At east end of the south aisle, near the pulpit

Found in the grounds of Cannon Hall, near Cawthorne. Brought into the church by the Rev. C. T. Pratt before 1915.

All Saints

The upper edge is damaged and the surface is worn in places, especially near the top of each face.

A trapezoidal font with a double cable moulding at each angle. All face are decorated with arcades suggested by, at the top, a row of sunken semi-circles (edged with a moulding only on face C) beneath which are narrow rectangular compartments containing crosses, vestigial spiral or bush scrolls, or animals awkwardly fitted into the narrow vertical spaces.

A (south): The two outer panels each have a plant trail from which spring large, three-lobed leaf-flowers filling every curve. The two central panels have long-stemmed crosses with heads of type E10 and squared armpits: that on the left stands on a high rounded mound, that on the right on a low base.

B (east): On this face, it is the crosses which form the outer panels, and the plant trails the inner pair. Both crosses have low bases but heads of the same form. The patterns are not quite identical but they are very close.

C (north): This again has the plant trails on the outer panels. They are identical to those on face A except that they are reversed (i.e. upside down). The centre panels contain stiff, stylised bush-scrolls.

D (west): The outer panels have plant trails, the two inner panels have winged beasts with hind leg and twisted tails and one flipper-like or perhaps clawed foreleg. The head of each, in the lower outer corner of each panel, looks back over its body. Each animal has a pointed oval eye, a pointed pricked ear, and a long narrow dog-like snout.

Appendix A item (Stones dating from Saxo-Norman overlap period or of uncertain date)

The motifs — the plant trails, the bush scrolls, the crosses and the animal types — are in all cases clearly echoes of pre-Conquest types, but the layout and style, and the arcading above the panels, are just as clearly Romanesque. Collingwood (1915a, 155) believed this font transitional between his period C and Norman, and also noted that in its general form it resembled Bingley 2, which he also believed to be a font (see p. 43, Ills. 64–8). This font is very close in form and decoration to that from High Hoyland, no. 5 (p. 277 below, Ills. 814–17), which Ryder (1982, 112) believed could be the work of the same sculptor.

Late eleventh century

Browne 1880–4b, cxiv; Innocent 1910, 92–3; Collingwood 1915a, 155, 275, 287, figs. i–l on 154; Collingwood 1927, 175, fig. 215; Collingwood 1929, 40, 57, 58, figs. i–l on 58; Pevsner 1959, 161; Ryder 1982, 90, 108, 112, 126, fig. v on 107; Sidebottom 1994, 95–6, 152, 154, 238, no. 5, and pls.

None