Saturday, March 14, 2015

Inscriptions on Two Marble Tombs in Wells Cathedral - Graffiti or Calliglyphs?

In Wells Cathedral (Somerset, England) there are two tombs to former bishops of Bath and Wells.

Whilst they are fine tombs in their own right, my own interest  lies in the extensive markings covering the monuments.  Do these inscriptions carry their own meaning and were encouraged (therefore making them calliglyphs) or where they not allowed, and defacement, making them graffiti.

This post is in three parts.  

The first part is an analysis of the fine Medieval tomb of Randulphus de Schlopia - the former Bishop of Bath and Wells, who died in 1363. (The English translation is Ralph of Shrewsbury.  He was elected in 1329 and was also the Chancellor of the University of Oxford.)

The second part is an analysis of the Early Modern tomb of Robert Creighton.  The was also a Bishop of Bath and Wells from 1670 and 1672.  He was Treasurer of Wells, 1634, Chaplain to Charles II in exile and Dean of Wells, 1660.

The third part is a comparison of the two tombs.


Part 1: The Early Modern tomb of Ralph of Shrewsbury




The covering of the tomb is shown by the following pictures:



The whole effigy is covered in such initials, names and markings: arms;



body;


legs and feet.



The questions then arises, what do these markings mean?

The first answer that comes to mind is that they are graffiti - ie that the marks are unauthorised and people simply wrote the equivalent of 'I woz 'ere' by adding their initials.

But this leads to other questions:


  • Why this tomb cover in particular?  (Actually there is another equally covered with initials and names, which I will write about in the next post.)
  • Who were the people?
  • Can anything be found out about them?
  • What was their motive?

The Nose

One part of the tomb seems more damaged that elsewhere and that is his nose.  One possibility is that the nose was accidentally or deliberately damaged.  However, edges are smooth, which suggests a wearing down of the surface, possibly by generations of people touching it - much as people do today on objects, often as a lucky charm.

The Tomb Cover

The point about the tomb can be answered first - both the tombs with the large amount of writing and marks on are white alabaster. Although hard, it was reasonably easy to inscribe, and the cut inscriptions could be easily seen.

However, the location of the tomb is said to have been 'once railed and in front of the high altar, [after which it] was placed unprotected in its current location.' (1)  The tomb has a new modern base and so is highly likely to have been moved.  It is likely to have been at easy writing height (as it is now) but may not have been.  As the inscriptions are on the back as well, it is likely to have been in a location which could have been walked round.


The Dates

The dates that I saw are in a range from the 1750s to early 1800s, but there is reference to sixteenth century dates. (1)

The dates associated with names or initials are


John gtal 176-
John Drake 1765
R Challice 1809
J Thorley 180- (top) 
Wollen Gill 1776
John Sutton 1754
T Pope 1808
GT 1785
W Burge 1780
IC 1760
BW 1808


The People

The vast majority of the inscriptions are initials of people.  Even if a person was found with the identical initials there is no certainty that the correct person has been identified.

The assumption is that the inscriber wrote their own name (rather than writing on behalf of someone else) and that they were literate.  There is no indication of the sex of the inscriber, but the greater likelihood  - given the social conventions of the time - is that they were male.  This, of course, may be wrong.

In a few cases there is a name and a date.  The clearest are

J Daniel
John gtal 176-
J Bacon



John Drake 1765


R Challice 1809
J Thorley 180- (top) J Thorley (bottom right)
Wollen Gill 1776
John Sutton 1754


T Pope 1808


Samuel Clark
J W Clark
GT 1785
Thorley
W Burge 1780

These names make up the following list

J Daniel
John gtal 176-
J Bacon
John Drake 1765
R Challice 1809
J Thorley 180- (top) 
J Thorley (bottom right)
Wollen Gill 1776
John Sutton 1754
T Pope 1808
Samuel Clark
J W Clark
GT 1785
Thorley
W Burge 1780

One person, J Thorley, appears three times, and a instance (presumably the same person) of the surname Thorley also occurs.  There are also two people with the surname Clark (Samuel and JW) on the list.  

