Decorative sketches, c. 1200
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Decorative sketches
c.1200
October 2, 2021
Some of the most enigmatic graffiti at the Cathedral are over a hundred large decorative sketches on 12th century fabric, comprised of scenes from the gospels and their writers the Evangelists.
By far the largest of Rochester’s graffiti, the images range in size from a few centimetres to almost two metres. The scheme is extant on the Romanesque piers of the nave arcades, the interior of the west front, the crypt and the sanctuary have been understood as decorative elements for over a century.
It is now appreciated that elements of the scheme also occur on at least one pier in the quire crossing and, significantly, on the lower portions of the west façade. The exact nature of the sequence is discussed, but the extensive remains appear to constitute one of the most complete survivals of a decorative scheme of this age in the country.
Five scenes recently identified on the west facade have previously escaped attention, probably due to a thick layer of pollution that had accrued on the exterior of the building throughout the Industrial Revolution. The west front was cleaned in 1967 under the architect Emil Godfrey, although a report seems not to have been produced (Durnan 1991, 5). All surviving scenes are fragmentary, probably representing only a portion of what was once present.
A face survives in the north window recess, above a small door created for access to an oratory in 1327 (St John Hope 1898, 274-275). A surviving incision down the right side of the face may represent part of a headdress. Similarly composed faces feature in other images in the scheme nave and sanctuary, indicating this might be part of a condensed Jesse Tree depicting the genealogy of Christ (Matthew 1:1-17 and Luke 3:23-38). If so, this was probably the central bust in a vertical arrangement of three. The later door would have cut the lowest bust.
Two busts survive in the north blind arch. Their posture and composition, with the right en face and featuring a soft jaw, and the left bust with a heavier jaw turned slightly to the former, matches two images of the Baptism of Christ in the nave (Matthew 3:1-17, Mark 1:1-11 and Luke 3:21-24). If so, these two would also have belonged to standing figures. Christ is consistently depicted with a softer jaw than other adult males within the scheme.
Another single bust, again probably part of a standing figure now obliterated, sits at the top of a shaft to the south of the great west doors. The figure wears a headdress or crown, resembling a standing figure on the third-west pier of the south nave arcade.
An eagle emblem of St John is on the area of wall immediately to the south of the door recess. The emblems of the evangelists (Ezekiel 1:10, Revelation 4:6-9ff) feature prominently in the scheme and are common elements in paintings, sculpture and manuscript illuminations at many medieval churches and cathedrals. The emblems are also present in the sculptural decoration of the Late Norman tympanum of the Great West Door. As in the nave, it would be common for the other three emblems, the winged man, winged ox and winged lion also to be present, as can be seen in the nave. Other emblems here could have been either side of the doorway, or in the corresponding sections of wall between the recesses either side, but no remains are identified. Some fragments of a possibly figurative design identified on the west face of the south-west tower await identification. Similar emblems of the evangelists around the west entrance to churches and cathedrals are interpreted as tutelary, i.e. serving as spiritual guardians of the building.
In the south window arch, largely now invisible from head-height, a figure rides a horse or donkey, with another possibly standing figure to the left of the scene facing the rider. This is probably a Palm Sunday (Matthew 21:1-11, Mark 11:1-11, Luke 19:28-44 and John 12:12-19). A scene previously interpreted by Swanton (1979) as such in the nave is reinterpreted here as a winged ox emblem. If these interpretations are correct, the imagery within the west façade recesses can be read from north to south as scenes from Christ’s life in chronological order.
The interior of the west front features more elements of the scheme.
Swanton interpreted three sets of three vertical busts as probably comprising a single sequence, a Jesse Tree. Three sets of busts survive: on the south half-shafts of each of the returned piers of the nave arcades (3.6A and 3.7C), and on the south shaft of the Great West Door (3.6E). The shaft on the north has eroded greatly from efflorescence damage, but another set of busts may have been present here too.
Two standing figures flank the interior of the Great West Door, on narrow sections of wall between the edges of the blind arcades and the doorway (3.6D and 3.7B). Their pose matches the numerous other solitary standing figures in the scheme thought to depict the Evangelists. The south figure is indeed holding a scroll, a common identifier, although the figure on the left may be sporting a tonsure, an identifier of a monk. However, as this would be the only figure in the scheme identified as non-biblical this is inconclusive.
