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Oaksey

The Oaksey Sheela Na Gig
The Oaksey Sheela Na Gig

The Oaksey Sheela Na Gig

The small village of Oaksey lies in Wiltshire some 8 miles South West of Cirencester. It is called Wochesie in the Domesday book but is also called Occhesei and Wokesey ,Woxy and Wrockeseye

This sheela can be found on the north wall of the Parish Church of Oaksey Wiltshire. On my first visit to the church my camera decided to lose most of the pictures (The curse of the sheelas strikes again?). The sheela can been seen just to right of the window about half way up.The Oaksey Sheela Na Gig

This sheela is quite shocking in the explicit and exaggerated carving of the vagina even including the clitoral hood. The vagina as you can see from the photograph is incredibly exaggerated. Half of the head has broken off yet the rest of the carving is in pretty good condition. Inside the church there are a number of medieval wall paintings .There is an Irish story, “Da Derga’s Hostel” where a hag’s pudenda hangs to her knees. This could almost be a description of this carving. The figures right hand rests on the the thigh and it looks like a finger points to the exposed vulva. This pointing motif can be found in other figures including Lower Swell and the now destroyed Buncton figure.

I recently revisited the church to find that some efforts have been made to conserve the carving by placing a lead roof above it (left). It looks like some effort has been made to clean the carving and the surrounding masonry has been re-pointed. It’s interesting to note that the carving is being looked after even in our modern times and is obviously held in some respect or at least is considered to be worth saving.

The location of the figure next to the main door of the church
The location of the figure next to the main door of the church

A Romanesque connection

No mention is made of a church in the Domesday book and the current church, dedicated to all saints, is thought to go back to the middle of the 13th century. Its architecture contains elements of the early English and Perpendicular styles. The sheela na gig motif however seems to originate from the 12th century especially those with exaggerated genitals like the Oaksey example. So does this make the sheela a later example of the motif? There is some tantalising evidence that suggests an earlier Norman or Romanesque phase of the church which is now less evident,John Britton in his “Topographical Sketches of North Wiltshire” in 1826, wrote that the nave and chancel were separated by a massive semi-circular arch. Given that the Early English period (the period directly following the Romanesque) is distinguished by its pointed rather than round arches, the existence of the round arch would seem to indicate an earlier Romanesque incarnation of the church. It would be interesting to see if any other evidence of this incarnation is still present in the church. Further evidence for Norman activity in the village lies in the remains of Norwood Castle, a motte and bailey construction to the North West of the church. In 1870-72, John Marius Wilson’s Imperial Gazetteer of England and Wales wrote the following “The church is partly Norman; was recently restored; has some stained windows, and an embattled tower”. This seems indicate that the round arch fell victim to Victorian “improvement” and was possibly replaced some time before 1872 with the current Victorian Gothic arch that we see today. Given that the round arch points to an older Romanesque phase of the church, then it would make more sense to attribute the sheela to that period rather than the later ones. If this is the case then it seems that the figure was regarded as worth saving and including in the modifications made to the church down the years.

Gallipot Eyes

The figure is briefly mentioned in the book Gallipot Eyes by The Flame Trees of Thika author Elspeth Huxley who lived in the village for a number of years. Bizarrely the figure is referred to as male!

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Haverfordwest

The Haverfordwest Figure
The Haverfordwest Figure

The Figure

In her recently published book Sheela-na-gigs Unravelling an Enigma Barbara Freitag gave details of a Sheela na Gig at Haverfordwest Priory in the county of Dyfed.

The Haverfordwest figure is placed in between two column capitals originating from the priory at Haverfordwest  which is thought to have been founded in the early 13thC (1203) by Augustinian cannons. The annual income at the time of the Dissolution was assessed at £133 indicating a moderate wealth by the standards of Welsh monastic houses. Records and the state of ruins suggest the priory escaped the worst
damage due to fire, or war. The ruins were substantially robbed of their decorative stonework over the years, but fortunately, this figure was found during excavations of the site in 1994.

What remains of the capital is in a very good state of preservation, this may indicate that it was an indoor figure. It is thought the capital would have been part of the cloisters.

