The catalogue collects and systematises information on Latvian baptismal fonts. Each of them has been surveyed in nature, measured and high-quality photographs have been taken, which have been included both in the paper study and in the digital database. As a result of both documentary source studies and oral interviews, each artefact has been analysed in terms of its year of manufacture, size, material, master, art style and typological group. During the research, the available documentary information on each of the baptismal font (both published and unpublished) is compiled and where necessary, supplemented or clarified.
The division of the baptismal fonts according to the time of their creation and their historical territorial affiliation and connection with the process of Christianisation in the present territory of Latvia allows us to follow their stylistic development and changes. At the beginning, the creation of baptismal fonts and their placement in churches was mostly connected with the foundation of new churches.
According to the history of the Duchy of Courland and Semigallia (1561-1795), 17 baptismal fonts have survived from this period, representing all artistic styles from the Renaissance to the Rococo period.
After the annexation of the Duchy of Courland and Semigallia and its incorporation into the Russian Empire (1795-1918), it is possible to observe changes in the stylistics of the baptismal fonts. Only 3 baptismal fonts characterise the prevailing stylistics of this period – Classicism and Historicism.
Meanwhile, in the territory of Latgale until 1918, baptismal fonts representing Rococo and Classicism stylistics can be noted. Given the spread of the Catholic religion in Latgale from the 18th century, there are no baptismal font attributable to the Renaissance, Mannerist or Baroque styles.
As a result of the atheistic propaganda of the Union of Soviet Socialist Republics, there has been a regression in the sacred milieu, manifested in the destruction of church premises, in contrast to the active parish life that existed before.
Only in the Latvian national awakening after 1998, when congregations were once again free to gather in churches, new baptismal fonts were created, representing both postmodern historicism and contemporary art design, already in keeping with 20th/21st century taste. Only at this period the first baptismal fonts appear in Vidzeme.
Thanks to the masters who came from the German lands and the Polish-Lithuanian Commonwealth, bringing with them their skills and influences, Latvia has a unique situation in which the small number of baptismal fonts (25) created in the period from the 16th century to the 19th century (inclusive) represents all the styles of art that were current during this period, as well as a variety of typological forms. As a result of the research, a classification of the baptismal fonts according to their construction has been made by systematising all the baptismal fonts and 9 different typological groups have been defined.
Locations of the baptismal fonts on the map: