
LYDLINCH . DORSET . ST THOMAS À BECKET
GRADE II* † Mainly C15 / C16, much reworking and restoration. Located down a longish lane S of the village. 10 miles E of Sherborne. BLB record HERE. Featured: the 3 sundials; church marks; the 3 seats inside the porch. 50.9192 / -2.3678 / ST742133
SUNDIALS
DIAL 1
The most obvious sundial is at the apex of the porch gable, a simple square stone containing a square dial with a narrow 3/4 frame, and an iron gnomon. Above it some form of stone finial, much eroded, a cross? The dial has graduated hour radials, with shorter lines for half-hours, and the quarter hours marked within the frame. Quite sophisticated, some damage upper R. BHO dates it C18.
Below this dial is an inscribed C18 plaque dedicated, it seems, to two [C]hurch [W]ardens 1753. It is interesting to compare the erosion of this soft stone with the dial stone.


DIALS 2 & 3
These dials are a near-matched pair on the C15 tower. Both are high up on the second stage, one on the SW buttress, the other on the SE buttress. BHO describes the former as a stone plate with Roman numerals, much worn; and the latter as traces of similar sundial. I think both dials must have had considerable attention since those words were written.
DIAL 2
This dial looks like a comparatively new replacement; BSS suggests C20. The modern design replicates Dial 3 mutatis mutandis. The radials are carefully graduated for its SW facing angle; very little of the afternoon can be indicated.

DIAL 3
This dial is almost an exact converse of its pair, the radials being graduated in the opposite direction. C18. Note that the gnomons of both dials are the same design, copper I think, and presumably installed at the same time.



APOTROPAIC (WITCH) MARKS, MARIAN MARKS, HEXFOIL & GRAFFITI



APOTROPAIC (WITCH) MARKS, MARIAN MARKS & GRAFFITI ON PORCH SEATS



Lydlinch . Dorset . St Thomas à Becket – Apotropaic (Witch) marks, Marian marks, Graffiti on seats
GSS Categories: Sundials, Vertical Dials, Old Dials, Witch Marks, Apotropaic Symbols, Church Graffiti
All photos: Keith Salvesen