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baptistery
(redirected from baptisteries)

   Also found in: Dictionary/thesaurus, Wikipedia, Hutchinson 0.03 sec.
baptistery (băp`tĭstrē), part of a church, or a separate building in connection with it, used for administering baptism. In the earliest examples it was merely a basin or pool set into the floor. Later, the Christian Church set aside a separate structure for the ceremony. The earliest such structure still extant is in the Lateran basilica at Rome, in which, by tradition, Emperor Constantine was baptized (337). Octagonal in plan, it formed a model for many subsequent baptisteries, most of which were octagonal or circular. In the center of the chamber was the sunken pool, often surrounded by columns, with curtains to screen the neophyte during immersion. Early baptisteries are chiefly found in Italy and Asia Minor. In Hagia Sophia there is a 6th-century example still extant. When immersion was no longer practiced, a separate structure became unnecessary and was supplanted by a place within the church itself, set aside for the purpose. The standing fonts of the Middle Ages and the Renaissance were often objects of superb artistry. In Italy separate baptisteries continued to be built in the 12th to the 15th cent., notably the beautiful Romanesque structures at Florence, Pisa, Siena, and Parma. For the baptistery at Florence Andrea Pisano and Lorenzo Ghiberti designed celebrated bronze doors; for that at Pisa Nicola Pisano carved the marble pulpit.

baptistery

 or baptistry

Enlarge picture
Battistero (baptistery) San. Giovanni, Florence, begun 7th century
(credit: Alinari-Art Resource, New York)
Domed hall or chapel, adjacent to or part of a church, for the administration of baptism. By the 4th century, the baptistery had assumed an eight-sided shape (eight in Christian numerology being the symbol for a new life), as had the baptismal font within. The font itself was set beneath a dome-shaped baldachin and encircled by columns and an ambulatory (aisle), features first used by the Byzantines.



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Unlike much of Renaissance architecture, where we easily recognize a representation of the Corinthian order, triumphal arch, temple front, or tholos, and in contrast to certain Tuscan Romanesque buildings such as the Baptisteries of Florence and Pisa, respectively modeled directly on the Pantheon and Holy Sepulchre, the Florentine Trecento developed in its major buildings an extremely sophisticated and poetic art of allusion, collaging, and concatenation of representational for ms.
From the beginning, Wesley's paintings have been permeated by the atmosphere of this kind of ornament--by the ambience of Greek vessels, Scythian tattoos, Roman mosaic, Islamic tile work, chivalric heraldry, Gothic illumination, Edo screens, and Rococo baptisteries.
 
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