Larger Than Life: England’s Chalk Figures Explored

The Pagan heritage of England is still very much felt in the modern age and can even be seen - if one looks at the right places. England’s chalk figures, a series of large geoglyphs carved into the hillsides of the English countryside, represent a unique and intriguing aspect of that ancient pagan heritage. These figures, which include both human and animal shapes, have been created by removing the overlying soil to reveal the white chalk bedrock beneath. They vary in age, some dating back thousands of years, while others are relatively recent. From the enigmatic Uffington White Horse to the more contemporary Whipsnade Lion, these figures offer a fascinating glimpse into the artistic and cultural expressions of different periods in British history.

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Chalk Figures are a Glimpse into the Past

The tradition of creating chalk figures in England dates to prehistoric times, with the Uffington White Horse being one of the most ancient and iconic examples. Situated in Oxfordshire, this 110-meter-long (3.28 ft) figure is believed to have been created during the late Bronze Age or early Iron Age, around 1000 BC. Its origins and purpose remain shrouded in mystery, though it is often associated with local myths and legends. Some theories suggest it may have been a tribal symbol, a religious icon, or a territorial marker.

Sattelite view of the Uffington White Horse pre-restoration. (Public Domain)

"Now it is a somewhat curious circumstance, that although all the White Horses, except one, are in Wiltshire, that one exception is the great sire and prototype of them all, which is at Uffington, just two and a half miles outside the Wiltshire boundary, and within that of Berkshire. This horse is to be seen from the Great Western Railway near Uffington, on the south side of the line, but the distance being over two miles, as the crow flies, and the outline being a very narrow one, and still further diminished by the foreshortening, it would not be easily found by anyone who did not know exactly where to look for it.”

• Plenderleath, W. C. 1892. “The white horses of the West of England: with notices of some other ancient turf-monuments”, Allen & Storr.

Another significant ancient chalk figure is the Cerne Abbas Giant in Dorset, which depicts a nude male figure holding a club. Measuring 55 meters in height (180 feet), it is one of the largest hill figures in Britain. Its age is a matter of debate among historians and archaeologists, with estimates ranging from the Roman occupation to the early medieval period. The figure is often associated with fertility, possibly due to its exaggerated phallic representation. Some historians also suggested that the figure is of Romano-British origin, and that it depicts Hercules, holding his famous club.

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The Cerne Giant in 2010. (Dun.can/ CC BY 2.0 )

The Long Man of Wilmington in East Sussex is another notable figure, standing at 70 meters (229.65 ft) tall and depicting a human figure holding two staves. Unlike the Cerne Abbas Giant, its origins are less controversial, with evidence suggesting it dates to the 16th or 17th century. However, some believe it could be older, possibly even prehistoric.

What it symbolizes, however, is still subject to much speculation. Those who believe it is an ancient creation link it to the pagan myths of the “Green Man”, a symbol of fertility known from other sources. There are those, however, who believe it comes from near modern times, and was carved in the soil by Christian monks, who wanted to show their devotion by creating the image of a pilgrim, walking with two staves.

The Westbury White Horse, created in the 17th century. (Hugh llewelyn/CC BY-SA 2.0)

Carving the Earth to Create Art

The creation of chalk figures involves a meticulous process of turf cutting to expose the underlying chalk bed. This requires significant labor and coordination, particularly for larger figures.

The first step is to carefully plan and design the figure, often using sketches and measurements to ensure accuracy. Workers then cut through the turf and soil, revealing the bright white chalk beneath. This process is labor-intensive and requires regular maintenance to prevent the figure from becoming overgrown with vegetation.

For the carvings dated to ancient pagan times, the creation process was likely a collective, tribal effort. But those created in recent times were likely an effort of a few individuals and required more hard work.

In some cases, additional materials such as whitewashed stones or concrete have been used to enhance the visibility and longevity of the figures. For instance, during the 20th century, the Uffington White Horse was reinforced with whitewashed concrete to preserve its outline. This practice highlights the ongoing efforts to maintain and protect these cultural landmarks. Similarly, the Wilmington Long Man has been made more visible with the addition of whitewashed breeze blocks and lime mortar.

Undated National Trust handout photo of the head and neck of the White Horse at Uffington, Oxfordshire, showing a before (left) and after restoration view. (BBC/PA Media)

Religious or Ritual Significance

Chalk figures have held various cultural and religious significance throughout their history. In ancient times, they were often linked to local deities, myths, and legends. The Uffington White Horse, for example, is associated with the Celtic horse goddess Epona, who was revered as a protector of horses, ponies, and donkeys. The figure may have served as a sacred site for rituals and ceremonies related to the goddess. The horse, after all, was a very important animal for the ancient Celts, and can be considered one of their foremost symbols. White horses especially were quite revered and were often kept in temples where they were used as oracles. 