In an attempt to find a reason or motive for people writing their names an attempt was made to trace the people using the genealogical websites Findmypast and The Genealogist.  There were varying results.

The search criteria used in the first instance for the names of people using the later dates (post 1780)  was 40 years either side of a birth date in 1760 in Somerset.

R Challice 1809

The most unusual name with a date is R Challice 1809.  There are a couple of families with the surname Challice in Devon, and only one in Somerset who fits the bill.  There is a  Richard Challice who was born in 1785 and in the 1841 Census was living in Staplegrove (Taunton) .  Staplegrove is about 30 miles away from Wells. However in 1851 aged 56 he was described as an 'Patient -  Agricultural Labourer' in the ---water House Institution and not born in Somerset.  The name on the tomb is well carved and thus executed by someone who could write well.  Whilst the term Agricultural Labourer covers a wide range of occupations it normally implies someone unskilled and uneducated. The inscription and 1841 Census person do not fit well.

T Pope 1808

T Pope could be another findable name but searching for a T Pope who was born 40 years either side of 1760 in Somerset gives 130 possible people.  None were located in Wells.

J Thorley 180-?  (As a mid-point the date has been taken as 1805) 


There are eleven J Thorley names living in Somerset, with three being connected with Wells itself.

There is a James Thorley who in 1822, aged 84 (born 1738), was buried in St Cuthbert's Wells.

There was also a Charles James Thorley (which could work if he used his middle name) who has a memorial in Wells.  He was born in 1777 and died in 1825.

Finally - also located in Wells, was John Thorley - but he died in 1796, so it it not him, unless he was one of the Thorley's who wrote their name but with no date (starting a family tradition?).

All the Thorley's associated with Wells are located at the large Anglican parish church of St Cuthbert's in Wells.

John Drake 1765

There are 62 references to 'John Drake' in Somerset, but this reduces to 7 in Wells (2 of which are Wells-by-Sea in Norfolk).  The relevant entries are marriages in 1748 and 1754 (either the same John Drake married twice, or two different people).  The first, in 1748, took place in St Cuthbert's church, Wells.

Wollen Gill 1776 (search 40 years either side of 1740)

There are no people called Wollen (or Wallen) living in Somerset.  There is a two references to William Gill in Wells but these are both mid 19th Century, so too late.

John Sutton 1754 (search 40 years either side of 1730)

There is a John Sutton who was buried in St Cuthbert's Church Wells in 1771. There is no age recorded. A wider search across Somerset gives 67 hits.

W Burge 1780 (search 40 years either side of 1740)

Searching for W Burge across Somerset gives 272 results and there are six hits for W Burge in Wells.  However, most can be ruled out as the hits (marriage, Census etc) are in the mid-19th C, but one possible hit is the marriage of William Burge in 1776 at St Cuthbert's in Wells

J Bacon

J Bacon does not have an associated date, but the writing is broadly similar to the others and the same search criteria can be used.

Unfortunately there are two many possibilities to pin the person down. There are 27 results - James Bacon appears in the 1841, 1851 and 1861 census returns in the Almhouses, and he was a former woolcomber, and their are three references to burials - John Bacon in 1802, John Bacon in 1807 and John Bacon in 1808.  No ages are given so whilst most are likely to be children they might not be.

Samuel Clark / J W Clark

Samuel Clark also does not have an associated date, but the writing is broadly similar to the others and the same search criteria can be used.

The best fit is the marriage of Samuel Clark in 1753, in St Cuthbert's church, Wells

There is a James Walter Clark who got married in Bath Abbey in 1818. 


Name Summary

There is no consistent pattern across all the names, but the strongest is that of people associated with St Cuthbert's Church in Wells (assuming the correct people have been identified).


