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CONSTRUCTION
The font is approximately 1.2 m in height and octagonal in plan. It is made from a free
cutting limestone from the Totternhoe quarry in Bedfordshire. In elevation the font
resembles a goblet. The bowl is supported by a stem which in turn stands on a moulded
foot. The bowl and stem are carved with figures and other decorative features.
DATE
It is suggested that the font dates back to the mid fourteenth century. This date was
deduced from a comparative study of the clothing styles adorning the carved figures.
DECORATION of BOWL
The bowl is carved with winged figures each of which holds a scroll. The facial features
of each figure have been destroyed. On three of the four figures a scroll issues from the
mouth of an animal. In the fourth case the scroll is simply held in both hands by the
figure. These figures are separated from each other by a plain shield.
DECORATION of STEM
A niche with a trefoil arch is cut into each face of the stem. Each niche contains a
figure of a Christian saint. Apart from the figure of John the Baptist holding and
pointing to the Agnus Dei (Lamb of God) the facial features of each of the other saints
are obliterated.
The source of these ideas predates St Augustine
of Hippo (354 - 430) who developed them further. Up to and during the middle ages the
theology and practice of baptism were largely refinements of these earlier developments.
The St. Stephens church font faithfully reflects in its symbolism Augustine's concept of
the nature of baptism.
Since early Christian times the baptismal font
was considered to symbolise Fons Vitae (Fountain of Life) in paradise. Associated with the
fountain were the Four Rivers of Paradise which irrigated the world. The Four Rivers of
Paradise are represented by the symbols of the Evangelists on the bowl.
St John the Baptist, and the Virgin and Child are
present as symbols of baptism by immersion and the rebirth or regeneration of the believer
which accompanies the act.
The remaining six images may be divided into two
groups. One group consists of repentant notorious sinners whilst the other comprises of
Christian martyrs. The first group represents the idea of baptism by desire whilst the
Christian martyrs group represents the concept of baptism of blood.
The shields on the font may have originally been
painted with a heraldic device. It is possible the device chosen may have been the symbol
of the doctrine of the Blessed Trinity.
The remains of such a painted shield can be seen
on the font of St Lawrence's church in the neighbouring parish of Abbots Langley.
DAMAGE
Close examination of the bowl lip will show the position formerly occupied by a hasp and
staple. In 1236 Archbishop of Canterbury Edmund Rich ordered that all fonts be kept locked
and sealed. This was to prevent the baptismal water from being taken and used for purposes
of witchcraft. The custom of locking fonts was discontinued during the Reformation of the
Church under Henry VIII in the sixteenth century. Where the hasp and staple have been
removed the stonework has been repaired by indenting a new piece of stone.
The Reformation left other marks. The faces of
all the figures have been obliterated. This act of destruction was possibly undertaken to
satisfy the requirements of the second Royal Injunction of 1538 which amongst other things
warned against the superstitious use of images and idol worship.
During the English civil war the puritans
destroyed many images in churches. St Albans was strongly parliamentarian and it is
difficult to visualise this sole figure on the font escaping the attentions of the
iconoclasts during both the Reformation and English civil war periods. It is possible the
figure of John the Baptist was re-cut during the 1850 restoration carried out under the
direction of George Gilbert Scott (later Sir George Gilbert Scott and president of the
Royal Institution of British Architects) as the font was removed during the renovations
for cleaning.
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