The figure which measures 84mm x 60mm is an inverted acrobat type. The genital area is damaged so its anyone’s guess as to whether it was exhibitionist once. As you can see from the photograph there is a very faint raised area on the groin which may indicate a vulva. There may also be a pointer to this figure being an exhibitionist due to the surround of the figure. At first, I thought it was vegetation surrounding the figure but Dr Rees mentioned that she thought it was a dress. On closer inspection, the vegetation bore a distinct impression of folds rather than vines or leaves. This is further borne out by the fact that there is a “bar” just below the breasts, which could indicate a fold of dress material.

This figure is now in the possession of CADW. Thanks go to Dr Sian Rees and Dr Richard Avent of CADW for allowing us to photograph this and the Raglan castle figure.

A Warning Against Lust?

Since this figure was located in the cloisters it would seem that this carving was meant for an ecclesiastic audience. Since we know with some certainty that sculpture was used as an educational tool could this figure have been used as reminder to the monks not to indulge in the sin of lust? It’s position on a cloister column does not seem to suggest an apotropaic function.

The figure in situ
The figure in situ
Haverfordwest Priory
Haverfordwest Priory Cloisters. A pictoral reconstruction of the cloisters shows decorated capitals at head height. This would seem to indicate that the figure was meant to be seen further strengthening the warning against lust interpretation of the figure.

Location

Please note this map indicates the original location of the figure only.
At the time of writing the figure is in the possession of CADW and is not only public display.


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Paul

The first figure
The first figure
The second figure
The second figure

 

The following text is by Keith Jones

John Harding was informed of two figures in the Parish Church of St Pol de Leon. This church is found in the village of Paul, 3 miles south of Penzance. Although the foundation of the church is 12 century, most of the church dates to 16th – 17th century. The oldest part of the existing church is the early 15th century tower. The informant reported:

‘The genital area of these figures being large in relative size of the rest of this figure

A child who looked at the figure with binoculars delightfully described it ‘A lady with pasties in her hand.’

Both the figures are isolated, and positioned like a gargoyle, on top of the 86 foot tower, on the southeast corner, and north east corner. The height of the south east figure combined with the narrow road at this point presented difficulties in observing the figure. Although the figure is weathered, and covered in lichen most of the features are discernible, but some subjective interpretation is inevitable. The head is large, with big ears, a hooked nose, sunken eyes, and a broad smile. The narrow arms come to rest at the lower abdominal area, and the figure has no legs. There is a rather bold circular raised circle on the abdomen, rising to just below the chin of the figure, which may suggest the genitals. The lower middle of the circle has a hole which may indicate the vagina. Although the hands are small, it appears as if the right hand has very long and disjointed fingers, with one digit pointing to the middle of the circle. The fingers of the left hand seem smaller but they cover the lower part of the genital circle.

The other figure is found high on the north east corner of the tower. Overall this figure is very faded, but seems to have very broad fore arms which come to rest on the lower abdominal area but no genitals are evident. In comparison, the upper arms of this figure are much narrower, suggesting the cartoon character Popeye. It appears as if the spindly legs are straddling a quoin stone on which the figure sits. Although the facial features are faded, it has a good head of hair.

There is no mention of these figures in the church literature. Anthony Weir who have seen the photographs is of the opinion:

‘I think the Paul figure comes under the category of “grotesques”; it is quite possible that – like a lot of gargoyles and roof-level carvings – it is a sort of jeu d’esprit carved in a flamboyant and ambiguous style which allows the distant viewer’s imagination to roam.’

‘Certainly not what could with any conviction be called a Sheela’.

