Hopkins, Minn. Architect: George Rafferty-Rafferty, Rafferty & Mikutoski. Consultant/designer: Frank Kacmarcik. Photo: Larry Ginzske. Font area with view toward worship space. Font located on elevated entry area to worship space.
80. Same as above. Baptismal font and entry.
81. St. Boniface Church, Cold Spring, Minn. Consultant/designer: Frank Kacmarcik. Photo: Larry Ginzske. Baptismal font area with view toward narthex. Font is located at point of entry to worship space.
PART FIVE: THE EASTER VIGIL (80-113) SECTION ONE: PERMANENT FONT
82. - 104 St. Elizabeth Ann Seton, Omaha, Nebraska. Archdiocese of Omaha. Architects: Zenon, Berringer (sp) of Golden Zenon A.I.A. Liturgical Consultant: Br. William Woeger, F.S.C. Photo: Rev. James Scholz.
82. Font is prepared for Rite of Christian Initiation at the Easter Vigil.
83. A member of the Elect faces the West and rejects Satan.
84. A member of the Elect faces East and makes baptismal promises.
85. A member of the Elect is led by sponsor to the font.
86. A member of the Elect is led down into the font by the deacon. Presider and sponsor look on.
87. Same as above.
88. A member of the Elect kneels, water is poured over the head three times, congregation responds after each pouring with an appropriate acclamation.
89. Same as above.
90. Newly baptized is led out of font.
91. Newly baptized is wrapped in large white absorbent cloth.
92. Same as above.
93. Newly baptized is led from font to dressing room where he/she will put on white alb.
94. While newly baptized are changing into alb, sponsors are presented with candles lighted from the Easter candle.
95. Same as above.
96. Sponsors process with lighted candles to main entry of church to meet newly baptized.
97. Sponsor presents newly baptized with "Light of Christ."
98. Sponsors lead newly baptized from main entry through congregation. Assembly welcomes newly baptized with applause or anthem.
99. Same as above.
100. Newly baptized are confirmed.
101. Same as above.
102. Confirmandi are anointed with Holy Chrism.
103. With lighted candles, congregation renews baptismal promises.
104. Congregation is sprinkled with baptismal water.
PART FIVE: THE EASTER VIGIL (80-113) SECTION TWO: TEMPORARY FONT
105- 114 Easter Vigil/Permanent Font. St. Pius V - Pasadena, Texas. Designer: Rev. Don Neumann. Construction: J. C. Newmann.
105. Close up of baptistery showing stone relief panel. This temporary font is made up of a 3'x6' galvanized metal basin inside the facade covered in brown cloth. Steps lead in and out of font. Paschal candle connects to font or can be used alone.
106. Same as above. Stained glass window over font.
107. A member of the elect is brought to the font.
108. Presider receives member of the Elect.
109. Presider assist or leads member of the Elect into the baptismal font.
110. Presider baptizing a member of the Elect.
111. Same as above.
112. Newly baptized stepping forth from font.
113. Newly baptized is wrapped in full length robe by sponsor.
114. Newly baptized escorted by sponsor to a room where he/she can change.
PART SIX: INFANT BAPTISM (114-117)
115-118 Infant Baptism. St. Elizabeth Ann Seton, Omaha, Nebraska. Archdiocese of Omaha. Architect: Zenon, Barringer (sp) of Golden Zenon A.I.A. Liturgical Consultant: Bro. William Woeger, F.S.C. Photo: Rev. James Scholz.
115. Baptism of infant by immersion.
116. Same as above.
117. Same as above.
118. Same as above. Newly baptized infant is anointed.
To Think About
Why is Easter the Baptismal day?
Compare and contrast the symbolism of baptism by immersion and by infusion or aspersion in the light of the biblical statements on baptism, conversion and initiation. Down into the river, Down into the tomb, etc.
Show how the history of the changing shape of the places for baptism indicate the changing theology of baptism.
© Copyright: Tom Richstatter, Franciscan Province of St. John the Baptist, Cincinnati Ohio, Order of Friars Minor. All Rights Reserved. This page was created by Fr. Thomas Richstatter, O.F.M. Every effort has been, and is being made, to acknowledge sources when the ideas are not my own. Any failure to comply with the United States Copyright Act (Title 17, United States Code) will be corrected immediately should I become aware of it. This site was updated on 09/01/07 . Your comments on this site are welcome at webmaster2@tomrichstatter.org.