{"id":6079,"date":"2026-06-01T07:00:00","date_gmt":"2026-06-01T07:00:00","guid":{"rendered":"https:\/\/sites.exeter.ac.uk\/medievalstudies\/?p=6079"},"modified":"2026-06-01T11:54:45","modified_gmt":"2026-06-01T11:54:45","slug":"sharing-a-400-year-old-secret","status":"publish","type":"post","link":"https:\/\/sites.exeter.ac.uk\/medievalstudies\/2026\/06\/01\/sharing-a-400-year-old-secret\/","title":{"rendered":"Sharing a 400-year-old secret"},"content":{"rendered":"\n

Ahead of the publication of an ambitious new co-authored volume, Naomi Howell shares her experience of bringing a unique late-medieval tradition back to life.<\/em><\/p>\n\n\n\n

\n\n\n\n

In 1943, when Exeter Cathedral was being surveyed for damage sustained in the bombing raids of the previous year, a strange assemblage of objects was discovered wedged in the canopy that rises over the north choir aisle. Packed in with splinters of oyster-shells, stone, and glass, the bundle contained more than a thousand fragments of figures, made from beeswax<\/a>. While many of these were broken into small pieces, plenty of these had instantly recognizable forms, including animals, human body parts, and one complete female figure. <\/p>\n\n\n\n

These immensely fragile wax objects are the only surviving examples in the United Kingdom of the votive offerings that adorned many saints\u2019 shrines in churches and cathedrals before the Reformation. Left by pilgrims to the tomb of Bishop Edmund Lacy<\/a> (d. 1455), they were almost certainly concealed in the late 1530s, when the newly installed Dean Simon Heynes ordered an end to Lacy\u2019s cult, stripping the brass effigy from his tomb and removing the railings on which the votives would have hung. <\/p>\n\n\n\n

Unlike the costly and enduring monuments of the wealthy and powerful, the surviving wax votives offer us a glimpse into the spiritual, personal, and economic concerns of common people in the late medieval period. Though many of the wax fragments appear to come from the same moulds, they have been customised in various ways, and different fashions are represented. The majority of the votives undoubtedly represent a prayer for healing or relief from physical suffering, or were left as thank offerings for a miraculous cure. Human figures and body parts might have been thought to arouse the Bishop\u2019s sympathy, since he, too, had endured chronic physical ailments, in particular a painful disease of the shins.<\/p>\n\n\n\n

\n
\"\"
A figure selling wax votives. Detail from Pieter Brugel the Elder, The Fight Between Carnival and Lent<\/em> (1559)<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

In or soon after 1538, the wax offerings at Lacy\u2019s tomb were swept away in accordance with the injunctions forbidding \u2018candles, tapers, or images of wax to be set afore any image or picture\u2019. They should no doubt have been melted down or destroyed. Indeed, the rough handling which the surviving objects had received, and the assorted broken building materials with which they were packed, suggests they were intended for the rubbish heap. At what may have been the last possible moment, someone, we shall never know who, chose instead to hide them away in the cresting of the choir screen above the tomb. As brass and stone fell to the reformers, the most ephemeral objects of all were preserved. It was almost certainly a secret act, and one that would remain secret for 400 years. <\/p>\n\n\n\n

The extreme fragility of these unique objects \u2013 the slightest touch conveying some residue to the hands \u2013 adds to the intimacy with which they speak to us of past hopes, emotional ties, and faith; at the same time, their fragility has made the Exeter votives all but impossible to study or display. Beginning in 2016, I participated in a project<\/a> with the Cathedral, the Royal Albert Memorial Museum, and Exeter University\u2019s Digital Humanities Lab to record, digitally scan, and ultimately produce accurate 3D models<\/a> of the votives. The technologies through which we have taken the impression of these objects would be strange to the wax-workers and pilgrims of the fifteenth century, but they might recognise in it the familiar work of replication and distribution of personhood.<\/p>\n\n\n\n

\n
\"\"
Modern-day wax votives on display at Exeter Central Library.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Digital modelling and a series of recent public art projects have allowed these long-sequestered medieval objects to speak again with the living, both within and beyond Exeter Cathedral. In 2018-19, I collaborated with the artist Amy Shelton of Honeyscribe<\/a> and FORCE Cancer Charity in a series of wax-modelling workshops, offering cancer patients and schoolchildren the opportunity to explore \u2018the potency of making sculptural figures imbued with their own hopes and thoughts\u2019. The resulting figurines were displayed alongside models of the Lacy votives in an exhibition in Exeter\u2019s Central Library. More recently in 2025, the Cathedral hosted the large art installation \u2018From the Vow Made\u2019<\/a>, designed by Neil Musson and Jono Retallick, in which 1000 beeswax figurines were suspended from a structure in the nave; created by members of the local community, the wax objects in a wide variety of shapes were meant to represent \u2018something for which each individual is grateful\u2019. <\/p>\n\n\n\n

Over the last few years well over a thousand people from Exeter and the surrounding area have crafted wax figurines with their hands, feeling the growing warmth of the material as it yields to moulding. The meaning of the activity has altered in some respects: rather than soliciting saintly intercession, the main focus today is on the therapeutic benefits of crafting and creating, or simply the power of gratitude. Yet there are still fundamental continuities between the medieval era and the present. The basic steps in the process remain the same: the object is acquired (by purchase or crafting); it is invested with personal meaning, so as to serve as an extension or representative of the self; and it is given up<\/em>, relinquished in the knowledge that in a specified place it will continue to be seen<\/em>. A practice that originated around the cults of the \u2018special dead\u2019 in the Middle Ages \u2013 and that bears echoes of classical and ancient Egyptian practices \u2013 remains instantly recognizable and remarkably contemporary in its appeal.<\/p>\n\n\n\n

Featured image: fragments from wax votives found at Exeter Cathedral. Naomi’s work on votive offerings is featured in a forthcoming volume: Naomi Howell, Philip Schwyzer, Sarah Hamilton, David Harvey, Ruth Nugent, and Nicola Whyte, ‘Memory and the Medieval Dead in English Cathedrals, 1100-2025’, Exeter Studies in Medieval Europe (Liverpool University Press, 2027).<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Ahead of the publication of an ambitious new co-authored volume, Naomi Howell shares her experience of bringing a unique late-medieval tradition back to life.<\/p>\n","protected":false},"author":3191,"featured_media":6083,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"acf":[],"yoast_head":"\nSharing a 400-year-old secret - Exeter Medieval Studies Blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.exeter.ac.uk\/medievalstudies\/2026\/06\/01\/sharing-a-400-year-old-secret\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sharing a 400-year-old secret - Exeter Medieval Studies Blog\" \/>\n<meta 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