Survey Report

St Mary the Virgin, Wellington

January 2020 Introduction

Today the church of St Mary the Virgin today lies in isolation at the base of the downs south of the main between and Cherhill, SU027681, Lat/long 51.412520,-1.962587. The church was rebuilt in the mid 15th Century on the site of an earlier church. The porch timbers come from a later date. The density of graffiti within the church porch is unsurpassed in the county and reveals much about how symbolism was important throughout the post-medieval period. This goes beyond simply making your mark, the amount and variety of graffiti here suggests toleration & encouragement. Within this report we include a photographic survey of the graffiti, offer some interpretation and the methodology used to capture the essence of the symbology.

Wiltshire Medieval Graffiti Survey

This project was set up in 2014 in order to record historical graffiti and re-use of stone throughout the county of Wiltshire. We continue to support and communicate with similar projects through the UK and Europe, allowing for the development of common recording techniques and a shared terminology for classification.

Research Aims & Objectives

(i) To systematically record historical graffiti, inscriptions, re-uses of stone using non-invasive methods.

(ii) To present findings in a format that is comprehensive and offers a typology that may include; apotropaic symbolism, folk art, names and dates and Christian symbolism.

(iii) To increase knowledge and understanding of a building from a social perspective. How folk made their mark and why. How the location of these marks is represented in terms of a buildings use and how this may have changed over time. How the typology of marks may differ over time and how symbology may be interpreted. (iv) To disseminate results to interested parties, share research in order to increase understanding on a wider scale.

(v) To promote and encourage both academic and public interest and participation. Methodology

WMGS uses non-invasive techniques when recording generally in the form of digital photography using an oblique, raking light. Photographic scales are used for reference via a clip holder; There is no physical interaction with the stone (or any type of) surface to preserve fabric and prevent erosion. A site plan is drawn to show the location of graffiti and a photographic log records frame number, location and a brief description. For complex, unusual and significant pieces other forms of recording such as Reflectance Transformation Imaging (R.T.I.) may be used. This is a recording methodology that allows a computer program to incorporate multiple lighting patterns into a format that can be manipulated to provide detail on specific areas of the subject. Outside of the formal recording we encourage participation by artists to produce other dimensions to the survey. This is often in the form of creative drawing & painting and extends to using analogue film to create artwork using double exposure and other techniques. We find that this broadens the scope of the project and allows us to present and engage with the public in a variety of ways.

Cross slab found within the church grounds

North Porch

The north porch is the focal point for the graffiti at St Mary’s. Being the main entrance to the church the pathway draws the visitor up a slight slope through the church gate where at the current time there is a re-use of decorative grave slab lying on the built-up wall. The stone blocks of the wall contain incised roman numerals following no formal pattern. As one leads up to the porch if the light is in your favour you may witness the highly eroded “sickle”- like incisions to the left of the door. These reflect a rare theme within the church as at the time of writing this type of graffiti has only been found at two other churches within Wiltshire.

North Porch Exterior L/H images

North porch R/H images

Eastern Exterior Wall

The eastern external wall contains some sporadic initials and dates including the WH associated with Calstone. There are a couple of initials on the western external wall but little of significance. To the south on an external buttress is a graffito we’d visited before but disregarded until, that is, we were showing around members of the Wiltshire Historic Churches Trust. It was mid-afternoon which contrasted with our morning inspection and the sun cast a natural raking light across the motif and one of the sharp eyed members pointed out a set of pantaloons on a prone figure! A great find although its position in a prone position suggests something a little sinister.

