Name and date graffiti
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Name and date graffiti
September 24, 2021
The diverse alphanumeric corpus comprises thousands of names, dates, initials, letters and words. How can we begin to make sense of this enormous record?
One thousand six hundred and ninety-two are inscribed (78%), 336 are pencil graffiti (16%) and 80 paint or chalk (4%). They occur in diverse settings throughout the building, a dataset on a wide variety of spaces. The volume and diversity of this 800 year archaeological and historical record lends itself to various methods of analysis.
1,094 alphanumeric graffiti (51%) are two or three letter initials, and 254 examples appear to consist of a singular letter (12%). Certain common forms of singular or monogram letters within inscriptions are believed to be devotional (Champion 2015). The use of the VV symbol and other apotropaic designs is documented from domestic roofs and wooden structures, and it appears that carpentry and other craftsmen had several established apotropaic traditions (Easton 1999). Roofs and fireplaces were a fire risk. Designs were created to ward off events such as accidents and lightning strikes. A solitary W/VV does survive in the roof spaces, on the preserved beam from the old bell frame. The transcription of all alphanumeric graffiti within the building makes possible a preliminary statistical analysis of letter recurrence in the identification of ritual traditions.
Formal inquiries are explored, including palaeographic and statistical analysis, to identify potential ritual significance and provide a means for palaeographic dating of inscriptions. However, data regarding most forms are inconclusive. Another means of formal investigation is proposed, a spatial and relational analysis of components within inscriptions incorporating common letter forms and combinations.
The index of records spreadsheet includes a transcription of each legible graffito (see Online Appendices section). A briefer genealogical index of dated initials or full names at the end of this publication serves as a floor guide.
Dates and palaeography
Four-hundred legible Anno Domini dates from the sixteenth to the twenty-first century are recorded. Although present in just 18% of alphanumeric inscriptions, it is proposed that dated graffiti allow for a typology of the palaeography, content and medium of post-medieval graffiti (6.1).
Fifty-four calligraphic angular inscriptions are interpreted here as possibly late-medieval (c.1300-1540), or early post-medieval (c.1540-1650), although none are dated (6.2).
Many are fragmentary and exceptionally difficult to decipher, but largely appear to consist of forenames. One late sixteenth-century dated inscription in the Lady Chapel suggests the continuation of this calligraphic tradition into the early post-medieval era.
Each graffito is a stratigraphic datum. It is typically possible to identify if an inscription underlies or overlies the layers of painted surface, even if multiple layers are present. In the case of a heavily inscribed wall or passageway with a complex history of repainting or whitewashing, this data can encode an absolute chronology for these schema. Further opportunities for stratigraphic analysis are provided by the colouring of stone exposed to air over several centuries, or those covered in layers of pollution. This thick black layer is ubiquitous throughout the passages of the west front. Older inscriptions within these clusters date to before much of this pollution accrued, presumably before the Industrial Revolution. The presence of original masons marks or tooling marks on a wall or buttress can confirm that a stone surface is original and unadulterated or otherwise.
Five-hundred and seventy-seven alphanumeric inscriptions (27%) are seriffed (6.3). They largely seem to date from the seventeenth and eighteenth centuries.
Four-hundred and eighty-nine of these seriffed inscriptions (85%) are in the form of one or two-letter initials. A spike in dated inscriptions in the nineteenth century coincides with its shift in acceptance. We can also observe a palaeographic and spatial shift over the nineteenth century, as elaborate and time-consuming seriffed inscriptions in very public areas of the building give way to non-seriffed inscriptions more likely to be found in corners of the nave and crypt, or little-frequented upper rooms. Creating inscriptions becomes more of a hurried, clandestine act, being formed largely of straight, single lines and losing any extraneous portions (6.4). One thousand and fifty three non-seriffed graffiti are recorded (49%). Although graphite has a long post-medieval history, the earliest dated pencil graffiti recorded at the cathedral is 1830. Dated ink and chalk graffiti are twentieth century.
