Medieval graffiti - in pictures

Many East Anglian churches are so heavily covered in early graffiti inscriptions, such as this example from Troston in Suffolk, that individual inscriptions are difficult to decipher. Although there is a clear depiction of an early 15th-century woman, wearing a distinctive 'butterfly' headdress, a deer and other portrait heads – close examination will reveal many dozens of other inscriptions Photograph: © Norfolk Medieval Graffiti Survey, 2014

While individual portraits and faces are commonly recorded by the surveys it is unusual to be able to identify anything else about the individual. In this example, however, from Scole church in Norfolk, the portrait is depicted wearing what looks to be a medieval bishop's mitre Photograph: © Norfolk Medieval Graffiti Survey, 2014

Late medieval North Sea trading vessel from the ancient church at Cley next the Sea on the north Norfolk coast. While ship graffiti is found in English coastal churches it has also been recorded as far inland as Leicestershire Photograph: © Norfolk Medieval Graffiti Survey, 2014

Compass-drawn designs are among the most common of all graffiti motifs recorded in English medieval churches. Many of these are believed to have acted as ritual protection markings – to ward off the 'evil eye'. Various ancient churches in East Anglia Photograph: © Norfolk Medieval Graffiti Survey, 2014

A complex knotwork design, known as a 'Solomon's Knot', from Lidgate church, Suffolk. The intricate designs are believed to be 'apotropaic' in nature, and had the specific function of warding off demons and ill-fortune Photograph: © Norfolk Medieval Graffiti Survey, 2014

Pentangles and demons are also commonly to be found within English churches – and quite often in association with each other, as shown in this fine example from Troston church, Suffolk. Although the pentangle has grown to be associated with dark magic it was, during the middle ages, an overtly Christian symbol; and a symbol that was specifically associated with protection from demons Photograph: © Norfolk Medieval Graffiti Survey, 2014

These enigmatic little motifs, which take the form of initials and dates within a house-shaped structure, are common finds from the post-Reformation period. These are from Norwich Cathedral. However, despite their large numbers, the exact meaning or function of the design remains unclear Photograph: © Norfolk Medieval Graffiti Survey, 2014

An inscription found this week in St Mary's church, Lidgate, Suffolk. The text on the pillar, a few millimetres high, translates from the Latin as 'John Lydgate made this on the day of St Simon and St Jude'. That feast day is 28 October, with the year some time between 1390 and 1450 Photograph: © Norfolk Medieval Graffiti Survey, 2014

Not all of the early graffiti inscriptions recorded in churches are devotional in nature, and many are a good deal more playful. This fine example, from Stoke-by-Clare church, Suffolk, shows a musician playing upon a simple pipe Photograph: © Norfolk Medieval Graffiti Survey, 2014

Obviously created by the same person that inscribed the pipe player, this individual might well be a person singing – suggesting that the 'artist' was drawing the medieval church choir or musicians. Stoke-by-Clare, Suffolk, 15th century Photograph: © Norfolk Medieval Graffiti Survey, 2014

The vast majority of early church graffiti inscriptions are generally devotional in nature, such as this pre-Reformation probable prayer from All Saints church, Litcham, Norfolk Photograph: © Norfolk Medieval Graffiti Survey, 2014

Rebus coded message, possibly also in the hand of John Lydgate, which decodes as 'Fare thee well Lady Catherine'. Lidgate church, Suffolk Photograph: © Norfolk Medieval Graffiti Survey, 2014

Although heraldic inscriptions are commonly recorded as church graffiti they are notoriously hard to pin down to any one family. The simple and straightforward reason behind this is that heraldry is largely relient upon colour – which isn't present with the graffiti. This clear example, from Troston church in Suffolk, may well have belonged to any of half a dozen different families none of whom have a known connection with the parish Photograph: © Norfolk Medieval Graffiti Survey, 2014

A late medieval caricature portrait, from All Saints church, Litcham, in Norfolk. Positioned on a pier near the pulpit it is believed to represent one of the pre-Reformation vicars of the parish Photograph: © Norfolk Medieval Graffiti Survey, 2014

Windmills were an import part of the East Anglian landscape until the recent past, and played a key role in the agricultural year. This example, from Dalham church in Suffolk, depicts a post-mill and most probably dates to the 17th century. Photograph: © Norfolk Medieval Graffiti Survey, 2014

Although little is known about many of the lower classes that formed the majority of the medieval congregation they do sometimes appear on the church walls. This example, from Swannington church in Norfolk, shows a late medieval woman wearing a long, laced gown and a fashionable hood with long liripipe ornament. Photograph: © Norfolk Medieval Graffiti Survey, 2014

This fine example of 15th-century 'ship graffiti' was recorded in Norwich cathedral and is so detailed that it can be identified as being a particular type of North Sea trading vessel, often used by the Baltic-based Hansa trading league. Such vessels would have been a common sight all along England's east coast. Photograph: © Norfolk Medieval Graffiti Survey, 2014