South Wall Buttress The inner door represents a boundary, a spiritual divide between the porch and the sanctity of the church. On this threshold we see superstition and belief held within such symbolism as the hexafoil, a protective, apotropaic symbol intended to ward off malevolence and perceived evil. The shield motif, which is repeated within stone 11 on the porch east wall, may also offer similar protective qualities although appears unique to Calstone within Wiltshire to date. The same uniqueness can be attributed to other aspects of St Mary the Virgin not least with the repetitive “WH” which we can see here at the top of the door jamb in what may be an informal memorial. It may also be a religious dedication and offer some protective as can be seen on the Pashen tomb at Sherrington where rain water is encouraged to flow through the letters; https://historicengland.org.uk/listing/the-list/list-entry/1181467 The presence of one William Hiscots on stone 2 on the porch west wall may offer a simpler explanation and a connection to the church that is yet to be determined is held within the multiple events of “WH” as an informal tribute or variable contextual meaning.

Inner Door

The informal memorial theme is continued within the woodwork of the inner door with “WH” again represented. “WS” is also oft repeated at Calstone. A small “W” or interlocked “VV” marks can also be seen. This may be a recognised Marian mark, a collection of symbols signifying an evocation of the Virgin Mary the crossed VV may be interpreted as Virgo Virginum (Virgin of Virgins) although caution is advised on this interpretation and again is appropriately utilised in different forms at Calstone church.

Clockwise from lower left: Hexafoil, WS memorial, WH memorial, shield motif. East Wall Porch Inner

Inner door from top clockwise: W.H., W, illegible, WH, P.R. East Wall Interior

Stone 1

There are a number of bell graffiti at St Mary the Virgin, some well executed like this one and others less so. This example, simply drawn was discovered using lighting and a large screen. Stone 2

William Hiscots 1688. A church porch was often used for legal contracts, marriages and to seal agreements within the confines of God’s house. William Hiscots has remained elusive at the time of publication although there is evidence of local families of that name in Great Cheverell and Longbridge Deverill, Wiltshire. It could be argued that the above shows signs of misspelling however this is unlikely and is more about the placing of the letters rather than doubt of their location. WH is repeated throughout the porch and it is unknown as to whether this would refer to William Hiscots, another person or have some element of protective significance.

Stone 3 shows a reference to WH 1706 and a lightly inscribed square patterning of unknown origin. Perhaps a field system or similar? Stone 4 Stone 4 is densely populated with graffiti, and overlain. A palimpsest that challenges the viewer. Annotation has allowed us to separate the different designs. Again we see a WH and the second name John Thomas with a date; 1660 we’ve possibly isolated as a witness to a document including another apparent source on the west wall, stone 3. John Jennings Minister of Cherrial. This lends credence to the idea of legalities being signed off in church porches and may account for the named and dated graffiti as being a part of that legal obligation.

John Thomas’ signature (c) W&SHC

Three interlocking compass drawn circles may offer a sign of the Trinity and are overlaying a finely executed Hobby Hoss the second at Calstone. This was spotted by Abigail Holt on her first visit to Calstone, a welcome addition.

Again we see a bell representation, whether this offers a form of dating will be discussed later.

Stone 5 hosts a three masted ship, believed to be 17th C. It is incomplete as the hull does not carry over to an adjacent stone and thus may have been moved. This is evident in other stones within the central location on both the east and the west wall. Perhaps evidence of repair rather than re-use. Ship graffiti is common within coastal churches as perhaps a devotional device for a sea journey. Onboard ship sailors are naturally predisposed to superstitious activity and it’s not beyond the realms of possibility that it is representative of a blessing for good fortune on a voyage. To date we have five examples of ship graffiti in Wiltshire with the majority of these concentrated in St Sampson’s Cricklade. Finding them is always exciting particularly in the landlocked county of Wiltshire. Stone 5 Stone 7,8,9

Much of the graffiti at Calstone is deeply incised therefore easier to determine with a raking light which is essentially an oblique light cast across the stone surface highlighting detail. What we’re aiming for is a relief depiction of the graffito. The detailed bell in the above image demonstrates this technique admirably. Blowing a high resolution image up on a big screen allows any less well-defined motifs to be revealed. Annotation for presentation purposes not only allows the viewer to see the more obscure graffiti but is also allows it to be related to others.

