Southfleet / Suthfleta / Fletis / Fleotis

Described in Hasted (1797): "The font is curious, being an octagon ornamented with carve work in each compartment", with a footnote reference to an earlier report of this font: "see a description of this font, and an engraving of it in Cust. Roff. p. 113" [i.e., Custumale Roffense]. Noted in an arcticle on the font at Shorne in The Gentleman's Magazine (issue of September 1836 (264-265), mainly pointing the differences between the two otherwise similar fonts: the article also points out the existence of "another font of the same pattern, with some slight variations in the sculptures, in the church of Southfleet, a few miles distant." The article refers to Thorpe's illustration of the Southfleet font [cf. supra] to point out the differences: St. Nicholas instead of St. Peter, St. Michael has a cross on his forehead, the Baptist has a dialogue "label proceeding from his mouth, inscribed 'Ecce Agnus Dei'", and the Lamb "is entirely surrounded with rays of glory. It also describes the material of the Southfleet font as "hard grey marble". Lewis' Dictionary of 1848 reports "a font much admired for its curious workmanship". Bond (1908) notes that "a camel's head is shewn in precisely the same position at Patrington and in a representation of baptism on the font at Southfleet, Kent". Described in Glynne (1877): "The font is very good, of octagonal form, each face charged with sculpture, representing respectively: 1. The Pope; 2. The chalice; 3. The Resurrection of Our Saviour; 4. His Baptism; 5. The Lamb 6 St Michael the archangel; 7. A shield inscribed Jhu." [NB: no eigth side given in Glynne, who notes the similarity of this and the Shorne font, and mentions the illustration of Southfleet's in the "Registrum Roffense"]. Cox & Harvey (1907) describe it as a Seven-Sacrament baptismal font of the Perpendicular style/period [NB: but C&H do not include it in their separate listing of the Seven-Sacrament fonts (ibid.). Nichols' (1994) comprehensive study of Seven-Sacrament fonts does not include Southfleet in her study -- this font is not a Seven-Sacrament font]. Not listed in Wall (1912) or Simpson (1828) either. Newman (1976) notes "crude sculpture, of miscellaneous subjects" on this font. In his later work on West Kent and The Weald (1980) Newman writes on this font: Perp[endicular]. The eight faces of the bowl carved with a miscellany of subjects: a bishop, a chalice with rayed host, the Resurrection, the Baptism of Christ, an archangel, the Sacred Name, the Lamb and flag, heraldic beast. The standard of carving is low." Collins' article on animal symbolism (1913) [reproduced in www.oldandsold.com/articles37/symbolism-11.shtml] notes the following on the figure described in Newman (1980) as a 'heraldic beast': "There is a unicorn also on a panel of the [P]erpendicular font at Southfleet, Kent, which [h]as cloven hoofs [...], a mane, and fierce-looking jaws. It is resting back upon its haunches. This representation not only may recall the fact of the Incarnation, but may bear witness to the purity of life which ought to be characteristic of all who in baptism are united to their incarnate Lord. The one horn has been held to signify the oneness of the Father and the Son, and the samll size of the animal the extreme condescesion and humility of Our Lord."