Text and Photographs by Keith Jones

An old cross set into the church wall
An old cross set into the church wall

South Tawton

The South Tawton Figure
The South Tawton Figure

The Figure

This figure is reported in C.P.J. Cave’s book ‘Roof Bosses in Medieval Churches’ . Of all Cave’s reported Sheela Na Gig figures South Tawton is probably the best candidate for actually being a sheela. The figure has been described as headless but as you can see from the above photograph the head is bent upwards. Unusually for a female exhibitionist the figure is made from wood. There appears to be a cross marked on the figures chest originally I thought this was down to cracking but after having visited the figure it appears to be deliberate scratching (see below). The figure also has two breasts lightly scratched on the chest which are faintly visible in the photograph. There appears to be a vaginal cavity with a small round ball beneath the opening. Without having seen the figure I thought this may have represented a ball of dung. As it turns out the pellet is in fact the head of a very large nail. This would seem to negate the “man at stool” interpretation of the figure. Two other nails can be seen near the elbows of the figure As Cave is a source for this figure I’m inclined to be suspicious but of all his figures this one is the most “sheela” like.

 

SheelaSouthTawtonCrossAndBreasts
A Close up of the Chest

 

 

The lightly scratched breasts are more evident in this picture
The lightly scratched breasts are more evident in this picture

 

A close up of the groin area clearly showing the definite cavity between the legs. Note the "dog leg" joints on the legs. This makes the figure less human an more animal. The "pellet" between the legs is in fact a large nail
A close up of the groin area clearly showing the definite cavity between the legs. Note the “dog leg” joints on the legs. This makes the figure less human an more animal. The “pellet” between the legs is in fact a large nail.  Picture copyright Rachael Harding

 

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Donyatt

The Donyatt Figure
The Donyatt Figure
Digitally repaired version of the figure
Digitally repaired version of the figure

The Figure

This somewhat odd figure is in private possession in the village of Donyatt Somerset and is not on view to the general public. It is thought to come from the remains of a late Norman chapel and manor that once graced the village 1. All in all this is a very strange figure. Firstly it appears to be a corner ornament which has had the left hand side squared off. The head has either also been squared off or as seems more likely was originally flat. This seems to be the case as the hair on the side of head terminates abruptly but there also seems to be the remnants of a flat “brim”. This would seem to indicate that either the carving was wearing a brimmed hat or something was on the head. It may be that the carving was meant to support a pillar in much the same way as the head below from nearby Stoke Sub Hamdon There also appears to be a “horn” protruding from the hair. The face is damaged with no discernable features and the head is joined to the body by a thick neck. A broad belt or band covers the barrel like body. The figure if it was a meant to be inset in a corner, would seem to represent a spread eagled body (see reconstruction below). There is also band between the legs of the carving on which is carved a small neat vulva. The vulva is carved partially on the aforementioned band but is also deeply reset into what appears to be damage in the groin area. It’s very hard to say whether the vulva was carved before or after this damage but due to it being part of the band running between the legs it may be an original piece of carving especially as its stands proud from the surrounding stone. Saying that my initial impression was that the vulva had been re-sculpted at some point mainly due to the sharpness of the carving. There is further evidence in that the “band” seems to have been cut in further to make the lips of the vulva stand proud. You can see that where the stomach terminates there is dip where the “band” used to be.

Close up of the vulva. A later carving?
Close up of the vulva. A later carving?

Thanks go to John Gower for informing us of the figure and to the owners of the figure for allowing it to be shown on the website.
The Chapel and Manor at Donyatt
The substance of the wall where the sheela is located is made up from rubble of the previous Manor building 2. A manorial chapel of the Montacute family is mentioned in 1255 as separate foundation from the parish church while the first mention of the manor itself occurs in 1328. The manor however has been rebuilt a number of times, with the last stage being Elizabethan. The building where the sheela resides is thought to incorporate stones from this building. The figure could have originated from any period of rebuilding but from the style of carving and its nature it is not unreasonable to surmise that it originated from the first incarnation of the chapel. It is worth pointing out however that carving is in a very good condition so has not be exposed to the elements for any long period. Mick Aston and Teresa Hall3 ascribe this figure to an unknown romanesque period of building at the local church, however taking into account the now defunct manorial chapel this seems a more likely source for the carving. A later date for the figure cannot be discounted however. There is another late exhibitionist figure at Stoke Sub Hamdon some 10 miles to the east4. Stoke Sub Hamdon has another earlier romanesque figure which is also an exhibitionist, if a fairly modest one. This would seem to indicate that there was a continuing tradition of carving exhibitionist figures in the area during the medieval period.