The annotation reveals an octagon, an eight pointed star used as a protective device. There are a total of three such devices at Calstone. There are a number of memorial initials and dates as well as Marian marks said to evoke the protection of Mary. What again is a unique feature at Calstone is the partial eclipse to the left of stone 9. It remains unknown as to the date of this graffito however the possibility of viewing the eclipse while constructing remains a possibility. Of note is that as far as total solar eclipses go none were visible from the UK from 1724 to 1925. Should it be a lunar eclipse then there are a multitude of choices.

Partial Eclipse

The Bell

In 1603 a new bell was cast by John Wallis which replaced two existing bells. This bell remained solitary until 1885 when it became the treble in a set of three. https://www.british-history.ac.uk/vch/wilts/vol17/pp123-135

We had a theory that the detailed bell graffito in stone 6 would be the solitary bell cast in 1603. A trip up the tower and a confined inspection within the belfry provided enough evidence to agreeably concur that it more than likely was. The cast banding circling the bell and the clapper showed distinct similarities. The headstock and gudgeon pins had been replaced when the bells were re-hung.

While we were in the belfry we managed to record a small amount of graffiti.

Back to the East Wall, Stone 10

Stone 11 Stone 11 contains a lot of information on a single stone. To the right are two memorial initials and dates probably 1769 and 1647, central to the stone is a shield motif comparable to the one found to the right of the inner door. Above this I and alpha symbol with an unassociated M. The left of the stone has another 8 pointed star overlaying a compass-drawn arc. At the lower edge lie the letters TF, WW and some indecipherable marks.

Stone 12

Stone 12 contains names and years including another two WH motifs connection or coincidence? Stone 13,14: Unusual pairing of split diagonal stonework. Evidence of crossover from one to the other with the "Jacob's ladder" graffito. Initials, high degree of erosion concentric circles and compass drawn arc. Stone 15, 16: Densely populated with apotropaic graffiti. Again an eight-pointed star and deeply incised Marian marks, the deep incision perhaps the result of repetitive action. Stone 17, 18

Stone 17, 18 frustratingly has some damage to it where removal of some of the graffiti has made it illegible. Pleasing lyre styled “M” graffito.

Stone 19 Compass drawn circle with initials.

Stone 20: Compass drawn circles Stone 21

Stone 22, 23 Stone 24-28

West Wall Stone 1 & 2

Stone 1 & 2 contain single letters & memorial graffito RJ 1693 Stone 3 : WS 1688, William Jennings 1688, May 17 & WH 1676. Jennings is a local name well represented which makes it all the more difficult to assign a specific person to a graffito. We have records for a William Jennings of Alton Barnes marrying in 1668 however feel that this grouping of names may account for a form of contract. The use of a specific date may substantiate this, as would an inclusion of a document overseen by a Mr John Jennings as Minister for Cherriel (Cherhill) which also includes John Thomas (East wall stone 4) which may be a coincidence however the attempt to link people to the place in a journey that may have no end is palpable and essential to how we reduce what may be available to what we may perceive as factual. Attributing names and dates to their original contexts is fraught with error and misleading events and should be approached with caution.

Stone 4 continues with the ubiquitous initials and a dates of 1632 and 1634 with the addition of an inscribed sickle. These dates precede the English Civil War but do lie with Charles I reign who came to the throne in 1625 and sought finance for his own ends through debatable methods following Parliamentary disagreements. The 17th century relied heavily on the outcome of the harvest for peasant and landowner alike and the subsequent collection of taxes supported governance. The sickle, a dominant tool for many forms of harvest, could be interpreted as a symbol for the peasantry particularly during such a volatile period beset with uprisings such as those at Braydon Forest as part of the Western Rising in response to disafforestation and the Inclosure Act introduced in 1604. So why don’t we find them in more places? Some of this may be down to erosion, the de-lamination of the limestone surface such as at St Peter’s, Clyffe Pypard all but removed the sickles inscribed on an exterior surface while the interior, roughly incised sickle at Yatton Keynell survives.

