Graffiti At The Tower Of London
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Oftentimes, it suits me to visit the Tower of London and study the graffiti. The austere stone structures of this ancient fortress by the river assert their grim dignity despite the crowd-borne hubbub and, even in tourist season, quiet consideration of the sombre texts graven there is still possible. Some are bold and graceful, others are spidery and maladroit, yet every one represents an attempt by their creators to renegotiate the nature of their existence. Many are by those who would otherwise be forgotten if they had not possessed a powerful need to record their being, unwilling to let themselves slide irrevocably into obscurity and be lost forever. For those faced with interminable days, painstaking carving in stone served to mark time, and to assert identity and belief. Every mark here is a testimony to the power of human will, and they speak across the ages as tokens of brave defiance and the refusal to be cowed by tyranny.
“The more affliction we endure for Christ in this world, the more glory we shall get with Christ in the world to come.” This inscription in Latin was carved above the chimney breast in the Beauchamp Tower by Philip Howard, Earl of Arundel in 1587. His father was executed in 1572 for treason and, in 1585, Howard was arrested and charged with being a Catholic, spending the rest of his life at the Tower where he died in 1595.
Sent to the Tower in 1560, Hew Draper was a Bristol innkeeper accused of sorcery. He pleaded not guilty yet set about carving this mysterious chart upon the wall of his cell in the Salt Tower with the inscription HEW DRAPER OF BRISTOW (Bristol) MADE THIS SPEER THE 30 DAYE OF MAYE, 1561. It is a zodiac wheel, with a plan of the days of the week and hours of the day to the right. Yet time was running out for Hew even as he carved this defiant piece of cosmology upon the wall of his cell, because he was noted as “verie sick” and it is low upon the wall, as if done by a man sitting on the floor.
The rebus of Thomas Abel. Chaplain to Katherine of Aragon, Abel took the Queen’s side against Henry VIII and refused to change his position when Henry married Anne Boleyn. Imprisoned in 1533, he wrote to Thomas Cromwell in 1537, “I have now been in close prison three years and a quarter come Easter,” and begged “to lie in some house upon the Green.”After five and half years imprisoned at the Tower, Abel was hung, drawn and quartered at Smithfield in 1540.
Both inscriptions, above and below, have been ascribed to Lady Jane Grey, yet it is more likely that she was not committed to a cell but confined within domestic quarters at the Tower, on account of her rank. These may be the result of nineteenth century whimsy.
JOHN DUDLE – YOU THAT THESE BEASTS DO WEL BEHOLD AND SE, MAY DEME WITH EASE WHEREFORE HERE MADE THEY BE, WITH BORDERS EKE WHEREIN (THERE MAY BE FOUND) 4 BROTHERS NAMES WHO LIST TO SERCHE THE GROUNDE. The flowers around the Dudley family arms represent the names of the four brothers who were imprisoned in the Tower between 1553-4 , as result of the attempt by their father to put Lady Jane Grey upon the throne. The roses are for Ambrose, carnations (known as gillyflowers) for Guildford, oak leaves for Robert – from robur, Latin for oak – and honeysuckle for Henry. All four were condemned as traitors in 1553, but after the execution of Guildford they were pardoned and released. John died ten days after release and Henry was killed at the seige of San Quentin in 1557 while Ambrose became Queen Elizabeth’s Master of the Ordinance and Robert became her favourite, granted the title of Earl of Leicester.
Edward Smalley was the servant of a Member of Parliament who was imprisoned for one month for non-payment of a fine for assault in 1576. Thomas Rooper, 1570, may have been a member of the Roper family into which Thomas More’s daughter married, believed to be enemies of Queen Elizabeth. Edward Cuffyn faced trial in 1568 accused of conspiracy against Elizabeth and passed out his days at the Tower.
BY TORTURE STRANGE MY TROUTH WAS TRIED YET OF MY LIBERTIE DENIED THEREFORE RESON HATH ME PERSWADYD PASYENS MUST BE YMB RASYD THOGH HARD FORTUN CHASYTH ME WYTH SMART YET PASEYNS SHALL PREVAIL – this anonymous incsription in the Bell Tower is one of several attributed to Thomas Miagh, an Irishman who was committed to the Tower in 1581 for leading rebellion against Elizabeth in his homeland.
This inscription signed Thomas Miagh 1581 is in the Beauchamp Tower. THOMAS MIAGH – WHICH LETH HERE THAT FAYNE WOLD FROM HENS BE GON BY TORTURE STRAUNGE MI TROUTH WAS TRYED YET OF MY LIBERTY DENIED. Never brought to trail, he was imprisoned until 1583, yet allowed “the liberty of the Tower” which meant he could move freely within the precincts.