  • J Thorley - various
  • John Sutton - death
  • William Burge - marriage
  • Samuel Clark - marriage



Motive

There are many reasons why people could inscribe their names on a tomb in a religious setting, from the secular to the religious.  Possible reasons include
  • 'I 'woz here' - a simple marking of presence
  • Defacement and act of violation - either directed against the religious setting, or the tomb in particular
  • Veneration - the tomb held a special power, which acted as a magnate for people to visit, and record their visit in some way.
  • Encouragement by the church authorities (perhaps for a payment?)

To identify which of these is correct is difficult as the result in all cases is the same (inscriptions on the tomb) but the motivation could be completely different.

However, a couple of points can be made.  
  • Identification and Punishment - The first is that people were not afraid of identifying themselves.  If the people identified above are correct, and some lived in and around Wells, they would have been known.  By writing their names and the dates they could have been easily found and, if appropriate, punished.  That this was a continuing tradition indicates that at best the church authorities 'turned a blind eye' to the practice. An alternative explanation is that those who wrote their names took the risk and didn't mind a punishment (presumably light) whilst others did not want to identify themselves and so only wrote their initials.
  • Time - some of the inscriptions looked shallow and hurriedly written, which others - such as R Challice 1809 - are well inscribed and the letters are well formed.  Writing this is likely to have taken some time, so either this was allowed, or a 'blind eye was turned' or there was no active 'patrolling' by the Cathedral authorities to stop such acts.
  • Encouragement - The alternative is that the church authorities actively promote the practice - a scenario can be envisaged where inscriptions were allowed for a payment, the more written, the more payment was made.  



  • Veneration and luck - The tomb is covered with scratches, initials and names, but there does not seem to be much religious symbolism, in particular crosses, though crossed scratches are difficult to interpret. The predominant incisions are all secular.  Medieval shrines often carry a lot of crosses indicating the holy and in this case if there was a powerful reason for the inscriptions on this particular tomb then I would expect more religious symbolism. It may, however, been considered 'lucky' to touch the effigy and carve one's name - hence the worn down nose.
  • Religion - that the tomb is the Anglican Cathedral indicates that (unless defacement is the reason) the inscribers felt comfortable in the Cathedral setting.  This in turn would indicate that they were Anglican. If the identification of at least some of the people were associated with the local parish church of St Cuthbert's, this association is strengthened.
  • Education - all the full names are well written and the letters well formed, as are many of the initials.  This in turn would indicate a degree of literacy and education, and in turn social status and wealth
  • Choirboys - after writing this original blog I came across the following blog  http://carolineld.blogspot.co.uk/2012/08/carved-in-stone.html which also discusses the tomb and the graffiti. In the blog she states 'Since it is alongside the choir, one suspects that choristers - for whom he showed such concern in life - may have been among those responsible.'  It's a nice idea and one that I had not thought of.  If a list of choristers exists then this could be checked in future.

Summary

The inscribers of the tomb are likely to have been Anglican, educated and literate.  A few may have been identified through various records in which case they are Anglican and associated with the local parish church of St Cuthbert's.  The motive cannot be securely identified, but does not seem to have been veneration nor defacement.  Perhaps the best fit is that 'they woz 'ere'.  That the inscriptions were unlikely to have been authorized, and undertaken without permission, they can probably be classed as graffiti, rather than as calliglyphs.


Part 2: the Early Modern tomb of Robert Creighton 

The second tomb is that of Robert Creighton who died in 1672.  It is unclear if the tomb has been moved and their are no indication of any railings. The inscriptions are only on the right hand side.

There are also inscriptions are also on the monument


There are similarities with Ralph of Shrewsbury's tomb, as the body lies on its back with its hands in prayer and the head lies on a pillow.

Back of pillow




The names and dates are less prominent but include:

J Beacham
J Oxley


side of pillow



1864
1898


shoulder


1827 
Jakob -

head and hands



The first point is that the inscriptions are not so plentiful on Creighton's monument as they are on Shrewsbury's.  The nose is intact, the face, mitre and hands are all un-inscribed.