Stratigraphic evidence in the form of medieval paint or Early Modern whitewash surviving over earlier inscriptions or within their inscribed lines support this observed shift from calligraphic angular inscriptions to seriffed and then to non-seriffed inscriptions. Such evidence identifies inscriptions as being earlier than these decorative schemes and establishes a terminus-post-quem for many undated inscriptions. Documented building, furnishing or figural campaigns provide a terminus-ante-quem for some post-medieval and modern graffiti.
One hundred and twenty-seven antiquated or stylised letters are recorded; variations of A, C, I/J or W/VV (6.5). Some match forms widely described elsewhere as cult or ritual protection marks. However, identical antiquated letter forms significantly complicate interpretation. The letter W is non-existent in Latin, so Early Modern inscriptions incorporating a common antiquated letter form has been interpreted as two overlapping V letters; the initials of a Latin name for the Virgin Mary Virgo Virginum (Champion 2015a, 55). This same form was also a standard way of writing a W from the Early Modern period, as can be observed in some typefaces today. Ninety-two of these W/VV letters are recorded (6.6 and 6.7). Thirty-nine of these are part of initials. Three are dated; 1617, 1695 and 1735. See also eight similar M-shape letters (6.5E), and one similar character on its side (6.5F). Six occur at a kneeling height.
Fifteen stylised A letters occur in four variations; four with a bent crossbar and a large serif or horizontal stroke above (6.5C), eight with a single straight lower crossbar (6.5B), and two with two straight crossbars. Two examples feature a bent lower crossbar but no horizontal stroke (6.5A). All other stylised A letters appear within the nave alone; however, they are not numerous enough for any other pattern to be discerned in their distribution. Seven occur within initials, but none are dated, perhaps indicating that some pre-date the mid-seventeenth century when adding a date to inscriptions became more commonplace. Only two occur below 1m in height.
Twenty-four examples occur of what can be considered today to be the letter I with a crossbar (6.5H). The letter J is not present within Latin, being an evolution of the letter I. As such, the recurrence of this single letter has been proposed as a potential abbreviation of Iesus. The letter J can be seen to resemble or match the letter I in much early script, such as frequently in the Christian cypher IHS or IC. All examples consist of a typical modern letter I with a crossbar. Only four are below 1m in height from the floor. Three are part of dated inscriptions: 1716, 1735 and 1760.
Stylised C letters occur only within three sets of initials, all of an identical form (6.5D).
In contrast to identified ritual forms, alphanumeric graffiti clusters in only two or three locations in the publicly accessible areas of the building (6.6 and 6.7). This is expected given the removal of altars and chapels in the post-medieval era. Alphanumeric inscriptions are almost exclusively created from a standing height, as opposed to medieval devotional graffiti which can often be seen to have been created from a kneeling height, as if in the act of prayer itself. As elsewhere, it is highly unlikely that multiple altars were re-established within the cathedral until the advent of the Oxford movement in the nineteenth century, and possibly even later. The largely dispersed nature of public-area post-medieval inscriptions reflects this lack of multiple spiritual foci within the building. However, several alphanumeric graffiti clusters are located in the non-public areas of the building, reflecting the newly clandestine nature of graffiti.
The inclusion of anno Domini dates within inscriptions from the sixteenth-century on allows for a more precise appreciation of graffiti cluster formation and growth within the context afforded by documented building and furnishing campaigns over this time.
Eighteen of the earliest dated graffiti in the building are within a dense cluster on the north arcade wall of the Lady Chapel, from almost every decade between 1595 to 1723. In 1724 the Bishop’s Consistory Court was moved to the north-east corner of the Lady Chapel from the south aisle of the nave. A plan of its new form survives, and it was reconstructed directly in front of this cluster (DRc/Emf/27). It is perhaps the preservation provided by the wainscoting of the court that has preserved such early inscriptions. Three dates, 1731, 1750 and 1767, indicate cluster growth continued for some time past the courts construction. It remained there until well into the nineteenth century (Palmer 1897, 30).
