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From so-called ‘witch-marks’ to initials and dates, from images or figures to hatched lines, graffiti in the past held meanings that can be difficult to decipher. We will survey and accurately record this historic graffiti. It is the case that the majority of our historic buildings are churches, many dating from the medieval period and if we learn how to decipher them, these often contain messages from the past. These graffiti, whether crosses, grids, initials and more had significance for those making them, whether ritual protection marks or for connecting the writer to a sacred building, or for some other reason. The majority, if not all of our historic buildings have been altered over time, and there are sometimes layers of overlapping graffiti. In conjunction with Staffordshire Archaeological and Historical Society and other partners, we will expand our investigation into our churches in the project area, and where available, other historic buildings. Some of our findings will be presented here.
Trent Valley Past & Present page
Often referred to as ‘pilgrim’s crosses’ these inscribed marks used to be believed to represent crosses carved into the church by people prior to leaving the parish to go off on a pilgrimage to Rome or other destination. There is no evidence for this whatsoever, and it seems likely that they were made by villagers for reasons we will never know for certain. It is possible that they were a way of connecting with a sacred building in a time before literacy was common, in that the person had spent time and effort making a personal mark into the fabric of the building itself. Perhaps they represented a prayer or wish, or were to avert evil. Doorways are a common place to find these and other marks and represent a liminal place, neither inside nor outside, a crossing place or portal between the two.
The crosses in the photo are on the north doorway of the church at Alrewas, itself interesting because it has been moved. The north aisle was added to the building long after original construction of the church but the doorway itself, perhaps for practical reasons, was simply removed and added into the new outer wall. It’s a perfectly solid doorway, so why go to the trouble of building a new one? Or maybe it was seen as representing continuity with the past, even then. We will never know for certain.
By the 17th century, literacy was far more common and the image depicts the names of two individuals, Henry Clarke and John Gorring, along with the year 1667. The names are carved into the wall of the first floor of the bell tower and probably represent much more than simple graffiti. The bell tower itself is full of such examples and may demonstrate that the main body of the church, prior to a drastic Victorian restoration, held far more graffiti than we see today. Much of the graffiti within the bell tower is in danger of being lost and we have been working with SAHS and the Kings Bromley Historians on recording this before it disappears forever.
It may be possible to find out more about the individuals who left their names on the church. The year 1667 seems to feature in more than one example of graffiti within the tower and it would be interesting to find out if that year holds a particular significance for the village. We may speculate that perhaps it was visited by plague, or that the church itself had a new bell installed – research might help resolve this and other questions.
This image, found by one of our researchers low down on a column (and therefore avoiding removal by Victorian “improvers”) seems to show a crudely carved knight on horseback. The style of shield, known as a kite shield because of its shape, helps to date the figure to the first half of the twelfth century and may therefore be contemporary with the building’s construction phase. The helmetless knight is armed with a spear decorated with a gonfannon, or small pennant attached, and also seems to have a banner showing the image of a man. Interestingly, King Harold of England (d.1066) had a banner showing an image of a man and this was famously known as “the fighting man”. No inference that there is more than a passing similarity in theme is implied here.
Annotated image of the Yoxall knight.
There has been a long debate about whether this block of carved stone represents a Sheelagh-na-gig or not. It is badly worn and it could be a Sheelagh-na-gig (and does look like it from some angles), or equally it could be a gargoyle. It probably did not start its life in its current position, low down on the outside of the east end of the church and probably arrived there during Victorian renovation work. Either way, it represents an enigma that is likely to keep the debate going for years to come.
Other interesting graffiti on the church walls abound, including crosses, scratch dials and a hand.
A hand mark on the church. Perhaps more than just “I was here” it may be intended to connect the person to their sacred building, strengthening the power of prayer or religious devotion.