High on each of the returned piers, not traced by Swanton, are two more examples of recurring scenes in the scheme, depicting Christ en face with two disciples at his breast in half-profile. Christ holds a chalice and circular bread. Occasionally, items such as bowls and shallow receptacles survive below the figures as if spread on a floor or table. Livett tentatively suggests an interpretation of these scenes as a ‘gross attempt to suggest the two natures of the Second Person’. Swanton more convincingly interprets this scene as a Supper at Emmaus (Luke 24:13-35), probably also present in two scenes in the crypt. However, the Last Supper (Matthew 26:17-30, Mark 14:12-26, Luke 22:7-39 and John 13:1-17:26) would be a more typical scene to feature so frequently, and this design lacks an accompanying road as seen in the examples in the crypt. The confusion has arisen from the condensing of the scenes, featuring only two disciples. Other than the Eucharist items, little further evidence is provided in the examples in the nave or the quire to confirm either interpretation.
Also not identified in previous studies, two small fragmentary busts in profile survive on the south face of the returned pier of the south nave arcade (3.7C). The remaining scenes on the inside of the west front are three metres high in the south nave aisle (3.8).
A Christ in Majesty (Apocalypse of John) survives on the northern face of the southwest tower, including an eagle emblem above and to the right (3.8A). Two standing figures survive on the shaft at its north-east corner (3.8B). The upper figure is unidentified, but the lower figure features a headdress. These two are possible another part of the Jesse Tree. The feet and hem of a robe survives on the narrow section of wall to the south of the window recess (3.8C). Above are the remains of a bird, possibly another Eagle emblem. Some means of high-level access was required in the creation of these elements, probably scaffolding, raising questions about the precise timing of the creation of this scheme explored in the next section.
Immediately apparent to those entering through the west door would have been two large evangelist emblems, a winged ox and a winged man, on the two westernmost piers in the nave arcades facing into the centre aisle (3.9 and 10). The winged man, the emblem of St Matthew, is depicted on the north face of the southern octagonal pier, with one wing spreading onto the north-west face. Efflorescence damage and the superimposing of later incisions have previously confused their identification. Swanton interpreted them as an angel and ‘possibly a Flight into Egypt’. The identification of curvilinear marks that were not traced at the time now provides a firm identification. The large winged ox is the only surviving element on the westernmost pier of the north arcade. On the south and south-east faces of the south pier are two figures seated at writing desks (3.11). Unlike similar depictions of the Evangelists in the nave, they are apparently unaccompanied by emblems, unless they are associated with the winged man. Several lines of undeciphered text also survive on the south face. Identical script in similar scenes in the sequence suggests it is related to the seated Evangelist on this face.
The pair of piers next to these, the second-west of each arcade, are the only Romanesque piers in the nave without any identified scenes from this scheme. However, the westernmost portion of the nave has been the most affected by efflorescence damage, and subsequently possibly the most heavily whitewashed.
The third-west pier of the north nave arcade features a large Baptism of Christ, incorporating the descent of the Holy Spirit in the form of a dove (Swanton 1979). There is one surviving head in half-profile on the west face of the pier, possibly another standing evangelist.
The corresponding pier in the south nave arcade features three scenes and two solitary standing figures. On the north side of the pier, a pair of horseback riders confront a group of three standing figures (3.13A). A solitary standing figure survives on the north-west shaft of the pier (3.13B) and another standing figure on the south-west corner (3.13C). The eastern side of the pier contains the remains of three standing crowned figures, facing on the right-hand shaft a seated female (3.13A). Swanton interprets these two scenes as a possible Magi sequence (Matthew 2:1-12). Two busts occur on the heavily damaged and repaired lower portion of the west face of the pier. Swanton also interpreted an equine head behind the bust on the left though to depict Christ, although the scene remains unidentified.
The fourth-west pier in the north nave arcade features three figures arranged vertically, each within a mandorla. The top figure is a seated Christ in Majesty, above a bust with a headdress within another mandorla, above an unidentified standing figure. A very faint head survives on the western face of the pier. In 1977 only the top figure was traced.
