Lenton in Nottingham / Lentone / Lentune / New Lenton

There are three entries for this Lenton in the Domesday survey [http://domesdaymap.co.uk/place/SK5539/old-lenton/] [accessed 9 November 2014], neither of which mention cleric or church in it. In his brief historical notes on Lenton Priory, Orange (1840) writes: "At what precise period the monastery was totally destroyed, is not known […] but the old material has been used in repairing (probably in erecting) the present church […] the old baptismal font has been removed to the house of one of the former churchwardens, and in its place a stone sprinkling basin has been substituted." Described and illustrated in Paley (1844) with an engraving by O. Jewitt, of Oxford. Noted in Lewis' Dictionary of 1848 as Norman. Described in Poole (1848), with reference to Paley's illustrations. Studied and illustrated (drawings by Théophile Guyot) in Romilly Allen (1884), who suggests that the trio of figures "may be the three Magi, or perhaps the three Marys going to the sepulchre" [cf. infra]. Described in Cox & Harvey (1907) as a baptismal font of the Norman period, one of three English fonts of this period with a foliated basin well interior [the other two are Wellow, in Somerset, and Stafford St. Mary's, in Staffordshire]. Described and illustrated in Bond (1908). Noted and illustrated in Cox (1912), who notes: "The best of many detailed accounts [of the font's programme] is that of Mr. Keyser, Journal of Brit[ish] Arch[aeological] Assoc[iation], vol. xiii. N.S., 238-9." Cox (ibid.) does give a summary description all the same, including a Resurrection and Ascension on the west side, and noting that it is this area of the font that has raised much dispute in the identification of the iconographic programme. Guilford (1927) comments on this [west] side: "The west side is divided into four panels, the interpretation of the subjects carved on them having been much disputed. The upper right-hand panel shows either the Burial and the Resurrection (it was not uncommon to depict two scenes in the same carving), or the Raising of Lazarus, the upper left-hand panel the Ascension, while below the Three Maries and the Church of the Sepulchre are seen." Cox (ibid.) also notes that the Priory served as parish church until 1844. Rectangular Norman font with a basin inner well hollowed out in quatrefoil shape [was this the original shape?]. The top part of the basin sides is ornamented with foliage; angles are carved as round shafts; one of the narrow sides has a Crucifixion, the cross with foliated arms, censing angels at the upper corners and the 'Manus Dei' appears just above Jesus' cruciform nimbus; the two thieves hang on smaller crosses, the soul of the good thief going up to heaven, while the soul of the evil thief plunges towards a hell represented as the mouth of a ravenous serpent; on the opposite side, a large foliated cross; one of the two larger sides is divided into four compartments by a cross: the two upper ones contain the raising of Lazarus with Jesus, Martha, Mary, Lazarus himself and a crowd of onlookers; the lower compartments depict the Three Marys at the Sepulchre. The front side of the font is divided into eleven parts by arches: six up and five down, the middle of the latter containing the Baptism of Jesus who stands in water up to his middle with hands uplifted in prayer, the 'Manus Dei' appearing from the clouds, while John the Baptist holds Jesus by the wrist; angels and other figures fill the other compartments. On-site notes: the font stands now [July 2000] on a plain two-step plinth. Paley (1844) reported it "in front of the pulpit, raised on four modern pedestals, which are omitted in the engraving". The font is illustrated and its colourful history documented in the Parish website [www.lentonparish.org.uk/history/font.html] [accessed 9 December 2009]: "When the pulpit was removed to the north side of the Chancel, there was left a font standing in front of the reading desk. This font was removed and put on a stone plinth near the west door, but in 1904 it was again removed to its present position. This Norman font, dating back to around the year 1100, undoubtedly belonged to the Great Priory of Lenton, and thus in the present Church it constitutes the one binding link between the modern Parish Church and the old. It was in the possession of the Stretton family but reclaimed when the new Parish Church was being built. Meanwhile it had been used as a flower bowl in Colonel Stretton's garden. Colonel Stretton had built and lived in the house which is now occupied by the Sisters of Nazareth in the Nazareth House complex. The Reverend George Browne, the vicar, related in his parish magazine the story of its restoration to the Church: He was being shown round the garden of Colonel Stretton, by Brownlow the old parish clerk when he noticed the font in use as a garden decoration, covered with weeds and filled with rubbish. Said the vicar to Brownlow, "That is a strange object. is it part of the old ruins? What purpose did it serve with the Friars of old times? Was it their punch bowl?". Brownlow replied "That is the baptism font that was years agone in that ere church" pointing to the poor tumbling down fabric of the old Parish Church. Vicar said "And how came it there?" "Oh?" replied the old clerk, laughing, "the churchwardens made a present of it to Master Stretton." The Reverend Browne wrote to Colonel Stretton requesting its return, and he consented. It stood in the Priory churchyard, used as an umbrella stand, until it was removed to the new Parish Church. It was in 1904, through the generosity of Mr. W.G. Player, that the font was erected in its present position, suitably mounted on base steps of marble and oak, and fitted with an oak and wrought iron decorated cover. At the same time the wall behind the font was tiled in the same style as the present reredos and a tablet bears the following inscription: 'To the Glory of God and in remembrance of his mercies, the base steps and cover of the font were given by William and Mabel Player. A.D.1904.' The bowl of the font is 30 inches by 26 inches by 18 inches deep and evidently was intended for the practice of immersion. It is richly carved on all sides. Although much worn by the ravages of time, the carvings are discernable […] On the north side there is an elaborately decorated cross. On the South side there is a remarkable portrayal of the Crucifixion. The central Cross occupied by Christ is much larger than the other two. The Roman soldier is piercing Christ's side with his spear. On the side now facing east, there is carved at the top a row of cherubim, under them a row of Seraphim, and beneath, all the four Evangelists, and a central panel depicting the Baptism of Christ by John. On the West side are four panels: [1] the first represents the resurrection of Christ who holds up his hand in blessing. The angel is sitting upon the stone which has been rolled away from the mouth of the Sepulchre. [2] In the second panel we have a strangely combined view of the entombment and resurrection. A brutal looking Roman soldier is putting on the coffin lid underneath which lies the swathed figure of the Crucified, while Christ himself, with hands uplifted in blessing, stands above. Two angels are seen seated on the left. [3] The third panel shows the three women coming on the first Easter morn to the Sepulchre, bearing in their hands spices and ointments. [4] The fourth panel gives a view of the Holy Sepulchre guarded by an angel seated on the right. This portrayal of the Sepulchre as it existed before the Crusades would seem to suggest that the font was carved by some person who had visited the Holy Land. In Torrens Alzu (2010). A communication from Michael Czajkowski, a geologist who visited the font, identifies the stone of the font as calcareous sandstone [email of 26 June 2012].