Lewknor / Leuecanole / Levecanole / Luvechenora

There are two entries for Lewknor [variant spelling] in the Domesday survey [http://domesdaymap.co.uk/place/SU7197/lewknor/] [accessed 9 November 2014], but neither mentions cleric or church in it. A copper engraving of this font and cover, by F. Mackenzie appears in Joseph Skelton’s 'Antiquities of Oxfordshire' (1823). Noted in Tymms (1834) as "circular, enriched". Noted in The Ecclesiastical and Architectural Topography of England: Oxfordshire (1850): "Font late N[orman], covered with interlace work, resembling that of St. Martin's, Canterbury." In Murray (1882). Described and illustrated in Bond (1908) as a cylindrical tub font of the Norman period/style with busy dotted-tape motif forming patterns of circles with rosette inserts all around the basin. It stands on a modern circular squat base. [NB: whether it was in better shape in Skelton's time than in Bond's own, or the Mackenzie's engraving improved on the original, the font appears in much better shape in the earlier source]. Noted in Kelly's Directory of 1911 [http://www.historicaldirectories.org/hd/d.asp] [accessed 3 July 2007]: "the font is Early Norman". Noted in Tyrrell-Green (1928). The entry for this parish in the Victoria County History (Oxon, vol. 8, 1964) notes: "It seems that there was no church at Lewknor in 1146, when Pope Eugenius III confirmed Abingdon Abbey in the possession of Lewknor without mentioning a church there. (fn. 279) The first documentary evidence for the church is the confirmation by Innocent III in 1200 of some tithes granted by Geoffrey de Abbefeld and a pension from Lewknor church to the abbey. (fn. 280) But the foundation of the church cannot be much later than 1146 for it contains late Norman work [...] The cylindrical font carved with a pattern of linked roundels also dates from the 12th century". In Sherwood and Pevsner (1974): "Font. C12. Cylindrical, with a pattern of interlacing beaded circles, some enclosing crosses and rosettes." The carver of the pattern on this font was obviously skillful, as the pattern changes from crossed circles of beaded-tape to linked circles, to encircled floral motifs, etc., and he (?) had a sense of humour: none of the sources consulted mention a head in the busy pattern of the font: it is inscribed in a frame of circles; it is humanoid, troll-like [NB; it is located in the upper row, northwest side of the basin].