The main target for the inscriptions are on the pillow and the shoulders, and are very few, if any, on the robes, even though there is space for small inscriptions.

The names are indistinct and there are more 'over-scratching' of lines over names making the names and dates that are there much more indistinct.

The three readable dates are 1827, 1864 and 1897 are all considerably later than Shrewsbury's dated inscriptions.  The names are

J Beacham

There are two J Beacham references (with a birth date +/- 40 years of 1800), one is John Beacham who is 1813 married in St Cuthbert's church in Wells.  The other is also John Beacham who was also married in St Cuthbert's church in Wells, in 1837. 

In either case the St Cuthbert's church connection continues.

J Oxley

Given the same birth date criteria there are 24 (men and women) possibilities of a 'J Oxley' located in Wells.  


Part 3- Comparison of the two tombs


Crighton's monument reveals a lot less inscriptions and information.  It is noticeable that the dates are later, the writing is less clear and the inscriptions are only located on the pillow (the majority) and the shoulder area. The dates are also later.

This might mean that a certain amount of time has to elapse before such a monument becomes eligible for people to write their inscriptions: a tomb has to pass from being 'new' into a realm where it can be seen as a inscriptions.  However, how to measure the tombs' importance is difficult to determine.  Where the inscriptions written because the tombs were important (and the rubbed nose of Shrewsbury may point to its importance) or because they were unimportant and uncared for and hence nobody cared if they were written upon.

It is likely that the reason for the choice of both tombs was the material that they were made of - white marble.  It may have been considered easier to inscribe, or the results looked better on a white background.  It may also have been the location of the tombs that was a key contributory factor - if as has been suggested (1) that the choir boys carved their names on Shewsbury's tomb when it was in the choir, was Crighton's tomb also at one time in the choir?



--------------


Note - for a definition of calliglyphs and my long article about them here:

http://calliglyphs.blogspot.co.uk/2015/01/welcome-and-copy-of-calliglyph-article.html


1) http://carolineld.blogspot.co.uk/2012/08/carved-in-stone.html

Sunday, March 1, 2015

Banksy, Graffiti and Blue Paint Calliglyphs - the Naked Hanging Man

In Bristol there is a famous Banksy which is known as the Naked Hanging Man.  

The image is well known - a naked man hangs precariously from a window by one hand, whilst a man in a suit looks in the opposite direction, whilst a scantily clad woman stands behind the suited man.  The scenario appears obvious - the naked man and woman were having an affair, and the husband arrives home.  He is obviously very suspicious but hasn't caught the naked man.  



Part of the interest in the scenario is 'what happens next'.  Does the suited man look down and see the hand of the man, or does he finish and leave - possibly shutting the window and leaving the man hanging.

However, one element which is not often shown is the position of the painting which has two consequences.  The first is the sheer audacity of Banksy as it would have involved considerable scaffolding to complete.  The second makes the scenario more dangerous, if the man was to fall, it is likely he would fall to his death.






The Bristol Post posted an interesting  Blog post in 2009 about the image.  After it first went up, the  council were unsure  whether to keep it or not and so  they asked the public whether it should remain. Ninety three  percent requested it to remain.  

This is the first example that I know of where the public determined it was graffiti, and therefore should be removed, or street art and that it could stay.


Furthermore one aspect that a Councillor cited as to why it could stay was that is was 'Clearly a tourist attraction' as  indeed it is I made a point of seeing it recently on a visit to bristol.  There is often  a group of people looking at it on  from the bridge. As well as unauthorised defacement  of a property, it also breaches listed building legislation as it was put up without consent.  The Council ,however, "with Banksy, as a city, we have effectively given his work retrospective planning permission.' which is interesting in its own right, for with this decision the image moves from unauthorised graffiti to authorised street art.  (Incidentally, there is no such this as 'retrospective' planning permission in English law regarding listed buildings.)


