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297:. In one of the side faces, there is an irregular opening (now closed), which was probable used to supply water to the font. The bottom has a round opening for water outflow. There are a few holes at the rim of the top opening that contain iron scraps. Possibly these are the remains of a fastening for a lid or a railing. They probably do not come from the time the font was created.
191:, as well as from the archaeological excavations in 1910 it is known that the baptistery had a four-leaf floor plan and a dome. In the middle of the baptistery was the baptismal font, to which one had to descend five steps. In 1742 the baptistery (last used for burials) was demolished and the baptismal font was removed in order to expand the cathedral's
336:, but the bottom arm does not. The body of the cross arms is filled with Croatian interlace. The bottom, longer arm of the cross stands on a leg, also filled with tilted furrows, as if wrapped in a cord, which tapers off.
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The association of the baptismal font and the Nin
Cathedral is not considered to be clear, and its dating is also based on artistic or paleographic analyses by older Croatian historians, many of which have been discarded.
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The font is 88 cm (35 in) high, the diameter of the opening is 136 cm (54 in), the inside depth is 76 cm (30 in) and the width of each side is approximately 70 cm (28 in).
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436:. This work was beautifully made in humility by the priest John in the time of Prince Višeslav, in honor of St. John the Baptist, so that he could become his and his protégés' advocate.
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Each of the six sides, except the bottom one, is decorated on the left and on the right with tilted furrows, like a relief column wrapped in a cord with a simple base and a
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This source receives the weak in order to return them as enlightened ones. Here they atone for the sins, passed upon them from the
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thought that it was "not too bold to assume that this very baptismal font was used for the baptism of
Croatian rulers".
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466:. Glossar zur frühmittelalterlichen Geschichte im östlichen Europa: Beihefte (in German). Franz Steiner Verlag. 1982.
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In the 19th century, the baptismal font was believed to have been most likely created after the establishment of the
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442:
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Selbstverlag des
Deutschen Instituts für merowingisch-karolingische Kunstforschung in Erlangen, 1957/58, p. 4, 10.
458:(in German). Selbstverlag des Deutschen Instituts für merowingisch-karolingische Kunstforschung in Erlangen. 1959.
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and the height of the letters varies between 6.0 and 6.5 cm (2.4 and 2.6 in). The stonemason used many
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Selbstverlag des
Deutschen Instituts für merowingisch-karolingische Kunstforschung in Erlangen, 1957/58, p. 3.
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considers the inscription to be a "shiny monument and symbol of the baptism of our
Croatian ancestors".
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Pastoralbrief der kroatischen Bischöfe : Dreizehn
Jahrhunderte des Christentums bei Kroaten.
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Namentragende
Steininschriften in Jugoslawien vom Ende des 7. bis zur Mitte des 13. Jahrhunderts
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At the time, it was also believed that the original place of the baptismal font had been in the
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221:(ca. 864–867), but no later than the end of 10th century AD. This was during the period of
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On the fifth side of the font, i.e. under the fifth line of the above, one can read:
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The font is considered an important cultural object and an example of application of
509:"'Baptismal font of the Croats': a case study in the formation of a national symbol"
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Das
Taufbecken des Fürsten Višeslav - Wichtigkeit des persönlichen Glaubens.
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Der
Taufstein des kroatischen Fürsten Višeslav aus dem Frühen Mittelalter.
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Der
Taufstein des kroatischen Fürsten Višeslav aus dem Frühen Mittelalter.
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Der Taufstein des kroatischen Fürsten Višeslav aus dem Frühen Mittelalter
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The baptismal font was cut from a single marble block in the form of
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gifted the baptismal font to its then political ally, the so-called
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From the written report of the notary Ivan Sorari (1773–1847) from
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The architrave, which also forms the hem of the opening, has the
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On the front central side there is a relief cross styled like a
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The six side bears the end of the inscription with two lines:
15:
404:, contractions, suspensions, and abbreviation characters for
244:. Nin was the first residence of Croatian-Dalmatian rulers.
158:. Its inscription mentions for the first time a duke called
332:. The top and both side arms of the cross each have two
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L'architettura in Italia dal sec. VI. al Mille circa
46:. Unsourced material may be challenged and removed.
365:HENNE · HOC IOHANNES PRESBITER SVB TEMPORE VVISSAS
408:("Trinity") and special characters for word part
273:Today the font can be seen in the harbor city of
259:, the font stood in the atrium of the Palace of
581:, Nove serije sveska VI. Zagreb, 1902, p. 104.
419:The inscription can be translated as follows:
362:R XPISTICOLE SALVBRITER CONFITENDO TRINVM PER
8:
154:of historical and cultural significance for
625:Kršćanska sadašnjost, Zagreb 1976, S. 20 f.
600:. Miroslav Krleža Institute of Lexicography
359:DE PRIMO SVMPSERVNT PARENTE · VT EFFICIANTV
279:Museum of Croatian Archaeological Monuments
124:Museum of Croatian Archaeological Monuments
547:, Venezia 1888., 110-111; E. Stückelberg,
356:ILLVMINATOS · HIC EXPIANT SCELERA SVA QVOD
353:+ HEC FONS NEMPE SVMIT INFIRMOS VT REDDAT
106:Learn how and when to remove this message
181:made in 1793, when the ruins of the Nin
514:Memoirs of the American Academy in Rome
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388:IOHANNIS BAPTISTE, VT INTERCEDAT PRO EO
317:. These pillars have a simply profiled
651:Archaeological discoveries in Croatia
579:Vjesnik Hrvatskog arheološkog društva
432:, salutary testifying to the eternal
396:The inscription is done with regular
368:CLAVO DVCI OPVS BENE COMPOSVIT DEVOTE
261:Croatian Academy of Sciences and Arts
122:Baptismal font of Prince Višeslav in
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142:Drawing of the baptismal font (1889)
44:adding citations to reliable sources
577:(Die Denkmäler der Stadt Nin). In:
428:, so that they become followers of
55:"Baptismal font of Prince Višeslav"
255:. From then on and long after the
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148:Baptismal font of Prince Višeslav
266:20th-century Croatian historian
263:in the state's capital, Zagreb.
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31:needs additional citations for
551:, Kempten - München 1909., 72.
198:In 1853 the font was found in
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253:Independent State of Croatia
210:and afterwards exhibited at
661:National symbols of Croatia
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592:"Višeslav (Vuissasclavus)"
443:Catholic Church in Croatia
378:IN HONORE VIDELICET SANCTI
646:Culture in Split, Croatia
507:Vedriš, Trpimir (2017).
641:Christianity in Croatia
666:9th century in Croatia
549:Langobardische Plastik
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597:Croatian Encyclopedia
289:Form and measurements
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575:Spomenica grada Nina
40:improve this article
185:were still visible
330:processional cross
200:Capuchin monastery
167:Croatian interlace
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33:verification
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240:) near the
635:Categories
482:References
449:Literature
319:architrave
305:Decoration
234:Baptistery
183:Baptistery
96:April 2021
66:newspapers
402:ligatures
277:, in the
414:PERHENNE
193:sacristy
160:Višeslav
604:30 June
521:: 65–98
434:Trinity
334:volutes
323:molding
315:volutes
311:capital
295:hexagon
225:of the
188:in situ
173:History
156:Croatia
132:Croatia
80:scholar
525:15 May
470:
430:Christ
406:TRINVM
227:Croats
208:Venice
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346:Latin
275:Split
179:Zadar
128:Split
87:JSTOR
73:books
621:In:
606:2024
527:2021
468:ISBN
441:The
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59:news
410:PER
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