Another cluster of inscriptions survive across the piers of the central crossing. Many of these inscriptions in this highly-visible area of the building feature decorated borders in the style of buildings, discussed below. The south-west crossing pier was extended and partly reconstructed in the 1820s. Several blocks within the lowest two courses of ashlar are reused. One features alphanumeric inscriptions that are now upside-down. Five dates on the western crossing piers range from 1705 to a partially legible date in the 1880s, although most are eighteenth century. The construction of semi-permanent benches and an extension of the altar platform in the nineteenth-century marks the termination in growth of this graffiti cluster.
An early cluster appears on the south-east quire crossing pier close to the site of the medieval and post-medieval high altar. Dated inscriptions include 1738, 1720, 1707 and 1754. Surviving fragments suggests many more inscriptions were once present in the vicinity, including within the sedilia. Those that survive include one partially illegible date, possibly seventeenth century, and the dates 1732, 1742, 1729.
Within the crypt, a dispersed collection of seriffed inscriptions include the dates 1623, 1701, 1760 and 1875. A scattering of seriffed inscriptions are located on the easternmost piers of the Ithamar Chapel, although none are dated. The majority of dated graffiti around piers and shafts, clustering particularly to the north and west of the main crypt body, include dates from the 1960s to 2014. The comparatively sparse early inscriptions in the crypt may reflect periodic restriction of public access over the post-medieval and Early Modern eras.
Statistical analysis
A broad sample of forenames would be expected to begin with J, as there are three such names on a list of 25 most-popular male forenames since 1530 (nos. 1. John, 5. James, 9. Joseph) and one forename from a list of 25 most popular female forenames (no. 6. Jane) (Ancestry 2016). Given the absence of the letter J in Latin, this appears to be reflected in the largest number of first-letters in two-letter seriffed inscriptions at Rochester Cathedral being I (6.8). The most common letter to occur within single-letter non-seriffed inscriptions is W, mostly in the form of the VV monogram. Only William is listed, as the second-highest ranked male forename. This does not seem to account for the overabundance of the letter W in the graffiti record.
The initials IW or WI incorporating the VV monogram are the most common to occur within seriffed inscriptions. Although a large number of initials begin with I, with a significant portion of them IC, the high occurrence of forenames beginning with J within the most common male names complicates identifying an overabundance of the letter I. A quantitative analysis of the most common forenames over the period is required, although the first comprehensive census was conducted only in 1881.
The lack of any sizeable proportion of other letters within single-letter inscriptions indicates no common ritual purpose. The most common letters to occur as the second letter in two-letter inscriptions are relatively evenly proportioned, consistent with the diverse letter proportions of the most common English surnames within the 1881 census.
Relational analysis
The diverse arrangements within inscriptions in which the crossed letter I and the W/VV monogram occur supports the interpretation of their ritual significance (6.9). Although difficult to identify within dense clusters of inscriptions, they are often identified belonging to the same inscription as other sets of initials (6.9A to C). Some occur larger than these initials, or smaller, but are identifiable from similarities in hand-styles and epigraphic execution. Several may be in association with nearby crucifix, and one may be in interaction with a, heraldic design (6.9D and E). There are instances with the VV monogram left-side down, and a recurrence of the letter M formed in a similar manner (6.9F). Several forms of the combined letters A and M appear near otherwise-isolated inscriptions (6.9I to K).
The VV occur in diverse settings around the building but cluster in the Lady Chapel. Two heavy wooden doors restrict access to the room above the north quire transept eastern aisle, suggesting it once served as a treasury. The room is devoid of modern graffiti, but half a dozen seriffed inscriptions occur on the single shaft of the east wall arcade. These include combinations of the VV monogram and crossed I, with several examples of IC (6.9G). A large IW also marks the entrance to the short passage leading to the room (6.9H). Their location within what may have served as a treasury in the post-medieval and Early modern era could indicate an apotropaic function against theft or fire.
