Baptismal font (Hildesheim)

The Bronze baptismal font (German: Bronzetaufe) in the Hildesheim Cathedral is a late Romanesque baptismal font which was probably made in Hildesheim in the first third of the thirteenth century. It is noted for its pictorial decoration which is of the highest quality and for its perfect proportions and is considered among the most outstanding works of its type. For centuries the baptismal font stood in the western part of the nave, until it was moved to the last of the northern side-chapels (George's chapel) in 1653. During the ongoing renovations of the cathedral (2010–2014) it is being displayed in the Bode Museum in Berlin. After the completion of the renovation work, it will be placed in the centre of the nave under the Hezilo chandelier.

Description
The font is made up of a round pot, which widens towards the top, a tapering lid with four allegorical figures and a bauble on top. It has a total height of 1.7 m and a diameter of 96 cm.

The lively decorative style foreshadows Gothic art, but also shows a Byzantine influence, especially in the architectural elements. The postures and faces of the figures are especially emotionally expressive.

Image program
The image program, divided into three horizontal bands and four vertical columns, is of great symbolic significance. The imagery can be interpreted on a number of levels and offers an ascetic and biblical understanding of the font overall. The imagers are further explained by Latin titles and inscriptions.

The lowest band shows four human figures, which support the whole font. These are personifications of the four rivers of the Garden of Eden. Each of them pours out the water of life: at baptism what was dried up by sin, begins to flow once more. The four figures are clearly distinct in clothing, posture, and hairstyle and symbolise different classes and phases of life. In a small area above their heads, they are identified with the cardinal virtues: moderation, valor, justice, and wisdom. In this respect, the armour worn by the figure labelled as valour is particularly notable. The natural virtues were meant to be brought to fulfillment by the act of baptism.

The second level, on the body of the font, shows the most significant aspects of baptism with four scenes from the Old and New Testaments:


 * The image of the Anointing of Jesus by the prostitute (traditionally equated with Mary Magdalene demonstrates remorse and repentance, as well as the inexhaustibility of Grace and the love originating from it.
 * The blossoming of Aaron's rod opposite, symbolised Mary's fruitful virginity and the chastity of the baptised.
 * The Massacre of the Innocents recalls the fellowship shared by all the baptised with Christ in witnessing their faith (Greek μαρτύριον) and the possibility of the baptism of blood.
 * The personification of Misericordia finally, a woman enthroned as a queen, performing Works of Mercy, shows how the grace of baptism concretely effects life.

Vertically, the baptism of Christ correlates with his anointment by the prostitute, the Mother of God with the staff of Aaron, the Exodus with the Massacre of the Innocents and the Ark of the Covenant with the personification of Mercy.

Narrow columns rise up from the personifications of the rivers in between the scenes, which support triple arches above each scene. Their bases name the cardinal virtues and they show further biblical figures in the spaces between scenes above their capitals (sometimes the same figures are repeated), with the animals symbolising each of the evangelists above these spaces on the main body of the font: These arrangements are also significant.
 * Moderation - Jeremiah - Luke - Jeremiah
 * Valour - Daniel - Mark - King David
 * Justice - Ezekiel - John - Isaiah
 * Wisdom - Isaiah- Matthew - King Solomon.