Ancient giants stir: england's chalk carvings beckon
Across the rolling chalk hills of England, colossal figures etched into the landscape whisper tales of forgotten rituals and enduring mystery. Jon Woolcott’s new book, The Tattooed Hills, offers a compelling journey through these ancient carvings, revealing a rich tapestry of history, folklore, and artistic inspiration – and a few surprising modern echoes.
A yew's embrace, a giant's gaze
Woolcott’s exploration begins with a haunting encounter in East Sussex: a centuries-old yew tree, its trunk seemingly devoured by a weathered gravestone, a chilling prelude to the grandeur of the Long Man of Wilmington. This figure, a towering presence on the South Downs, initially appears benign, but closer inspection reveals concrete reinforcements—a testament to the relentless march of time and the ongoing efforts to preserve these fragile monuments. The Long Man's form has captivated generations, inspiring artists like Roland Penrose, who immortalized the figure on his home’s fireplace, and composers like Benjamin Britten, who found solace at its feet.
From odin to pop stars: a shifting identity
The origins of the Long Man, like many of these chalk figures, remain shrouded in speculation. Could he be a remnant of Anglo-Saxon worship, perhaps a representation of Odin? Or is he a later creation, designed to be admired from the nearby Wilmington Priory? What is certain is his enduring power to inspire. The Cerne Abbas Giant, a famously suggestive figure dominating a secluded valley, presents an even more perplexing puzzle. Is he Romano-British, a 17th-century prank, or a tribute to a pagan god? Woolcott aptly describes him as “an unreliable shapeshifter, a joker.”
Horses, monuments, and britpop nostalgia
Further along the Wessex Ridgeway, the landscape unfolds into a panorama of chalk horses, crosses, and regimental symbols. The Uffington White Horse, dating back to the late Bronze Age, stands as a remarkable testament to human ingenuity and resilience. Discovering the connection between these ancient carvings and contemporary culture is one of Woolcott’s most astute observations. The Alton Barnes White Horse, for instance, briefly graced the screen in a Dodgy video, instantly linking the ancient landscape to the nostalgic cliches of Britpop – VW camper vans, space hoppers, and a distinctly British brand of rural escapism.
A quest close to home
Woolcott’s journey isn’t just about tracing the contours of these chalk figures; it's about uncovering the stories embedded within the land itself. As TC Lethbridge, an archaeologist who explored the Gog Magog Hills, realized, “There is no need to go to the ends of the earth for interesting quests and excitement. It is here, in prosaic old England, at one’s back door.” Woolcott's book serves as a reminder that the most captivating adventures often lie within our own landscapes, waiting to be discovered.