The church contains the Baptismal Font of Renier of Huy which I consider one of the "Seven Marvels of Belgium". This sculpted, brass tub of indescribable beauty is found in the at the extreme end of both the Rue En Feronstree and Rue Hors Chateau, turning left or right from there (as the case may be) into the Place Paul Janson. Cast in the early 1100s by the most prominent metalsmith of an area that then, as now, is associated with metals, it was originally designed for the baptismal functions of an annex of St. Lambert's Cathedral, which revolutionaries of Liege dismantled in the 1790s. Appropriately, it was then moved to this historically-interesting, twin-towered, Romanesque Church that also was begun, like the Baptismal Font, in the 1100s. Scholars have read opaque, symbolic meanings into the five sculpted scenes that surround the vast, cylindrical, brass bowl supported on the backs of 10 small oxen (the Aposdes). The layperson needs to know, first, that the scenes depict (1) the baptism of Jesus by John the Baptist; (2) the baptism of the two neophytes by a later and emaciated John the Baptist, his ribs showing; (3) the baptism of a Roman centurion by St. Peter; (4) the baptism of the Greek philosopher Craton by John the Evangelist; and (5) the preaching by John the Baptist to four Romans (the two in the foreground seeming clearly impressed, the still-skeptical soldier holding up a finger for further information). That same lay observer should take in the obvious but harmonious mixture of both Greek and Byzantine influences on Renter's work, the expressions clearly apparent on the tiny, brass faces, his superb technical achievement in casting such a piece from a single mould of wax, but most particularly, the classic and almost perfect beauty wrought by this craftsman of genius at the summit of his career. Through this font, as babies, have passed most of the current population of Liege, brought there to be washed free of man's Original Sin. In gazing at it, one recalls the similar classic perfection of that Grecian urn (here given a third dimension) which provoked John Keats to exclaim that "Beauty is truth, truth beauty—that is all/Ye know on earth and all ye need to know".