All in all a very unusual carving

 

 

The Head at Donyatt Church
The Head at Stoke Sub Hamdon Church

The head at Stoke Sub Hamdon acting as the base of a pillar on the front door. If the sculpture above performed the same function as this head, then it would explain the flat top of the sculpture. Note the continuation of the stone at the side of the head this may go some way to explaining the “horn” on the side of the head. It’s also worth noting the “corner” nature of the carving.

1. Brian Harper Resident of Donyatt and builder of the wall on which the sheela resides
2. The Story of Donyatt and the Millenium Celebrations, Donyatt 2000 Committee
3. Somerset Archaeology 2003, Mick Aston and Teresa Hall
4. Two Sheila-na-gigs at Stoke Sub Hamdon, Paul Ashdown, Somerset Archaeology and Natural History 1993

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Please bear in mind that this figure is not on public display

Fiddington

The Fiddington Sheela Na Gig
The Fiddington Sheela Na Gig

The Figure

This sheela lies in the small village of Fiddington in Somerset and is located to the right of the main door to the church near a drainpipe. It is fairly large carving. According to the well researched leaflet in the church the stone is 33cm high and 39 cm across while the carving is 30 cm (12 inches) at it’s highest. The wall on which the sheela resides contains traces of herringbone masonry and again according to the leaflet in the church if the sheela in contemporary with this then it would indicate a date of the 11th or 12th century. This would seem to make sense as it fits in with dating for other sheelas. The carving itself is crude, the best carving is reserved for the head while the rest of the body and genitals seem to have been quickly executed. There is some indication that the lower body has been damaged possibly in an attempt to hide the nature of the figure. The vagina is not deeply incised in fact when I first saw the figure it was barely noticeable. Only when the sun had changed position did the slit become readily visible as a long shadow. (See below). The figure holds its left hand high above its head while the other holds a knee helping to splay the legs. The pose is very reminiscent of the Croft On Tees Sheela in faraway Teeside although the position of the arms is reversed. The church itself has been extensively renovated throughout the years the only indication of the true age the church being the herringbone masonry. Interestingly the sheela has survived rebuilding and is obviously well respected. It’s interesting to note the differing attitudes of the various parishes to Sheelas unlike some the parish is obviously very proud of it making extensive reference to it in the literature. While we were at the church a local woman greeted us and the first thing she mentioned was the sheela. She also told us that the rubbing had been taken of the carving by Mick Aston of Time Team fame while he was the district archaeologist.

 

Herringbone Masonry showing the age of the church
Herringbone Masonry showing the age of the church
Fiddington Church
Fiddington Church

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Stanton St Quintin

The Stanton St Quintin Figure
The Stanton St Quintin Figure

The Figure

The church of St Giles at Stanton St. Quintin is located in the county of Wiltshire it is a small unassuming village very near the M4 motorway. I learned about this Sheela from internet mailing list and found out that it had been published in The Haunted Landscape a book on Wiltshire folklore. When visiting the site it’s easy to see why this sheela has not been reported before. Situated high on the church tower it is nearly indistinguishable from the surrounding masonry. We were only able to find the carving with the help of the ex-vicar of the church John Morgan who very kindly showed us round.

The figure itself is quite unusual, (if anyone can tell what a usual sheela is I would be glad to hear from them). Firstly as it is situated high on the church tower almost out of sight and does not seem to be associated with doors or windows. It is interesting to note that the Oxford sheela occupied a similar position though. The figure is quite small with a large squat oval head. It’s hard to tell from the photograph but the top of head may have been cut off. There also appear to be two large trumpet like ears. It also appears to be holding two grooved sticks. It’s hard to distinguish what these “sticks” may be. The sheela is also unusual in that it seems to have four holes drilled into it. Two large ones around the genital and stomach area and two smaller holes drilled into the main body. This is similar to the Seir Kieran figure now in the National Museum of Ireland in Dublin.

The figure is mentioned in the church guide but its height and position have probably kept it out of the gaze of most researchers.