Subjected to the manacles fourteen times in 1594, Jesuit priest Henry Walpole incised his name in the wall of the Beauchamp Tower and beneath he carved the names of St Peter and St Paul, along with Jerome, Ambrose, Augustine and Gregory – the four great doctors of the Eastern church.
JAMES TYPPING. STAND (OR BE WEL CONTENT) BEAR THY CROSS, FOR THOU ART (SWEET GOOD) CATHOLIC BUT NO WORSE AND FOR THAT CAUSE, THIS 3 YEAR SPACE, THOW HAS CONTINUED IN GREAT DISGRACE, YET WHAT HAPP WILL IT? I CANNOT TELL BUT BE DEATH. Arrested in 1586 as part of the Babington Conpiracy, Typping was tortured, yet later released in 1590 on agreeing to conform his religion. This inscription is in the Beauchamp Tower.
T. Salmon, 1622. Above his coat of arms, he scrawled, CLOSE PRISONER 32 WEEKS, 224 DAYS, 5376 HOURS. He is believed to have died in custody.
A second graffito by Giovanni Battista Castiglione, imprisoned in 1556 by Elizabeth’s sister, Mary, for plotting against her and later released.
Nothing is known of William Rame whose name is at the base of this inscription. BETTER IT IS TO BE IN THE HOUSE OF MOURNING THAN IN THE HOUSE OF BANQUETING. THE HEART OF THE WISE IS IN THE MOURNING HOUSE. IT IS MUCH BETTER TO HAVE SOME CHASTENING THAN TO HAVE OVERMUCH LIBERTY. THERE IS A TIME FOR ALL THINGS, A TIME TO BE BORN AND A TIME TO DIE, AND THE DAY OF DEATH IS BETTER THAN THE DAY OF BIRTH. THERE IS AN END TO ALL THINGS AND THE END OF A THING IS BETTER THAN THE BEGINNING, BE WISE AND PATIENT IN TROUBLE FOR WISDOM DEFENDETH AS WELL AS MONEY. USE WELL THE TIME OF PROSPERITY AND REMBER THE TIME OF MISFORTUNE – 25 APRIL 1559.
Ambrose Rookwood was one of the Gunpowder Plotters. He was arrested on 8th November 1606 and taken from the Tower on 27th January 1607 to Westminster Hall where he pleaded guilty. On 30th January, he was tied to a hurdle and dragged by horse from the Tower to Westminster before being hung, drawn and quartered with his fellow conspirators.
Photographs copyright © Historic Royal Palaces
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Compelling reading. An insight into both the lives of these prisoners and, for us now, a snapshot of their activity before a most horrible death. These carvings infer a resignation, bordering on tranquility as they await their fate. The thing that strikes me most however is the accomplishment of many of the pieces of work .There are those that indicate the level of skill of a trained mason, yet attributed to an aristocrat who would never have done a days labour in their lives. Equally the nature of the carvings – requiring far more than a brooch pin or metal cutlery. Yes there are the equivalent of the sharp pin – which many of us boys would recognise from leaving our names on the lid of our school desk, but also some requiring mallet and sharp chisel, plus the eyes and hands of skilled craftsmen. I wonder if the aristos, at least, could instruct a skilled servant or even commission an artisan through the wardens to leave their mark from them ? For those of great privilege, this might not be beyond the realm of possibility ? In any event, these grafitti leave a memorial o that speaks down the ages of courage and optimism, faith and resignation, yet I still return to the notion of tranquillity. Un rushed, calm perseverance, not frantic attempts at escape or hopeful, ultimately hopeless appeals through the highest courts in the land. Most of them to die at the whim of the sovereign rather than as criminals having broken the law of the common people.
In all though a compelling account and one I will certainly read again and again.
Thankyou for the pleasure of this piece.
Agreeing with Peter Huddart, I am most struck by the memorials engraved in negative, so that the letters remain standing, surrounded by excavation. How much more time and effort — and skill – these need than simple engraved letters!
Peter Huddart, take a bow sir.
For all of us who love letter forms as well as evidence of the “hand of the artist” at work — We’re all in the “House of Banqueting” today; celebrating this lavish post replete with astute photos and
heart-clutching bios.
Thank you for shining a light, GA, and Readers.
Whatever the background and meaning, some beautiful inscribing here
Thank you Bernie and Mark, it is a question that has exercised me for many years.
When looking at the heavy lime wash (?) that covers some of the walls, I wonder if that
might conceal more inscriptions of the lighter kind ? I wonder is these new 3D LiDAR laser scanners might reveal further treasures below the layers of lime or white wash ?
I would think the inscriptions created by pin or perhaps cutlery points might fill easily with dirt or
wash and so very easily masked ? I’m sure the experts from English Heritage or Royal Palaces will have thought of this. If so, I would greatly appreciate a pointer in the direction of any reports or findings ?