The Solomon’s Knot, or Swastika Pelta is an ancient symbol, and is commonly seen in Roman mosaics.
The motif is found in formal medieval church decoration. As a graffito it appears to be rare, although there is a particular concentration in part of East Anglia.
Its apotropaic function is based on the endless knot or line principal, by which a demon would be become fascinated by the line and follow it, thereby becoming trapped within the device.
During the middle ages it is clear that the pentangle was regarded as a powerful Christian symbol and associated with protection. According to the 14th century poem, Gawain and the Green Knight, the pentangle would inspire and protect the knight if painted on his shield, its five points symbolising the five wounds of Christ, the five virtues of knighthood etc.
Since the Reformation the symbol has become associated with the magical arts and, in more recent centuries, it has become particularly associated with Wiccan practises and Victorian concepts of ‘black’ magic.
As a graffito the pentangle appears in sufficient quantities in diverse locations for it to be regarded as an apotropaic marking. A number of Devon examples have been found to date.
Compass-drawn motifs are very common finds as graffiti and range in size from tiny – less than 2cm across, to nearly 1m (Norfolk). It has often been assumed that these designs were created by the stonemasons who built the church, either in teaching their apprentices the basics of geometry, or for other technical purposes.
It is now thought likely though that only a few were the work of masons, including the more complex and skilfully executed examples, and that the vast majority were created by other people, as ritual protection marks.
Although we use the term ‘compass-drawn’, actual compasses are rare finds in the archaeological record and their ownership is likely to have been restricted to craftsmen who used them in their work. It is uncertain what tools (quite possibly a variety) were used by other people for making these marks, but they may have included the more commonly carried shears or knives.
Among the many Devon examples, it is interesting that quite a few are imperfect circles, where the tool has perhaps slipped and the end of the line does not meet the starting point. There are also a number of rather irregular hand drawn hexafoils.
The South transept and possibly part of the south wall of the nave and chancel are believed to date from the 13th century. The church was largely rebuilt, and the tower erected, in 1407-9. The north aisle was built by the Haydon family in the early 16th century. The building was extensively restored by the incumbent, Rev. J. L. Fulford, especially in 1849-52. The roofs were replaced and another general restoration carried out in 1893.
The graffiti includes compass-made circles, ladders, letters (including initials), W’s/M’s (probable Marian marks), crosses, grids, dots/holes and other scored marks.
Many marks are concentrated on a single pier of the north aisle, with occasional other examples throughout the nave and chancel and on the exterior. There is a re-sited mass dial (upside-down) inside the south doorway, and in the tower another apparent former dial (feint radiating lines) is built into the wall of the ringing chamber.
There is graffiti all around the ringing chamber doorway including the name Wylliam ?heydjon, several crosses, a grid/net, and other deliberate marks.