Stone 4 St Peter’s Clyffe Pypard St Margaret’s Yatton Keynell

Stone 5

Stone 6 Stone 6 includes "aged 1707" Marian Mark, initials & possible encoded Regina monogram. Note the inscribed lines that are below “aged 1707) do not align with the WH in Stone 7, so caution is advised as to whether they are of the same graffito.

The “Regina” monogram caused a great deal of confusion as opinions ranged from a decorative piece to a representation of two figures. The need to disguise devotional motifs or to hide your belief within such a monogram arose from the Reformation where the removal of the Catholic Church and its associated power necessitated worship in a more discrete fashion.

Stone 7 Stone 7 contains the larger inscription of W.H. which doesn’t align with the “aged 1707” suggesting the stone was moved, perhaps to install the window at a later date. There is a repetition of the RJ 169? as seen in stone 2 and stone 11 on the east wall, suggestive perhaps of re-visits.

Stone 8, 9, 10

Stone 12 Stone 12 is eroded but does contain some apotropaic marks that are unique to this stone. Bottom right we find another sickle which is cut by a later compass drawn circle. Further WH initials and to the left a single “merel” style motif which bare similarities to games boards such as 9 men’s morris however on a vertical plane and in association with other apotropaic motifs may offer a similar function (Champion, 2015). The cross shape consisting of five linked merels (as does a Marian mark) substantiates this and unusually we can deduce a terminus ante quem as the year 1696 cuts the top merel. A compass drawn circle cuts the majority of the merel cross but is itself cut by the l/h merel. The explanation for this may be as simple as the horizontal line being overlain, but still requires consideration.

Stone 13 Stone 13 hosts a group of sickles central to the stone. The repetition reinforcing the message and strengthening the intention. Ally this with compass drawn circles and a “eye” symbol. The presence of “WH” graces this panel no less than three times.

Stone 14 Stone 15

Stone 16

Stone 16 is a mixed bag of graffiti that challenges perception. What we first though of as a “windmill” in the top right lost its form upon annotation. Stone 17

Stone 18

Stone 19 Stone 20

Stone 20 hosts a simple bell structure with a rectilinear structure overlaying. The bell may be a crude representation but is a common theme at Calstone.

Stone 21 Stone 22

Stone 23 Stone 24

North Porch Inner Wall

The north doorway is host to some of the most enigmatic and historically significant graffiti that we have found within the county. The space is less densely populated than the remainder of the porch, is diverse in nature and of considerable interest. To the right looking north partially obscured by 20th century electrical cables are the beginnings of what may be our elusive “WS”. It may be completely unrelated however William S remains unfinished with a barely discernable outline in place of the remaining letters of his surname. What has been incised is of a noticeable font, beautifully and skilfully executed upon a concave surface. Directly below and to the right we see traditional letter forms and informal memorials characterised by their box enclosures. Note the bird that came to light upon annotating on a large screen, the romantic among us like to identify it as a falcon. Two cartwheel type motifs are crudely drawn however their placing may define them as apotropaic devices. North Interior wall R/H To the left of the door lie initials and a ladder-style motif on the immediate jamb. The crossed “I” represents a “J” during the late and post medieval periods.

