The document discusses a project to survey and study graffiti and potential rock art along a ridge. It aims to identify locations with significant graffiti densities and dates, names, or images carved into the stone. The project has two stages: an initial broad survey of the ridge to identify sites of interest, followed by more detailed examination of selected sites. Recording will note location details, take photos, and complete a survey form. Comparisons will be made between modern graffiti, graffiti on the ridge, and ancient rock art in terms of location, subjects, recorded events, tools used, and artist attributes. Common purposes like decoration, ideology, therapy, and fame will also be considered.

1. The Ridge, Rocks and Springs:The Ridge, Rocks and Springs:
Graffiti and Rock-Art on theGraffiti and Rock-Art on the
RidgeRidge
P.Winn 2015P.Winn 2015

2. Why study this?Why study this?
• It is an inscription of the social history of
the Ridge
• Today’s graffiti is tomorrow’s rock art
• We have found an example of pre-
historic rock art and want to see if we
can find more.

3. Cup marks on a boulder found atCup marks on a boulder found at
EddisburyEddisbury

4. Cup marks in a cave in BotswanaCup marks in a cave in Botswana

5. Recent studiesRecent studies
• Nash, George, 2010. “Graffiti-art: Can it hold
the key to the placing of prehistoric rock art?”
Time and Mind, .3:1, 41-62
• ERA: “England’s Rock Art”
h
ttp://archaeologydataservice.ac.uk/era/section/ac
• Norfolk Medieval Graffiti Survey
http://www.medieval-graffiti.co.uk/

6. Part One:
The project brief
Part Two:
Discussion about the significance of
graffiti and what we might learn
about it

7. Project BriefProject Brief
• Stage 1: a broad survey of the entire Ridge,
identifying locations where significant graffiti
might exist.
• Graffiti attracts graffiti at “hot spots”
• We are looking for sites of significant density
(how many inscriptions within one square metre?)
• We would also like to find:
– Dates, names or inscriptions (i.e. longer than simple
initials) and pictorial and carved images
• Stage 2: a more detailed examination of
selected sites

8. Tool marks near Maiden CastleTool marks near Maiden Castle

9. Panel at Urchin’s KitchenPanel at Urchin’s Kitchen

10. Urchin’s Kitchen: detailsUrchin’s Kitchen: details

11. Skulls in cave near Mad Allen’sSkulls in cave near Mad Allen’s
HoleHole

12. Dating ProblemsDating Problems
• It may be possible to tell from the style
of lettering whether the carving is of any
great age, but carvers can often be
deliberately misleading.
• Was John Lennon at Delamere?
• “The Fitzball Hoax”

13. Recent visitors to the Old PaleRecent visitors to the Old Pale

14. Where to lookWhere to look
• We would like to survey the entire length of
the Ridge but we should prioritise particular
locations:
– Rock outcrops close to known pre-historic or
historic sites (e.g. Hillforts)
– Quarries
– Caves or rock overhangs
– Sites with a high density of graffiti

15. Things to look out forThings to look out for
• Don’t overlook the possibility of very large
scale images that stretch beyond the close-up
field of vision
• Note the height of the images: are they out of
arm’s reach or surprisingly low-down?
• Has the stone been worked (e.g. in a quarry) or is it
natural?
• Is it sheltered from the weather or exposed?
• What else is significant about the location (a
view, perhaps, or proximity to some other natural or man-made
feature) ?

16. RecordingRecording
• At Stage 1 we are simply looking for basic
information that can be entered on the General
Survey Report Form.
• It is desirable to take photographs, in which
case you will need the following equipment:
– Digital camera
– Scale
– Lighting source (please experiment with torches and
different angles)
– A spray of water may help to enhance the
carvings

17. CleaningCleaning
• Any recording must be non-destructive. Do not
use any abrasive materials to clean the surface
or try to re-carve, paint or chalk the
engravings.
• However, if it is necessary to remove litter or
vegetation that is obscuring the carvings use
your hands and no more than an old
toothbrush with the minimum of force.
• Where you think the carving may be very old
do not try to remove lichens, moss or algae.

18. PrecautionsPrecautions
• The Sandstone Ridge Trust cannot take
responsibility for your safety. Please do not
take risks on rock faces. When the most
significant sites have been identified at Stage 1
we will go on, in Stage 2, to explore selected
ones in more detail with due attention to the
necessary safety precautions.

19. • If you think there may be carvings on
private property please get the permission
of the landowner before viewing them.
• To avoid duplication, please let your area
contact person know which locations you
will be looking at.

20. Part Two: DiscussionPart Two: Discussion
Can we compare…
Modern city graffiti
and
Graffiti on the Ridge
with
Ancient rock art ?

21. Ancient rock art in NorthumberlandAncient rock art in Northumberland
& Cheshire& Cheshire

23. Rock paintings in BotswanaRock paintings in Botswana

24. City GraffitiCity Graffiti

25. Graffiti on the RidgeGraffiti on the Ridge

26. Some points of comparison…
– where is it found?
– what subjects are represented?
– are specific events recorded?
– how is the graffiti made and with what tools?
– what is the age and gender of the artists?
– how much time is committed to the work?
– how do different pieces relate to each other
at the same location?

27. Common purposes…
Decoration?
Ideology?
Therapy?
Fame?