Male or Female?
Once again we have to ask the question is this a sheela na gig? It lacks the overt unequivocal nature of the Kilpeck or Oaksey sheelas but what do those holes mean? Given that the holes are round were they used as socket for a phallus? The positioning of the holes would suggest that one position is meant for a flacid penis (pointing down) while the other is for an erect penis (pointing straight out). If this is the case then we have a male rather than female figure. The “breasts” however would seem to indicate that the figure is meant to be female. The lower hole could just be an exaggerated anus which can be seen on other figures like the one at Twywell.
The “ears” also appear to be fairly deep holes. Were these used to hold horns or antlers? The Seir Kieran sheela has similar holes on it’s head which some have argued have been used as sockets for this purpose. The smaller holes on the abdomen are more difficult to suggest a meaning for. All in all an enigmatic and puzzling figure.

Thanks to Richard Pederick for the use of the  b&w picture of the sheela below.

Photo of the figure by Richard Pederick

Photo of the figure by Richard Pederick

SheelaStanton05
Worn Romanesque figure of Christ set into the west wall
SheelaStanton06
Romanesque Heads on a column in the Church
The location of the figure on the tower
The location of the figure on the tower
Column Swallower
Column Swallower

The church also has a number of carvings dotted around the structure most striking of these is the pillar heads on the back door to the church. Both pillars are topped by identical pillar swallowing heads with ornately carved headdresses.

For more information on column swallowers see Anthony Weir’s website.

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Wells

 

The Figures

Updated 16-04-2006. These figures are mentioned in Cave’s Roof Bosses of the Churches of England. Rather surprisingly they can be found in the cafe and near the Gift shop in Wells cathedral. The figure to the right can be found in the foyer between the gift shop and cafe. Look up as you enter the foyer and you should see the figure in front of you on the ceiling. The second figure can be found inside the cafe about half way down. This figure is not so distinct as the first and is badly weathered.

SheelaWells01

The Foyer figure. I recently revisited this figure and came away with better photographs. As you can seen from the above picture the figure seems to be fully clothed without any overt display of genitalia. There is a small lump in the groin area which may indicate that the figure is meant to male. Either way this figure is definitely not sheela na gig or a male exhibitionist.

SheelaWells02

The second alleged sheela na gig in the cloisters (now a cafe). As you can see from the photos above and below this figure appears to be a splay legged possible angel rather than an exhibitionist. You can make out two wings either side of the head and the groin is most definitely covered by a loin cloth.

SheelaWells03

The loin cloth covering the groin area.

Are these sheelas?

Cave mentions the figures in passing “as two sheela na gigs of an unusual type”. He does not give an exact position other than the cloister area. These two figures seem to fit his description. When Keith and myself the first visited the figures we both came away thinking that foyer figure was an exhibitionist, however on closer inspection this does not seem to be the case. We were more doubtful about the second figure and as it turns out with good cause. Neither of the figures is Romanesque and the carving appears later in style which further counts against them.
As can be seen with the Bristol figure and to a lesser extent the figure at South Tawton, Cave’s definition of a sheela na gig is idiosyncratic to say the least. With the better photographs above I think it is safe to say that both of the Wells figures are definitely not sheela na gigs or exhibitionists of any type, if of course these are the figures that Cave was referring to. If any knows of any better candidates for Cave’s figures then please let us know.

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Bristol

The Sheela Na Gig?
Suggested sheela figure (Photograph by Keith Jones)

Location; ///create.preoccupied.harder

Directions

St Mary Redcliffe, Bristol is located near Bristol Temples Mead Railway Station. The church which dates from 1115, was named from the red cliffs located below the church. During a visit in 1574 Queen Elizabeth I claimed St Mary’s Redcliffe to be : ‘the goodliest, fairest and most famous parish church in England’ St Mary Redcliffe, is a very rich church by any standard. It contains a wealth of stone carvings with several animals, a mermaid, a maze, about forty Green Men, a ‘Man at Stool’, a number of exhibitionists, and the Sheela na Gig.

Cave (1948) in his book ‘Roof Bosses in Medieval Churches’ puts the Sheela above the wall plate, and in the nave. Unfortunately Cave gives no description of the Sheela, and as a result an extensive search of all the 1200 roof bosses produced five candidates. The kneeing figure, and a naked male and female, an anus shower, and another exhibitionist all can be illuminated.