Vandalism

And then the Banksy was vandalised by blue paint.  The vandalism occurred during the Banksy exhibition held in Bristol in 2009. Having granted permission the Council was horrified when the formerly illegal image on a listed building was itself vandalised by having blue paint splattered on it.





The BBC website states that a paintball gun had been used to shoot at it.


http://news.bbc.co.uk/local/bristol/hi/people_and_places/arts_and_culture/newsid_8114000/8114259.stm

The seven splatters of paint are confusing, as the vandal was obviously aiming at the image, but had a couple of wayward shots top and to the left - presumably as ranging and targeting shots.  The window area was then hit reasonably consistently. 

It may be that the person with the gun was approaching over the bridge and was firing as walking, resulting in the wayward shots and then paused, allowing better aim.   Alternatively the shots could have been fired from a car.




This would have meant using a gun in a built up and busy area, so it may be that the person used a catapult and shot paint pellets.

This difference between graffiti and the Banksy was emphasised by Councillor Murphy who said "I am not anti Banksy, I am anti graffiti. Now that someone has chucked paint all over the Banksy it's now graffiti so I am gong to sort it out." Furthermore a Tory councillor offered to pay for the clean up.  The level of detail envisaged to clean the Banksy was near museum standard with Councillor Murphy also stating "At the moment it's a case of seeing what the paint is and then getting somebody to clean it as carefully as possible."

The paint was then cleaned, but it appears that cleaning Banksy's artwork was too difficult so only the rendered face of the building was cleaned






even to the point where the paint was cleaned up to the body, leaving a small area of blue paint remaining.

(This image also shows the paint splatters going towards the right across the body.)

The cleaning itself seems to have scoured off the surface so it was probably sensible to not have scoured off the paint on the Banksy image.

The scouring of the top layer of the surface seems to be a common way of removing graffiti in this area and other sections have been cleaned in this way





(It is hoped that the wall discolours in time.)

Meaning


Is the blue paint just a random colour?  Maybe, but a taxi driver who was driving me stated that it was that colour because of football rivalries.  Banksy is reputed to be a Bristol city supporter and (probably) painted the provocative  image of Christ on the Cross wearing a Bristol City home shirt.




It may be that the blue paint on the Hanging Man image is therefore actually a targeted football reference, rather than just mindless vandalism.


Note - for a definition of calliglyphs and my long article about them here:

http://calliglyphs.blogspot.co.uk/2015/01/welcome-and-copy-of-calliglyph-article.html


Below is the Bristol post article (at the web address:
http://www.bristolpost.co.uk/Bristol-Banksy-mural-vandalised/story-11266995-detail/story.html
)

Posted: June 23, 2009

One of Banksy's best-loved Bristol murals has been targeted by vandals as fans continue to arrive in their droves for his exhibition just up the road.
The Park Street image shows a naked man hanging out of a window as a suspicious husband peers out of the window into the distance as his scantily-clad wife stands behind him.
In 2006 the city council asked the public whether they wanted the mural to stay or go - 93 per cent of respondents asked for it to remain.
But the famous image, which is loved by tourists and residents alike, was splattered with blue paint sometime on Monday night or in the early hours of Tuesday.