The Cerne Abbas Giant is similarly steeped in folklore, with many believing it to be a symbol of fertility and virility. Local legends suggest that couples who spend a night on the figure’s phallic region will be blessed with fertility. The figure has also been linked to the Celtic god Nodens, a deity associated with healing and the sea.

A Modern Interpretation of an Ancient Creation

In more recent times, chalk figures have taken on new meanings and purposes. During the 18th and 19th centuries, they were often created to commemorate significant events or individuals. For instance, the Fovant Badges in Wiltshire were created by soldiers during World War I to commemorate their regiments. These figures serve as historical markers, preserving the memory of those who served in the war.

The tradition of creating chalk figures has continued into the modern era, with new figures being added over the centuries. One notable example is the Whipsnade Lion, created in 1933 to promote the Whipsnade Zoo in Bedfordshire. Measuring 147 meters (about 482.28 ft) in length, it is one of the largest hill figures in Britain and remains a prominent landmark.

Still, the preservation of these figures has become a significant concern, given the natural and human threats they face. Erosion, vegetation overgrowth, and vandalism are constant challenges. Various conservation efforts have been undertaken to protect and maintain these figures. This includes regular cleaning, re-chalking, and, in some cases, the use of more durable materials to ensure their longevity.

Whipsnade Zoo hill figure photographed from Ivinghoe Beacon (Pointillist/CC BY-SA 3.0)

Several of these figures have been defaced and vandalized in recent times. The Long Man of Wilmington was repeatedly “under attack”. First, in 2010, vandals drew a giant phallus on the figure over the night, using football pitch. Next, in 2015, vandals wrote “FRACK OFF!” above the figure, in an act of protest against fracking in the area. And then, in 2021, during the COVID pandemic, vandals painted a white facemask on the figure, causing damage. Interestingly, during the Second World War, the Long Man was painted over in green, as to blend with the local landscapes. This was because the German Luftwaffe pilots used it as a readily seen landmark during their attacks on England. Painting it over disrupted their attacks and made orientation more difficult.

The Long Man of Wilmington on South Downs in Sussex, UK. (Steve Slater/CC BY 2.0)

The National Trust, along with local historical societies and volunteers, play a crucial role in these preservation efforts. For example, the Uffington White Horse is managed by the National Trust, which organizes regular maintenance activities to keep the figure visible and in good condition. Similarly, the Cerne Abbas Giant is maintained by local volunteers who work tirelessly to preserve its iconic image.

Britain’s Storied Past

The age and origins of many chalk figures remain subjects of debate among historians and archaeologists. While some figures, like the Uffington White Horse, have relatively well-established dates, others, such as the Cerne Abbas Giant, continue to spark controversy. The lack of definitive historical records and the difficulty in dating chalk figures accurately contribute to these debates.

Additionally, the interpretation of these figures has evolved over time, reflecting changing cultural and social contexts. The Cerne Abbas Giant, for example, has been viewed as both a pagan fertility symbol and a more modern creation possibly dating to the 17th century. These differing interpretations highlight the complex and multifaceted nature of these ancient artworks.

Chalk figures have also made their way into popular culture, appearing in literature, film, and art. They have been featured in various works of fiction, often as mysterious or mystical symbols. The Uffington White Horse, for instance, is mentioned in works such as Terry Pratchett's "Discworld" series and Philip Pullman's "The Secret Commonwealth." These references show the enduring fascination and cultural significance of these ancient figures, especially in Britain.

In addition to literature, chalk figures have been depicted in visual art and media. Artists such as Eric Ravilious (1903-1942) have captured the beauty and mystery of these figures in their paintings. The unique and striking appearance of chalk figures continues to inspire contemporary artists and filmmakers, who draw on their rich historical and cultural connotations.

May, woodcut of the Long Man of Wilmington by Eric Ravilious, 1925. (Public Domain)

Forever Etched in Soil

From the ancient and enigmatic Uffington White Horse to the more contemporary Whipsnade Lion, these figures encapsulate a wide range of historical periods and cultural meanings. The techniques used in their creation, the myths and legends they embody, and the ongoing efforts to preserve them all contribute to their enduring significance.

As we continue to study and appreciate these chalk figures, they offer valuable insights into the artistic and cultural expressions of our ancestors. They remind us of the deep connections between the land, history, and identity. By preserving and celebrating these unique geoglyphs, we ensure that future generations can continue to marvel at their beauty and ponder the mysteries they hold.

Top image: Cerne Abbas Giant chalk figure, Dorset, England.  Source: PeteHarlow / CC BY-SA 3.0

By Aleksa Vučković