To the left of the door reside initials and dates (see below) but of more significance is the incised Hobby Hoss a rare find in Wiltshire and nationally. This figure of folk lore is well represented in the county by the Hob Nob at Salisbury Museum http://www.wshc.eu/blog/item/hob-nob-and-the-salisbury-giant.html but we feel that this one and a second (stone 14 east wall) at Calstone are closer to the Mast Horse similar to the Mari Lwyd style with a horse’s skull supported on a stout stick dressed in a cape. The Welsh Mari Lwyd is used for seasonal celebrations and is associated with the winter wassailing. Of significance, on a piece of eroded stone, lies a roughly carved view of a cityscape with buildings, bridges, arches & windows. In addition to these architectural elements are the presence of domed roof structures which initially led us to associate the piece with a representation of Jerusalem (consultation: David Dawson, Wiltshire Museum) and this may be likely. It was forwarded to Dr Alison Gascoigne of the University of Southampton an expert in Far Eastern archaeology who in turn included Professor Marianne O’Doherty who specializes in Pilgrimage sites and acknowledged the presence of the arches and curved roofs but advised caution on the inclusion of pointed spires and the lack of specific identity of a known pilgrimage site, but does concur it is representative of city architecture. This doesn’t mean that it isn’t Jerusalem but does make us aware that more information needs to be drawn from the piece and evaluated. There is also the consideration of artistic licence and perhaps memory in recreating the piece. This depiction does however have important historical consideration and will need conserving for the future. It’s rare to find such an enigmatic graffito within the UK and especially in a remote, rural location.

North interior wall L/H

15thC Jerusalem by Hartmann Schedel

Spires close up

Arches & domed roofs “Jerusalem” Conclusion

St Mary the Virgin offers us a snapshot of post medieval historical graffiti from a time prior to the English Civil War and in its aftermath. A time of great turmoil in the and a time of hardship for the common man. We’ve only got to look at the uprising at Braydon Forest to see that rights of the common man were being eroded upon orders from the King. Wiltshire’s part in the Civil War is well documented, with Roundway Down in close proximity and good communications over the top of the downs. Wiltshire folk were never ones to take a slight against them and the Wiltshire Clubmen were quick to seek redress from both Royalist & Parliamentary forces in order to protect their goods and harvest. This was not confined to the peasantry as the landowner’s interests were also vested in the interests of the Clubmen’s success. We can see the class diversity in the walls of Calstone with the educated and influential sealing their obligations and those that wish to leave their mark or as an informal memorial to one departed. Superstition and belief systems are well represented in the variety of apotropaic symbolism. From Marian markings M W and R to derivatives thereof alluded to by Timothy Easton (2016) and well defined hexafoil motifs that adorn many a church and farm building throughout Wiltshire and on a national basis, Calstone has more than its share and this is made more apparent that the buildings that once stood adjacent to the church are now long gone. The graffiti within the porch a lasting testament to the past life of a Wiltshire Village whose ghosts live on in the names and symbols contained within the church.

Acknowledgements

Our grateful thanks must go to the following for facilitating and aiding this project;

Alberto Bona Derick Eadon Crystal Hollis Abigail Holt Emma Holt Christopher & Suzy Miles Claire Radnedge Peter & Christine Robinson John Samways Christina Staff Judith Thomson Katy Whitaker David Dawson, Wiltshire Museum. Dr Alison Gascoigne University of Southampton Dr Marianne O'Doherty University of Southampton Sophie Parker BBC Wiltshire

Bibliography

Champion, M. (2015) Medieval Graffiti, The Lost Voice of ’s Churches. London: Ebury.

Day, B. (1998) A Chronicle of Folk Customs. London: Hamlyn.

Easton, T. (2016) “Apotropaic Symbols and Other Measures for Protecting Buildings against Misfortune” in Hutton, R. (ed.) Physical Evidence for Ritual Acts, Sorcery and Witchcraft in Christian Britain, Basingstoke, Palgrave Macmillan, p39-67.

Easton, T. (2016) Barns and Scribed Circles: Parallel Worlds, Society for the Protection of Ancient Buildings Magazine, Winter 2016, pp. 42-49.

Hoggard, B. (2019) Magical House Protection, The Archaeology of Counter-Witchcraft. Oxford: Berghahn.

Pacey, A. (2007) Medieval Architectural Drawing. Stroud: Tempus.