Today Bristol City Council took a sample of the paint to establish whether it was going to damage the mural and tomorrow it is expected to be carefully cleaned.
The attack comes 10 days after the anonymous artist opened Banksy Versus Bristol Museum on the Triangle which has seen thousands of people queuing over an hour to see.
In April red paint was splattered across Banksy's Mild, Mild West art work in Stokes Croft.
The mural was painstakingly repaired by the People's Republic of Stokes Croft, which is in favour of street art. Anti-graffiti group Appropriate Media claimed responsibility.
The group have not as yet claimed responsibility for the attack at Park Street.
Councillor Gary Hopkins, of Bristol City Council, said: "I'm disappointed but unfortunately not surprised. People are built up and then there are always some people who want to drag them back down again. I think the turning point in his reputation was when we decided to keep this piece of work but maybe that destroyed his street cred."
Mr Hopkins said that Tory councillor Albert Murphy had agreed to repair the Banksy for free.
He added: "Clearly this work is a tourist attraction and now that it has been damaged we must do what we can to restore it. We must be careful to examine what paint it is and whether it is going to be easy to remove without damaging the mural underneath.
"That of course is a great concern because it would be a great pity as a lot of people from around the world come and see it and find it amusing as well as those living in the city.
"I think this attack is basically by people who think that Banksy has become part of the establishment but I think there is a difference between Banksy who produces work that people can enjoy and base taggers who want to steal public space. I would not call them artists.
"But with Banksy, as a city, we have effectively given his work retrospective planning permission. Maybe he will go back and touch it up - you never know."
Cllr Murphy said: "I am going to get a sample of the paint and get a break down of the constituents to see if it will affect the Banksy.
"I am not anti Banksy, I am anti graffiti. Now that someone has chucked paint all over the Banksy it's now graffiti so I am gong to sort it out.
"At the moment it's a case of seeing what the paint is and then getting somebody to clean it as carefully as possible."


Read more: http://www.bristolpost.co.uk/Bristol-Banksy-mural-vandalised/story-11266995-detail/story.html#ixzz3T4BvSNMf 
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Monday, January 26, 2015

Cracking the Stencil - a Calliglyph with meaning?

The following is a small stencil on the wall of a Portsmouth University building.






Every time I see it I am puzzled about what it represents and what it is.  The first thing to note is that the actual stencil was square in shape as the outer lines are shown by the paint being sprayed just beyond the edges. 

As shown the stencil is on a facing wall in a narrow-ish alley so can only be seen when approaching one way.  It is therefore highly visible only from one direction, which may - or may not - be significant.

Like all such symbols it may be a simple expression of one person's creative thoughts at one point in time.  No more and no less.  This may be unique and carry no further meaning than was in the creator's head at the time.  If so there is nothing more to say.

However, if it is more than this, here are my thoughts.

First Thoughts


My first thought was that it was a swallow sitting on a crescent moon with its forked tail pointing downwards.


This seems an odd image in its own right and is it a symbol for anything? My first thought was that it could be an underground image for something I didn't know about. (given that I thought I might write about this made me decidedly uneasy!) However a Google Image revealed no such images.  The nearest named image was the Bluebird on the Moon






Whilst this has a couple of the same features - a bird with a forked tail on a crescent moon - it is obviously a very different design to the Portsmouth example.  The Bluebird on the Moon is also a Wordpress site based in the USA, so it is unlikely to have a connection with Portsmouth.

If it is a moon behind the bird then it could also be a reference to Portsmouth Football Club's badge - which has a crescent moon on, but as with the Bluebird on the Moon, the differences are marked, with the 'horns' of the moon on the badge pointing straight up.


A final thought - a crescent moon is often a Muslim symbol (as shown by various countries' flags -such as Pakistan) but how the bird fits in is unclear.

Image result for Pakistan flag


A Different Interpretation


And then it was pointed out to me that the Portsmouth image could in fact be a flying bird, with its wings outstretched, wingtips pointing forwards.



This makes quite a lot of sense, but even so a Google image search produces nothing exactly like it, and for the vast of such images the wing tips are pointing backwards.  Of all the stencils seen so far the closest are a group of stencils given on an American website


as shown below.  However, the wingtips are smudged and the tail fanned and often they are just badly drawn.




And one final thought.  There is a different bird symbol that may carry meaning in the context of Portsmouth.

A rival football club called Cardiff City has a flying bluebird (with forked tail) as its symbol, but this doesn't fit either as the wing tips are pointing backwards.


Even though so there does not seem to be an obvious explanation for the Portsmouth bird, and it may simply be a 'joie-de-vivre' (though requiring a bit of effort), the puzzle remains.

Of course if you know any more please let me know at cdaniell22@gmail.com

Chris