Folk Rite & Fertility · Kilpeck, Herefordshire

Kilpeck Church sheela-na-gig

England's most famous sheela-na-gig — a grinning female figure frankly displaying her vulva — carved on the corbel of a perfect Norman church. Warning against lust, fertility charm, or apotropaic guardian? Scholars still argue; the carving outlasts every theory.

StatusDocumented + folklore
Datec.1140
The peopleanonymous Romanesque carvers (Herefordshire School)
The siteChurch of St Mary and St David, Kilpeck
Coordinates51.97056, -2.80611 (confidence 5/5)

The story

The Church of St Mary and St David at Kilpeck, built around 1140, is often called the most perfect small Norman church in England — and around its outside runs a corbel table of some eighty-five carved brackets by the twelfth-century Herefordshire School of masons. Among the musicians, wrestlers, dogs and dragons sits a naked woman holding open an exaggerated vulva with both hands. She is a sheela-na-gig, the best-preserved and most famous in Britain, and — unlike most, which are older stones reset into later walls — she is an original part of the 1140s design. Somebody built one of England's loveliest churches and chose to include explicit female genitalia on the wall.

Why? Four theories compete. The popular one is that she's a survival of a pagan fertility goddess, smuggled onto the church — a reading pushed in the 1930s by Margaret Murray. The others: a Christian warning against the sin of lust; an apotropaic charm to frighten off evil; or, best supported of all, a Romanesque import, part of a decorative fashion that travelled from the pilgrimage churches of France and Spain with the Normans. Jørgen Andersen (1977) and then Weir and Jerman (1986) built that case; Eamonn Kelly of the National Museum of Ireland clinched it by noting that Ireland's in-situ sheelas cluster in areas of Anglo-Norman conquest, not native Irish ones. As Ronald Hutton observes, the pagan reading is the popular one and the least supported. She sits on a Christian church, built by a Norman lord, carved in a French-influenced style, around 1140.

Her neighbours were less lucky. The folklorist Roy Palmer recorded an old man's memory of "obscene" corbels — probably male figures — being knocked off in the 1920s by an offended parishioner with a pole. The sheela may have survived because nobody was sure what she was: in 1842 George Lewis catalogued her as "a fool" opening his heart to the devil. She's had a modern afterlife too, lending her name to a 1992 PJ Harvey song. The church is Grade I listed and open to all.

More stories at this spot

The man with the pole

Kilpeck kept most of its carvings, but not all. In Herefordshire Folklore (2002), Roy Palmer recorded an old man recalling the destruction of several "obscene" corbels in the 1920s, ordered by an offended local woman: "I never could suffer that un, so I got her a pole and pothered un off." Palmer suspected the lost figures were aroused male exhibitionists — unambiguous in a way the puzzling sheela was not.

The whitewashed frescoes

The artist George Lewis visited Kilpeck in 1818 and saw wall paintings and possible statuary inside the church. When he returned to make his careful survey, published in 1842, they had been whitewashed over — to his open disgust. It is a reminder that "perfectly preserved" Kilpeck lost things too; what survives on the outside walls partly survives because stone outlasts the reforming impulse better than paint.

Counting the uncountable

Nobody agrees how many sheela-na-gigs exist, because nobody quite agrees what one is. McMahon and Roberts counted 124 in Ireland and 45 in Britain; other scholars add or subtract worn and doubtful figures. Ireland has the lion's share — which, since almost all its in-situ examples sit in zones of Anglo-Norman conquest, is itself an argument that the motif arrived with the Normans rather than surviving from a Celtic past.

Sources

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