Baptismal font at St Bartholomew's Church, Liège

The baptismal font at St Bartholomew's Church, Liège is a Romanesque brass or bronze baptismal font made between 1107 and 1118 now in the Collegiate Church of St. Bartholomew in Liège, Belgium. The font is a major masterpiece of Mosan art, remarkable for the classicism of its style, whose origin has been the subject of great debate among art historians. The Meuse river valley in modern Belgium and France, roughly coterminous with the Diocese of Liège, was the leading 12th-century centre of Romanesque metalwork, which was still the most prestigious medium in art.

The Liège font was commissioned after 1107 and completed by 1118 for the Church of Our Lady with the Font (French: Église Notre-Dame-des-Fonts), which abutted the old Liège Cathedral and functioned as the baptistry for the city. These dates are based on the period of office of the Abbé Hellin, parish priest of the church, known to have commissioned it, for in his obituary in the contemporary Chronicon Rythmicum Leodiense (English: Liège Rhyming Chronicle) the font is clearly described, though with no mention of the artist. Both cathedral and church were destroyed during the French Revolution, and the font was hidden for safe-keeping before being moved to its present location in 1804. The Liège chronicle describes a cover with figures of the Four Evangelists and prophets, presumably also in metal, which was lost during the Revolution, along with two of the supporting oxen. The present stone plinth and setting replaced in the 20th century a solid round stone one built in 1804. The font is still used for baptisms today; there is normally a small charge for viewing it.

The font was traditionally attributed to Renier de Huy, a 12th-century metalworker and sculptor, but this, and even the Mosan origin of the font, have been questioned and alternative theories advanced. Nothing is known of Rainer's life other than that he was mentioned in a document of 1125 as a goldsmith, but a 14th-century chronicle mentions him as the artist of the font. He may have died about 1150. Another equally shadowy figure in Mosan metalwork from the next generation, Godefroid de Huy or de Claire, also came from the small but prosperous city of Huy on the Meuse. The only other work generally agreed to be by the same master as the font is a small bronze crucifix (Schnütgen Museum, Cologne); another in Brussels has many similarities. A censer in similar style is attributed to Renier or a follower by many.

The figures on the font are in very high relief, and have a remarkable classicism of style; so much so that it has also been suggested that it was in fact made in Constantinople, or by Greeks in Rome about 1000. Other explanations attribute the classicism to close Byzantine influence, though as Honour and Fleming point out, "In bodily proportions, poses, gestures and garments, they recall Classical models far beyond Byzantine, Carolingian, or even Early Christian art"; they suggest the artist might have seen ancient Greek sculptures in Constantinople when on the First Crusade. Other writers explain the style as emerging from older Mosan and Carolingian traditions, with recent Byzantine influence, and prefiguring Gothic figure style. The idealized figures are modelled in rounded forms; several nude figures are present, and one is seen from behind in a three-quarters view, a sophisticated classical pose. Art-historical argument over the origin of the font has been vigorous and sometimes acrimonious, and in recent decades mostly conducted in French. In support of the Byzantine origin theory, analysis of the lead in 1993 has shown that it came from mines in Spain or Sardinia, whereas other Mosan works used locally sourced metal. Pierre Colman and his wife Berthe Lhoist-Colman have developed a "Roman" theo

Monument data from Wikidata (CC0). Summary from Wikipedia (CC BY-SA).