The corresponding pier in the south nave arcade features a large Christ in Majesty surrounded by the four emblems of the evangelists in a scene known as a Tetramorph (3.16A-E). There appears to be several corrections to this image, which typically has a standard composition. At least two eagles survive above and to the left of the mandorla, with the latter superimposed with a winged man. What Swanton has interpreted as the remains of a lion emblem in its typical position at the bottom left of the mandorla can now be seen to consist of several masons’ marks. Another eagle emblem, much larger than either of those within the Tetramorph, is found high on the north-west face of the pier. Below this eagle is another Eucharist scene, identical to the those previously described. To the right of the eagle, very high on the pier, is an unidentified scene depicting a figure with a cruciform nimbus half-turned to face a smaller figure, and beyond it an angel. On the west shaft are two unidentified busts arranged vertically, each within a mandorla. A large standing figure with a halo is to the south of these and four other busts arranged vertically are on the south-west face. Another two figures occur on the eastern side of the pier. The head of the figure facing Christ has completely eroded since Swanton’s 1977 trace.
The fifth-west pier in the north arcade features a Eucharist scene on its centre aisle-side half-shaft (3.19A). On the narrow face to the left of the shaft is a standing figure with a scroll (3.19B). Further down, two more standing figures are accompanied by fragmentary script (3.19C). Two fragmentary heads survive on the north and west half-shafts of the pier (3.21). On the east shaft is a large winged lion emblem of St Mark accompanying a seated figure at a writing desk (3.20). Script is seen flowing from the desk into the space above. Another figure with a crown stands on the narrow section of wall to the south of this shaft.
The north half-shaft of the pier opposite in the south arcade, facing into the centre aisle, features another seated figure (3.22). Its position indicates it accompanied another emblem, although no remnants have been identified. The west face of the pier features three scenes and another standing figure holding a scroll (3.23). The heavily damaged scene high on the north-west corner of the pier comprises a small Christ amongst taller standing figures. A Christ in Majesty adorns the centre of the half shaft. Several lines of script cross the bottom half of the mandorla. Below this is a scene comprising a standing figure, possibly Christ, confronting three other standing figures.
The four scenes in the sanctuary (3.24 and 3.25), not traced by Swanton, are located in the north-east corner and within the returned sections of wall in the north and centre recesses of the east arcade. The two in the central bay match the scenes in the nave interpreted as a Eucharist scene, likely the Last Supper (3.25). Three busts arranged vertically on the north face of the northern recess are perhaps part of another Jesse Tree (3.24, right). A fragmentary scene on the south section of returned wall in the easternmost bay of the north sanctuary arcade features three figures (3.24, left). One larger figure has a hand extended. A small unidentified figure is behind this, and another figure on the right of the scene faces these.
A preliminary report on the survey of pictorial and symbolic graffiti was submitted to the Kent Archaeological Society in September of 2017. In December of 2017, the Perry Lithgow partnership removed a framed wooden panel from the wide pier in the south quire transept closest to the Chapter Library doorway for conservation work. This fragment of medieval painted wooden panel was removed from the quire and framed during restoration work in 1867 (Robertson 1876). The removal of this panel revealed the presence of a previously unidentified graffito, an element of the same decorative scheme. The position of this figure in the top east corner of the face of the pier indicates it was part of a larger scene (3.26). The framed panel was replaced on the completion of its restoration, although removal to the opposite side of the pier is intended.
Two scenes in the crypt identical to the Eucharist scenes in the nave and sanctuary feature the addition of two large curvilinear designs beneath each graffito (3.27). Swanton interprets these as roads, and so as depictions of the Supper at Emmaus. What may be an equine head is present on the east face of the south-west pier forming the south-west corner of the Ithamar Chapel (3.28A), not dissimilar to the head of the donkey on the west façade. The other figures and scenes in the crypt comprise standing evangelists (3.28B to D) and possibly another Christ (3.28E) across seven wide piers in such a distribution as to suggest that they were once present on almost all surfaces of available ashlar.
Inscribed text is close to several of the figures and scenes within the scheme, and in at least one example, the text appears to be interacting with the image itself. Given its estimated late twelfth/early thirteenth-century date the text is almost certainly Latin, but it has not yet been possible even partially to decipher. It may be that some of these lines of ‘text’ are representative of script, rather than consisting of actual prose, but other inscriptions within the same scheme are more extensive (3.29 and 3.30). The context of these inscriptions, in association with biblical imagery with an emphasis on the four evangelists, suggests it is likely to be verses from the gospels.
