Pentagrams in medieval buildings often had multiple meanings. They were sometimes used in sacred geometry, with examples found in Amiens and Salisbury Cathedrals. However, they were more commonly seen as protective symbols, with Christian numerology and the idea of warding away evil, as depicted in the poem Sir Gawain and the Green Knight. Pentagrams were also used in graffiti and stonemasons' marks, with the latter possibly serving as a productivity tracker or a way to mark stones for specific projects.
The pentagram in The Da Vinci Code is interpreted as a pagan symbol connected to nature and the feminine. This interpretation is more rooted in late 19th-century mysticism and the neo-pagan movement, rather than medieval Christian usage. In the medieval period, the pentagram was a Christian holy sign, often seen as protective and warding away evil.
Arrow stones are linear grooves found on the walls of churches, often misinterpreted as marks left by archers sharpening their arrows. However, this belief is incorrect because medieval archers used blunt tips for practice to avoid damaging the butts and because the stones were too soft to sharpen arrows effectively. These grooves were likely created by people collecting stone powder mixed with holy water or wine to cure fevers, a form of Christian white magic.
Lepers squints, or small apertures in church walls, were believed to allow lepers to see the elevation of the host during mass. However, this myth doesn't hold up because lepers were treated in specialized colonies with their own chapels, and the number of lepers was not high enough to necessitate such widespread features. Additionally, many of these apertures do not align with the high altar and are often misinterpreted. They were likely used for ventilation or as hagioscopes for priests to synchronize with the main service.
Devil's doors, or blocked-up doors on the north side of churches, were not used to allow pagans to enter or to let the devil escape during baptisms. Their actual purpose was to facilitate Catholic processions, such as on Palm Sunday and Ascension Day, where the congregation would exit through the north door, circle the church, and re-enter through another door. These doors were often blocked up after the Reformation when such processions were no longer necessary.
Folklore is crucial for understanding the myths and interpretations that have evolved around medieval buildings. These stories, often created by later societies, provide insights into the values and beliefs of those communities. For example, the Victorian reinterpretation of arrow stones and devil's doors reflects their focus on military history and conquest. Understanding folklore helps us contextualize and appreciate the cultural significance of these myths, even if they don't align with historical reality.
What is a leper squint? Are the marks scratched into the exterior walls of churches from damned souls trying to claw their way in?
Join Matt Lewis as he welcomes back James Wright, a stonemason and historian with a passion for debunking myths about medieval buildings. Together, they explore the real stories behind architectural features like pentagrams, mason's marks, arrow stones and devil's doors. James's unique blend of practical stonemasonry experience and historical research offers fascinating insights into how these myths evolved and what they reveal about the societies that created them. Discover the hidden truths and vibrant histories once obscured by folklore in this insightful episode.
Hear James Wright unravel more medieval building myths in our previous episode here)
Gone Medieval is presented by Matt Lewis and edited by Amy Haddow. The producer is Rob Weinberg. The senior producer is Anne-Marie Luff.
Gone Medieval is a History Hit podcast.
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