ST PETER . CLYFFE PYPARD . WILTS

GRADE I † C13 (recorded 1273), C15 nave & tower. C19 restorations (Butterfield). In a lovely position below a wooded stretch of the cliff PEV. Pevsner & his wife Lola are buried together in the churchyard**. Interior has much of interest: pulpit 1629; excellent monuments C13 on, medieval stained glass.  7m SW of Swindon. 51.4917 / -1.8939 / SU074769

DIALS

As one approaches the porch from the lych-gate, there are two very visible dials, one on either side of the entrance. A third dial in that area is noted (eg BLB / HE). In fact there are more dials, but when I visited, finding them involved negotiating overgrown bushes and parting tree branches in light drizzle. There are also some dial-ish designs – eroded or incomplete – that are doubtful, but are included below for consideration.

DIALS 1 & 2

Dial 1 is LHS of the porch. This large dial is encircled, with the upper segment encroaching on the stone above. There are 7 / 8 lines, two of which are ULQ (so, not useful). The noon line extends well below the circumference and through a partial double circle. I think this is the BLB / HE third dial, though I think it is more a doodle than a dial. The emphasised line LLQ may mark Terce. The oddly inaccurately cut lines R of the noon line seem surprisingly casual for such a prominent dial.

Dial 2 is the counterpart of Dial 1, and far simpler. The overall design suggests that it is on its side, 90º anti-clockwise, perhaps re-sited.

DIAL 3

Obscured by foliage, Dial 3 is unconventional. The clear-cut circumference surrounds a single line with a dot at each end, slightly tilted from the horizontal. On the curve RHQ is a dot roughly corresponding to the Mass-time None. In the centre is a blocked gnomon hole. There are no lines or other markers of the passage of the day. In a sense , there is no necessity for lines to mark the hours – a stick’s shadow is almost as helpful.

DIAL 4

Dial 4 is largely hidden by foliage. Unusually, it consists of 4 concentric circles. These are now badly eroded; one is a trace only. Apart from the central gnomon hole, there are no other visible dial attributes: no lines, no pocks.

This type of dial is not unusual. Here is a similar dial in FOVANT Wilts, with 2 concentric circles and no other marks than the gnomon hole. However, I ought to mention that some consider that such designs are not dials, but may have a decorative and possibly an apotropaic function.

DIAL 5

Dial 5 (?) – if a dial – is a classic ‘drainpipe’ example, in part concealed by a more modern addition to the church wall. There must be some doubt here because it is hard to see how it – with the arc of a circle below – would have worked.

DIAL 6?

Dark and damp, this stone was difficult to read. If a dial, it is contained within a square with the top side being the mortar line. In favour of dial status is the location of the dial stone beside a window and the position of the dial; traces of a circle; a pock directly on the circumference LHS roughly corresponding with Terce; and the fact that the design is quite accurately framed as if to display it better. Equally, there are reasons to discount it.

OTHER DIAL CANDIDATES and CHURCH MARKS

Another interesting part double circle, endearingly wonky. Very doubtful as a dial. Most interesting for the graffito UR, which may be a simple form of a type of ritual protection symbol that consists of rectangles with line and dot patterns.

The two marks on this stone – with variations – are quite often used as protection marks.

Note again the the double curves RHS. Most probably an incised design, rather than a dial.

Further evidencing the incidence of protection symbols is this Marian VV mark close to Dial 2.

The handsome bier kept in the church, and in excellent condition.

**In 1951 Pevsner published the first volumes of his magnum opus, The Buildings of England, an enterprise that took nearly 25 years to complete. The substantial Wiltshire volume was recently revised, expanded, and published in 2021

GSS Category: Scratch Dials; Mass Dials ; Multiple Dials

All photos: Keith Salvesen