Lying in the narrow valley of the river Brue (hence the place-name), the ancient town of Bruton is 12 miles SW of Frome. (For detailed introduction to the local topography see St Mary Bruton: www.crsbi.ac.uk/view-item?i=118929 ). Bruton Museum was founded in 1989 and has been at its present site on the High Street since 1999. Amongst its collections is a piece of loose Romanesque sculpture. The piece was recorded by the fieldworker when it was in a private house. It is now exhibited in Bruton Museum.

DB records two estates in 1066 called Bruton. There was much investment here in the central years of the 12thc. (see St Mary, Bruton).

The sculpture may date to c. 1100-1150. It presumably relates to one of the two ecclesiastical institutions in Bruton: either the Augustinian Priory (later abbey) founded in 1127, the remains of which were largely swept away in 1786, or possibly the present parish church which also contains ex-situ and loose Romanesque sculpture. Grants were made to Bruton priory by William de Mohun II (created earl of Somerset in 1141) and such patronage could have formed the context for this work.

The stylised ears of the cat meet the edges of the neighbouring scallops; they balance and create a counter-movement against the downward-pointing triangular cones of the capitals. The open mouth is perhaps akin to the Romanesque convention of a cat-head at the top of a column. The symbolism of the clean-shaven and bearded faces is obscure, but a similar motif appears on the corners of some fonts in the locality.

Given that the double capital is sculpted on all sides 'in the round', it suggests that it probably related to a context such as a cloister arcade or a similar feature. The piece as noted is awkwardy executed, particularly in the sloping join (i.e., not a right-angle) between capitals and shaft-tops, which may cast doubt on an original prestige location. One wonders if it was an apprentice piece. Having said this, it has a naivety and sense of play which is both amusing and endearing.

The fieldworker is indebted to Jerry Sampson, formerly of Caroe & Partners for knowledge of this piece.