Holy Water Font

Notice of Upcoming Content and Access Change

The Museum is working on the future of our online collections access, which will be incrementally released over time. On November 1, 2022, “My Collection” sets will be discontinued and no longer available. If you have “My Collection” sets you wish to preserve, we encourage you to print the sets, save as a PDF, or otherwise make your own copies of important information for your future reference.

What is AAT?

The Art & Architecture Thesaurus (AAT) (r) is a structured vocabulary for generic concepts related to art and architecture. It was developed by The Getty Research Institute to help research institutions become consistent in the terminology they use.Learn More

Object Name: 
Holy Water Font
Accession Number: 
Overall H: 23 cm; Bottom W: 11.6 cm, D: 8.4 cm; Top W: 12.2 cm, D: 4.9 cm
On Display
Primary Description: 
Mostly opaque multicolored glass; lampwork. Wooden frame in the form of a Baroque altar, with two columns in marbleized white and pink enclosed in clear glass with an aedicula; a holy water font is attached to the lower part of the altar, the font being vase-shaped and with spreading foot, short neck, and over-folded wide rim; sides and front of the wooden frame are covered with bars of black glass arranged in squares; the altar contains a crucifixion with the Holy Virgin and Saint Joseph or Saint Peter, in the upper corners two heads of angels flanking the dove emanating rays, in front of the aedicula the half-figure of God Father flanked by the female and male saints and two angels; the crucifixion is backed by a dark glass panel covered with gilded leaf ornaments, the frame of drop-like white glass attachments and gilded volutes encircle the crucifixion, rosettes applied to the lower aedicula and at the bottom of the altar, two rows of gilded and white loops applied to the upper columns, plain glass rings applied to upper and lower columns, font built of black and colorless glass and studded with an angel's head as well as leaf branches, wreaths, blossoms, and, on the foot, with a band similar to the frame; around the altar a row of drops at the edge; the colors of these ornaments are predominantly white and turquoise-blue, colors of figurines include white, red, green, turquoise, and amethyst, many borders and many of the clear glass parts are gilded, gilded wires used extensively.
Berry Hill, Source
Il Vetro a Lume = Lampworking (2018) illustrated, v. 1, p. 165 (fig. 109);
At the Lamp (2010-6) illustrated, p. 42;
At The Lamp (2010-07) illustrated, p. 42; BIB# AI79830
18th-Century Lampworking Challenges Our Future (2008-10) illustrated, p.36; BIB# AI76534
Arte de vidriocontemporaneo usando el soplete (2006) illustrated, p. 16, bottom;
Formed of Fire: Selections in Contemporary Lampworked Glass (2002) illustrated, p. 17, left; BIB# 74704
Breve Storia Del Vetro a Lume (A Brief History of Lampworking) (1998/06) illustrated, p. 51; BIB# AI44526
Contemporary Lampworking: A Practical guide to Shaping Glass in the Flame (1997) illustrated, p. 4;