Names or initials written backwards or in mirror image are common means of forming curses. Only one definitive example of such a backward inscription occurs, on the east wall of the south quire aisle. An upside-down VV monogram is accompanied by the initials Sf, which are mirrored about 5cm away to the west (6.10). A possibly associated curvilinear design is also present. Perhaps the curse was later neutralised by the addition of the corrected initials.
On the north wall of the Lady Chapel a large, rough inscription reads ‘Terrible
6.13 Twelve inscriptions interpreted as possible monograms. Two examples of A have been recorded. Monograms and their locations are listed in the Name Index.
6.14 Alphanumeric inscriptions on a beam from the roof spaces intentionally preserved during the 1959 rebuilding of the bell frame (DRc/DE/209).
Fb24 1760’ along with four sets of initials, two partially legible: ‘IC, PN, O?, D?’. The well-documented Battle of Bishops Court (aka “The Defeat of Thurot”) was fought between three British ships including HMS Aeolus, and three French ships. HMS Aeolus was a 32 gun, 5th rate frigate of the Niger class. Ten of these frigates were commissioned early in the Seven Years War, seven from Kent dockyards. On the 21st of February 1760, the French landed a force of some 600 French soldiers at Carrickfergus, County Antrim. The British squadron set sail from Kinsale, County Cork in response on the 24th of February 1760. When the two forces met the French were soundly defeated, and Thurot was killed during the battle. French losses were heavy, with 90 men killed and a further 135 wounded. HMS Aeolus suffered only four men killed, and 15 wounded (Cust 1862, 47). It has not yet been possible to identify if these initials are found to correspond to those lost crew members.
Twelve possible monograms occur in the form of combined initials. A typology is provided (6.18). It may be possible to match these with monograms or marks recorded elsewhere.
Inscriptions consists overwhelmingly of single names or single sets of initials. One hundred and sixty graffiti (7% of all alphanumeric) record two names within a single graffito, Twenty-three record three names and thirteen record four or more. John Brindley Parker Hopkins became a chorister in 1880 and George Frederick Hopkins in 1881, the sons of Cathedral Organist John Hopkins. Three pencil names in the crypt in the same handwriting record ‘G. Hopkins / G. Hopkins / J. Hopkins’. As their mother’s name in the 1881 census is Pauline Louise Dressler, the identification of one of these G. Hopkins remains a mystery, if this graffito belongs to the Hopkins at all.
Cross-referencing
Five-hundred and fifty-eight graffiti forenames or surnames are recorded. The cathedrals Three ashlars bearing initials and the year 1664 survive 2.5m high in the exterior face of the south nave aisle wall (6.22). These have long been thought to date to its last major reconstruction (Holbrooke 1994, 10-11, St John Hope 1898, 282). The names of the workers were apparently not recorded. Early Modern records are largely restricted to baptism, marriage and burial registers. The vast majority of the cathedral community, worshippers, staff and contractors over this time have gone completely unrecorded. Matching graffiti names with those in the census has proved unproductive when no links are established to Rochester or the cathedral. However, several chance encounters have produced hypotheses of varying credibility, serving to illustrate the ambiguities in identifying most early inscriptions.
A cursive pencil graffito in the nave records the name, and possibly rank, of a ‘Col Heslop’. A Colonel Richard Heslop was a Special Operations Executive who spent much of World War II in France fighting with the resistance, was awarded the Distinguished Service Order, Chevalier de la Legion d'Honneur (Fr), Croix de Guerre (Fr), and the Medal of Freedom (US) for his service. Was this a memorial left by a friend or family member? A fellow soldier? Or the man himself during some visit before his death in 1973? Or perhaps, since tour groups regularly visit the cathedral from France, a member of the resistance who served with him in France left it? This could even be the graffito of an entirely different “Col[in?] Heslop”.
The photographic graffiti survey at Rochester Cathedral begun in 2016 has recorded over 7,000 inscriptions from the 12th to the 21st century.