Function
Such is the fragmentary nature of the scheme that previous interpretations of the purpose of its creation have remained elusive. Swanton (1979, 134-135) suggests a motivation could be the preservation of mural paintings after a documented fire in 1179. With the use of raking light and digital tracing, 29 more of these scenes are identified by this survey: four in the sanctuary, one in the south quire transept, six in the crypt and five fragmentary remains on the west facade of the building. The elements within the east end of the building rule this out, as its construction is believed to have resulted from the 1179 fire. There has been no medieval fire recorded in the sanctuary.
The images within the scheme are of a uniform composition. The central placement of the majority of the figural scenes within their respective piers or walls and their occurrence in areas that would have been accessible to both parishioners, pilgrims and those exclusive to the monastic community strongly supports their creation being sanctioned, or more probably actioned, by the cathedral authority. At this time, such alterations to the building would fall under the prior’s jurisdiction. Frequent revisions and general crudeness of many designs indicates the scheme was not created by an experienced artisan, although their creation was not entirely devoid of artistic merit, and certainly required a familiarity with the gospels. It seems unlikely they served as true outlines for later artists, rather markers for specifying the location of scenes, including any required identifiers. The evangelist emblems in tutelary positions around the west front, and at the east end of each arcade, indicates that traditions were adhered to for the demarcating of places of worship for spiritual protection.
There appears to be no associated colour, although elements high in the south nave aisle would not have been visible from head height without at least outlining. The Caen stone and Reigate ashlars on which this scheme occurs were lightly whitewashed before painting. The incisions would have still been visible through the whitewash to serve as guides but would remain effectively invisible from a distance. The removal of the whitewash at a later date would remove all evidence of colour.
The composition of figures and scenes are comparatively static, a feature of earlier medieval art. The winged bull and winged lion, with tossed back heads, also reflects older Anglo-Saxon traditions. From the thirteenth century, the use of the four evangelists surrounding a Christ in Majesty began to decline, as a new scene showing the wounds of the Passion came into use (Male 1914, 35-37). If the sequence does comprise a single scheme, the dates for the construction of the sanctuary provide a terminus post quem at least 50 years after Swanton’s proposed date during the episcopacy of Bishop Ernulf (1124-1124). Other than the possible cut of the small west door of 1327 the only stratigraphic evidence is overlaying of later medieval paintings. A study of the medieval wall paintings of the cathedral (Jacobs 2005), identified a demonstrably later red ochre accompanying a standing figure on the fifth-west pier in the south nave arcade (3.31, left). This ochre is thought to be the remains of a Norman polychrome paint scheme (Jacobs 2005, 8), surviving until nineteenth-century ‘cleaning’. A large painting of St Christopher overlies the winged man on the westernmost pier of the south nave arcade (3.30, right). The later St Christopher has been dated stylistically to the late thirteenth century (Whaite 1929, 17).
Similar figural graffiti survive on Norman fabric at Canterbury Cathedral (Turner 1967). Five unidentified figures and an eagle of identical style to those at Rochester occur on the piers of the Norman crossing tower of St Clement’s church, Sandwich (3.32, left) (Scott 2017b). On a pier in the quire of St Mary the Virgin, Newington, is a scene identical to those at Rochester interpreted as the Last Supper, above which is an eagle emblem of St John and below are standing figures (3.32, right) (Scott 2017b). The then Abbey Church of St Alban in Hertfordshire contains an eagle emblem in the north porch of the west facade and a lion emblem of St Matthew to the south of the inside of the Great West Door that are also very similar (Pritchard 1967, 105 and Dean et al. 1998). It seems possible that the same artist may have created these schemes, or at least their creation occurred at a similar date. It also seems likely that other similar schemes elsewhere have been lost, obscured or await identification. The script accompanying the scenes at Rochester is of significance to the interpretation of these figural schemes elsewhere. A technique known as Reflectance Transformation Imaging (RTI) would almost certainly aid in its decipherment.
The photographic graffiti survey at Rochester Cathedral begun in 2016 has recorded over 7,000 inscriptions from the 12th to the 21st century.
