The church of Lostwithiel is dedicated to St. Bartholemew the patron saint of tanners. Most of the present church was built in the 12th century. The site of Lostwithiel, on a crossroads between long established routes from Ireland to the Holy Land and back, and from England to Land's End may have been in use much earlier. There are several Roman forts strategically placed around here, and some sites for these are pre-Iron Age, taking advantage of special qualities in the land.
The present 'History of Cornwall' starts after the Dark Ages - partly because it was vanquished by 'the English' (whoever they are these days!) and the victors get to write the history books. Cornwall has a prior history as a Celtic nation but because their tradition was oral rather than written much of the Celtic past we have now is lost or presumed.
St. Barts has also has a chequered past. The steeple was thrown down by lightening in 1757. It has been rebuilt several times but retains a classic Breton style. The church roof was blown up by Cromwell's men during the Civil War in 1644. There were other 'goings on' during the Reformation, which may well relate to the story of the incredible font in this church.
The picture of St. Bart's steeple with the moon shown here was a sheer fluke. I noticed the moon rising near the church from my window and waited for this perfect shot. The associations of the moon, the second most important astrological body, in perfect conjunction with the orthodoxy of The Church is kinda what this story is about.
|
 |
Here's the font. It is made from Pentewan stone and has five legs, the central one contains a lead pipe for drainage. The decorated 'screen' face is pointing North and has a plinth on this side for elevated height. Let's call this the 'Vicar Position'.
The font has eight faces, in line with the body of the church, each with curious carvings. However the external legs are not aligned with the N.E.S.W. axis. On two faces the font has decorative motifs, which seem quite similar to those displayed on the lantern-face of the steeple. The other faces have unique imagery.
There is much discussion about this font. Some locals say it is a lot older than the church and could date from 600-750 AD - a full 500 years earlier than the earliest bits of the present building. |
 |
The font is on the left as you enter the main door. The first face to engage you has a carved figure riding a horse or donkey. On his left hand he carries a falcon or other hunting bird. With his right hand he is blowing a horn. Carved in bas-relief behind him is a longsword. He is accompanied by what looks like a sheep but is more likely a dog - showing that this is a huntsman of some kind.
Literature in the church says that the hunter's prick spur was in fashion no later than Henry 3rd's reign up to 1272 AD. It also mentions that evidence of an early locking mechanism on the font - the pre-Reformation means of guarding consecrated water - originate this font in the 13th century.
But this image also places us outside - in the land - in the joy of the hunt.
|
 |
Next we find what is clearly an heraldic device that looks like two lions. They are not rampant as in the common English symbol of 'Lion Rampant', but appear to be lying down. The church attendant mentioned that these might be cougars - the symbol of William the Conqueror. At any rate - here is the image of two fierce felines at rest.
Part of the carving of the next face is also on this face meaning that there might be a link between the two faces. It is this link, and the way I was 'led in' that suggest I decode the font anti-clockwise. The tail is that of a snake and leads me onto one of the strangest carvings I have ever found in a church. |
 |
This is referrred to locally as the 'Snake Catcher', a mythical figure who would deal with unpleasant beasts. In its hair are coiled two snakes and it has a prominent spiral carved into what some call the Pineal Gland - a recognised 'seat of enlightenment'.
It has strange big ears, kinda like a donkey but in folded-down position. It has a huge, asinine grin. Its head has been touched millions of times. It reminds me of my visit to the statue of St. Michael in Rome. The big toe of this statue had been worn away from the kisses of infinite Catholics.
But the story here shows that power of cougars rest in the snakes of the hair of an enlightened fool - somewhere outside. |
 |
I want to show this again in side angle. The shape of the spiral protuberence is a perfect oval. The spiral is a device that is found in much Celtic Art. It signifies: journey, maze, discovery, way through.
In this position it seems to indicate an inner journey - a journey into the mind - with foolish innocence and large, open ears. Is is a horse face? Is it a baboon face? What do you think this strange carving signifies?
|
 |
Next on the (presently facing) North side of the font is a simple decorative device. Its like a decorative screen of some kind. According to the plinth this is the current 'vicar's position' for accessing Holy Water.
It is this facing of the font into the vicar's position that makes me wonder. Wouldn't the vicar or whoever assume a position of power - with some device that would sanctify his involvement with the ritual of accessing Holy Water - within whatever creed?
It suggests to me that either this font has been turned around or the position of the vicar has been changed. But there is more evidence that shows alterations to the font, presumably during Henry 8th's Reformation.
|
 |
This is where bits start to go missing. The entire top half of this image has been removed. I can only imagine stuff. It looks to me like it might have been a lizard / dragon - something like that.
The remains of this facet of the font show a donkey, ass or whatever. The image of a 'horse-like' animal is prevalent on the font. It is being bitten on the butt by another four-legged animal. Let's presume a dog type of beast because it still looks like our sheep with the hunter!
But underneath this are shown the shapes of church windows, with corbel faces between, giving this ass biting an elevated position - possibly meaning the message is to be taken lightly - or spiritually - in good humour. A joke? But what is the missing element that 'rules' this? |
 |
Next is another decorative face which I didn''t photograph due to poor access. Then there is a well-known and established image. Clearly clerical headgear combines with classic Green Man imagery. It is no wonder the name Lostwithiel is derived from the ancient 'Lostgwdeyel' - meaning 'Tail End of the Woods'. The Green Man is still here at least.
What puzzles me though is that the features of our Green Man look quite African. And he is smiling. |
 |
This last face - opposite the 'vicar position' has quite clearly been modified. This is a poor carving not up to the quality of the other faces. It is obvious in intent. It is propaganda. Whoever did this had no love for the stone. This is clear vandalism.
If you look carefully this face has been entirely removed. It is chiselled much further in than the others. It is carved in rather than carved out.
What image was more controversial than a clerical nature man, a Pagan? What was the image here - so powerful it had to be removed and defaced with such a poor quality representation of the suffering of Jesus?
What really interests me though is what would you put here?
How would you read this story on an ancient container made for storing Blessed Water?
What do you think was on this face and the other originally? What are the missing 'archetypes'?
|
 |