The most likely candidate for the Sheela is located in the next bay to the west from the transept crossing. Face the high north window, locate the roof boss at the apex of the window. Follow the rib, left to the next roof boss, from here follow the next rib right to the next boss which is the Sheela. Martin Lee describes it in his ‘The Boss Walk: A short guide to Roof Bosses of St Mary Redcliffe,’ as ‘Naked man with furrowed brow’. The figure is found with a foliage background, one leg at least wrapped around her neck, and arm, with one hand touching her face, while the other comes to rest at the genital area. It appears as if three fingers are buried into the vagina, while her index finger comes to rest near the anus. Although a very natural looking carving, the figure is bald, thin, and the furrowed brow may represent ageing, C. J. P. Cave seemed very unorthodox with the definition of Sheela na Gigs, accepting South Tawton, and the Wells pair as Sheelas.

Another boss of interest an anus shower is located opposite the Sheela. This figure is wearing a rather elaborate head gear consistent medieval period, also what appears to be a chemise tucked up above the buttocks with puff sleeves. The body is held in a curve with buttocks exposed. There is a hole consistent with an anus, and a vulva or scrotal sac which sags forward.

Keith Jones

Is this a Sheela?

After much searching Keith came up with the figure above which seems to best fit Cave’s criteria. As we know from the Wells figures, Cave’s interpretation of sheela na gig figures is idiosyncratic to say the least. It seems that Keith has found the best candidate for this elusive figure but as with Cave’s other find’s it’s dubious to say the least.

John Harding

Directions

Ansford

The Ansford Anus Shower
The Ansford Anus Shower

This figure is located on the gate post of a private house in the small village of Ansford which adjoins Castle Cary in Somerset

The figure appears to be a corbel (see below) and the local town guide states that the figure originates from Glastonbury abbey. From the style of the figure it would appear to be from the 15th century and it similar to other carvings at nearby Castle Cary Church (see below)

The motif seems to be popular in the area with similar anus showers at Mere and West Knoyle

The local guide Welcome to Castle Cary and Ansford can be bought from the Castle Cary Living History Group website

The following information comes from Adrian V Pearse Chairman of the Castle Cary Living History Group

“This carving was installed in its present position at his home by my grandfather, Wosson John Barrett, assisted by local builder G. Stockley, in the late 1930s or 1940s – I have several photos of this being done. The Barrett family had a number of grocery and confectionery shops in both Castle Cary and Glastonbury – it is believed this carving came from the garden of one of the Glastonbury shops, no. 10 High Street – the garden was a plot detached from the actual building plot, to the south and a little to the east, bordering the north side of the abbey site. These plots were full of rubble and material from the ruins. The grotesque as now sited is combined with the top part taken from a staddle stone, and the weather vane came from the remains of a nearby demolished house, the ‘Lower House’ at Ansford mentioned in the Woodforde diaries. All three items were installed here at the same time. We have recently been informed that the symbolism of the grotesque comes from Revelation chapter 12, and that there are other Somerset examples also associated with Glastonbury Abbey.”

Glastonbury Carvings
There are at least two carvings mounted above some of the shops in the main street in Glastonbury. These appear to be made from the same material and are similar in style

ShaunAnsford02

Side view of the figure. The flat top may indicate that it is a re-used corbel with separate finial cemented on top. Conversely the figure may just be a decorative feature. Examples of this can be seen on the church at Castle Cary which only have a decorative function. There appear to be worn animal heads on each side of the finial

Monster at Ansford
Monster at Castle Cary 

Figure at nearby Castle Cary church dating from the 15th century. The eyes are treated in a similar way to the anus shower though other figures eyes have drilled pupils. This figure is purely decorative.

Male and Female monsters at Castle Cary Church
Male and Female monsters at Castle Cary Church

Male and Female monsters at Castle Cary church circa 15th century (notice the breasts on the left hand figure). Compare these to the monstrous anus shower at Mere.

John Harding

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