Rochester Cathedral Graffiti survey
Rochester Cathedral Graffiti Survey
2016-2020
The photographic graffiti survey of graffiti at Rochester Cathedral begun in 2016 has recorded over 7,000 inscriptions from the 12th to the 21st century. This diverse corpus provides insights into the Cathedral, its worshipers and workers over many generations.
This survey includes all identifiable inscribed, ink, graphite and chalk, whitewash and paint graffiti. Although the word has negative connotations of a necessarily clandestine act, these collections include the marks left by masons rebuilding much of the cathedral throughout the 12th century, designs for painted decorative schemes, and votive markings clustered around the sites of medieval shrines and altars. Dates and name graffiti survives from every decade since the dissolution of the priory of St Andrew in 1542, their survival attesting a general toleration and curiosity over the intervening centuries.
Jacob Scott
Project coordinator
Thousands of marks by the masons provide insights into the construction history of the Cathedral in the 12th century.
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.
Ships are of the few types of graffiti for which we have contemporary written records, detailing a colourful devotional ritual to St Nicholas, the patron saint of those in peril on the sea.
People, animals and beasts graffiti
Humans are the most common subjects in the pictorial graffiti record. Two body parts are tentatively interpreted as medieval devotional designs, unique among the dozens of cartoons and caricatures.
The most common form of graffiti throughout Europe are those variously described as daisy wheels, hexafoil, or witches marks.
Medieval heraldic and symbolic graffiti
Seventeen graffiti in the shape of a heraldic shield are recorded, probably among the earliest informal medieval designs, and a plethora of curious signs and symbols accompany the numerous crucifix or pilgrim crosses.
The diverse alphanumeric corpus comprises thousands of names, dates, initials, letters and words. How can we begin to make sense of this enormous record?
Initials within a square border and architectural canopy or pitched roof are traditionally thought of as small and inexpensive replicas of the wall monuments appearing for the upper and middle classes - but is this the case?
Several of the largest graffiti clusters occur within the non-public, seldom-used or inaccessible areas of the cathedral, entered by only a few hundred people over the last 500 years.
Acknowledgements
Photography conducted by Jacob Scott and Dan Graham. Thanks are extended to the volunteers, staff, and friends of the cathedral. The Friends of Rochester Cathedral have supplied a software license for the creation of the three-dimensional virtual model and have also previously purchased the aerial work platform for high-level access at the cathedral, used extensively throughout the masons’ marks survey. The Chapter of Rochester Cathedral supplied a camera and other essential equipment with funding from the Heritage Lottery Fund.
A series of preliminary reports featured in the Kent Archaeological Society journey Archaeologia Cantiana in 2017, 2018 and 2019 (Scott 2017, Graham and Scott 2018, Scott 2019.
The Rochester Cathedral Research Guild established in 2016 is a network of unaffiliated experts, professionals and students contributing to the research and public interpretation of the Cathedral and collections.
The Cathedral relies on over 300 volunteers in supporting services caring for the collections and a wide range of day-to-day activities.