Pilton / Wiltone

There is an entry for this Pilton [variant spelling] in the Domesday survey [http://opendomesday.org/place/SS5534/pilton/] [accessed 21 July 2015], but it mentions neither cleric nor church in it. Oliver (1840-1842) states that the baptismal font "is strangely disguised with stall work entirely out of keeping." Bond (1908) describes and illustrates the font cover, with the font only partially visible in his illustration. The font cover, however, has all the ornamentation the font lacks: the cover proper is octagonal with the lower vertical sides framed in rectangular mouldings; inside each panel is one or several ornate motifs; the top is prismatic, octagonal, with very ornate arrises, ending in a double-knob crown finial. Bond (ibid.) describes the other part as "a canopy affixed to a wall or pillar which is panelled down to the ground; a design evidently deriving from that of a Jacobean pulpit and sounding-board. These are of late date, and are used in conjunction with counterpoised covers" [NB: the counterpoise is actually concealed in the supporting framework]. Stabb (1908), however, reveals the true nature of the added canopy: "The font [...] is plain, octagonal in form, of the Early Decorated period, but the carved oak canopy and cover date from the 15th century and has been said to be the finest in the West Country; behind the font is a canopy which at one time formed the back of the prior's chair, the mark can be seen where the seat was removed." Noted and illustrated in Hussell (1910): "The font cover [...] is of oak, of very charming outline and detail ; octagonal, with concave crocketted ribs terminating in a very beautiful poppy-head, with band just below it. The spandrels between the ribs, and also the upright panelling, are carved in different patterns. The canopy and its panelling are in oak, very elaborate, but lacking in delicacy of detail. The main and diagonal ribs are spiral, and bordered with cresting, with bosses at the intersections ; the cornice having a carved vignette moulding, with undulating branch and foliage, finished below with cresting. The pediments over the hood are very crude, and appear to be of much later date than the rest of the work. The carving in the upright panels is superior to that in the hood, and is quite detached from the backing. The two lowest panels have the 'linen pattern' worked on them--rarely found in Devon. The whole of the canopy is painted, which is unfortunate, as a hard effect is produced. Judging from the mixture of Gothic and Italian detail in the font cover and canopy, they are of date about 1580 (Elizabethan), and the font would also date from then." Pevsner (1952) writes: "Font cover. Very handsome, with concave sides, crocketed and finialed, yet evidently Elizabethan, -- At the back of the font Early Renaissance panels and bits from a screen, obviously re-used." In Hoskins (1954): "Over the font is a carved medieval cover, and above that a remarkable tester or canopy of 16th century date." The font-cover and the tester or canopy are noted and illustrated in Howard & Crossley (1919).