Information service of the Pontifical Mission Societies since 1927
Vatican City (Fides Service). “The Baptistery” - Excavations in the oldest Domus Ecclesiae in Doura Europos (Syria), dating to the mid-third century, brought to light a room used for the celebration of the Eucharist and another one, smaller but entirely decorated, used for Baptism. The separation of these two spaces remained after Constantine’s peace when next to the basilicas a Baptistery was built usually one only and connected with the cathedral. In the West the first known Baptisteries are found in Rome at St John’s in the Lateran and in Milan adjacent to the Cathedral of Saint Tecla. The diffused but not exclusive octagonal shape derived from mausoleums or public baths alludes to the day of the Resurrection, the first day after the Sabbath and is therefore a reference to Christ.
In the baptistery on Easter Night catechumens were immersed in water and then emerged from it to indicate that Christians “in baptism are buried with Christ in death that they may rise again with him in the glory of the Father and walk in a new life” (Rom 6, 3-4). The baptismal Font is therefore a grave from which to rise again, a maternal womb from which to be reborn (cfr Jn 3, 3-6), a bath for purification and a place of illumination. After receiving baptism and confirmation, “neophytes” were admitted into the church to take part in the Eucharist for the first time.
When in the Middle Ages the custom of adult baptism was dropped baptisteries disappeared, the Rite was shortened and Baptism was celebrated at any time of the year. Although many Renaissance and Baroque Fonts were monumental of great artistic value (St Peter’s Basilica, St Mary Major’s in Rome), on the whole they became smaller and took the form of a stone bowl with a wooden lid calling to mind the eucharistic pyx. Placed either in a chapel or close to the church door, they contained holy water which is not ‘live’ since theology highlighted more the aspect of baptism which washes away original sin rather than that of birth to new life.
The Sacrosanctum Concilium 64-71, with the reintroduction of the catechumenate and the revision of the rites for the baptism of adults and that of children, established that the water should be blessed at every celebration of the Sacrament (except during the Easter Season) and asked for the construction and position of the Font to be reconsidered. The old custom of a baptistery on its own was replaced with a baptismal space connected with the hall with the Font placed in the porch or close to the door to indicate the liminal nature of baptism in relation to Christian life, or in any case in a different place to the sanctuary. This liturgical pole should be placed in such a way as to clearly show the connection with other poles foreseen by the Rite (entrance, lecturn, altar) and to allow movement.
The baptismal Font should express the mystery which takes place therein (birth to new life, washing, enlightening). This is why its shape and decoration should be well meditated and entrusted to artists of value. The Font should be preferably of marble or stone with running water, hot and cold, to permit immersion at least of children. The Paschal Candle should stand on a worthy candle-stand next to the Font (except during the Easter Season when the former stands in the sanctuary). Nearby there should be a sacrarium in which to preserve the sacred oils. The importance of the Font demands good lighting, natural and artificial.
With regard to the iconographic programme, the readings included for the Rite offer a wide selection of “figures” of baptism from the Old Testament and baptismal episodes from the Acts of the Apostles. Traditional images of the Baptism of Jesus are highly recommended for the theophanic value of the mystery of Christ who with the incarnation took the whole of humanity on himself in order to redeem it with his cross and resurrection. Mauro Piacenza, President of the Pontifical Commission for the Cultural Heritage of the Church. (Agenzia Fides 11/4/2006, righe 50, parole 669)
