For centuries, mysterious symbols carved into the walls and wooden beams of medieval buildings across England have puzzled historians and archaeologists. Often referred to as daisy wheels, hexafoils, or simply “witches’ marks,” these intricate carvings have long been linked to folklore, with many believing they were created to ward off evil spirits or protect homes from witchcraft.
The unusual markings can be found on stonework, timber frames, churches, and centuries-old houses throughout England. Although they have fascinated researchers for decades, their true purpose has remained one of the country’s enduring historical mysteries.
Now, however, a new interpretation from Professor Jennifer Alexander of the University of Warwick suggests the symbols may have been far less mysterious than previously believed.
Rather than serving as magical or ritualistic symbols, Alexander argues that many of the carvings were likely nothing more than practice exercises made by medieval stonemasons and apprentices learning to use their tools.
“Do you remember at school when you were first given a pair of compasses and you made a daisy wheel? It’s that,” Alexander told The Guardian.
She explained that the markings vary considerably in quality, supporting the idea that they were created by people with different levels of experience rather than following a standardized ritual.
“There are hundreds of such marks and they tend to be of varying degrees of skill,” she said.
According to Alexander, apprentice builders may have used the symbols to practice carving precise geometric patterns on difficult surfaces such as stone before working on more important architectural details.
“It’s much more the sort of thing you’d use to train apprentices with, giving them skills in using tools on intractable surfaces like stone,” she added.
For many years, historians have associated the symbols with medieval beliefs in supernatural forces. Similar carvings have often been interpreted as apotropaic marks—protective symbols intended to repel evil, witches, or demons from homes and places of worship.
Alexander’s theory does not necessarily rule out the possibility that some examples carried symbolic meaning. Instead, it suggests that a significant number of these carvings may have had a far more practical purpose than previously assumed.
The debate over England’s so-called “witches’ marks” is therefore unlikely to end anytime soon. While the new interpretation offers a compelling explanation grounded in medieval craftsmanship, the symbols continue to inspire fascination among historians, archaeologists, and enthusiasts of folklore, leaving open the possibility that their story is more complex than a single theory can explain.
