Blickling / Blicklinga / Blicling / Blikelinga / Blikelinges / Blykelynga / Blyklyng

There are two entries for Blickling in the Domesday survey [https://opendomesday.org/place/TG1728/blickling/] [accessed 17 January 2021], neither of which mentions priest or church in it. Blomefield (1805-1810) writes: "The church is in Ingworth deanery, and is dedicated to St. Andrew", and names "Alan de Ely" as first recorded rector here, but he resigned in the same year and was replaced by "Mr. William de Foderingheie" until his return to the rectory in 1311. Blomefield (ibid.) writes of a feud John Fitz Robert and his brother William had involving the manor and the church here, that was recorded "when the Black Book of the Exchequer was made, about 1165". The font here is described and illustrated with an engraving by J. Basire in Repton (1812) as a baptismal font "from about the reign of King Henry the Sixth to that of Henry the Eighth" [i.e., 1428?]. Font and cover are illustrated on a print from an etching made between 1827 and 1844 by Elizabeth Matilda Palgrave, now in the British Museum collections [ref.: 1902,0514.1023 -- PPA345810]. Noted in Pevsner & Wilson (1997): "Perp[endicular], octagonal, with four lions against the stem and eight lions in panels against the bowl: altogether twelve self-satisfied lions." Octagonal baptismal font probably of the 15th century, consisting of an octagonal basin with a sedente-regardant lion on each panel, and a cherub at each of the angles of the underbowl; the lower level of the underbowl or, perhaps more appropriately, the upper end of the stem, is decorated with large leaf motif; octagonal-to-square pedestal base, the sides alternating with sedente lions and crocketed buttresses; the font is now [2003] brightly painted; the wooden cover is octagonal, with eight ribs around a central pivot, in the Jacobean design, though probably modern; Basire's engraving in Repton [cf. supra], however, shows a drawing of a different font cover, octagonal pyramidal with convex sides. Noted and illustrated in Knott (2005) as probably composite, and with modern paint. [NB: we have no information on the font from the original church here].