Witch marks are symbols or patterns that were carved into various surfaces, such as buildings or objects, during the early modern period. These marks were believed to ward off evil spirits and protect against witchcraft. Witch marks were commonly found in medieval or early modern buildings, particularly in areas where belief in witchcraft was strong. The marks were usually made by scratching or carving into wooden beams, doorways, or fireplaces. They could be simple symbols, such as circles, lines, or letters, or more complex patterns like mazes or intertwined symbols. The purpose of witch marks was to create a protective barrier against witches or other supernatural entities.

What are witch marks

In the midst of all the Halloween madness around crazed-clown sightings (surely a PR stunt for the forthcoming Stephen King movie) and poor-taste celebrity costumes, my eye was caught this year by a request from Historic England for help with searching out some rather specialist graffiti. The patterns they are looking for date from between the the sixteenth and eighteenth centuries, can be found on both homes and churches and may be marks made by the builders or occupants to deter witches.

We are a superstitious lot when it comes to guarding home and hearth.These marks (known as apotropaic from the Greek word for turning evil spirits away) are part of a long tradition of charms and curses stretching across cultures and centuries designed to keep homes and places of religious significance safe. The Japanese ofuda, charms written on paper and blessed at a Shinto shrine, date back to at least the seventeenth century Edo period. A nazar, a blue and white teardrop-shaped amulet, is a common sight outside homes across Turkey and Greece and is a legacy of the Turkish Ottoman Empire. Chinese door gods, or menshen, have been displayed on the entrances to temples and homes since the pre-AD Han Dynasty and any self-respecting house in Ancient Egypt would be guarded by the goddess Bast, depicted as a black cat.

Apotropaic witch marks seems to be an English phenomenon and Historic England's treasure hunt request is directed particularly at secular buildings: although witch marks have been discovered on homes, these have, to date, been far less catalogued than those discovered at churches. So where do you look and what are you looking for if you decide to try and wean the teenagers of hunting for Pokemon? Witch marks of the type Historic England are hoping to catalogue are usually concentrated around entrance points such as doors, fireplaces and windows which are deemed as vulnerable to malevolent incursions. Marks can be in the shape of pentacles (sometimes lying on top of demons), inter-twined Vs and Ms for the Virgin Mary or, most commonly, compass-drawn hexfoils or 'daisy-wheels'. Whatever the shape, they do appear to share the characteristic of being formed from endless lines: apparently demons follow the lines and then get trapped, a plot device which a lot of films seem to have over-looked. Sites where marks have been found include Shakespeare's birthplace in Stratford, in roof beams at the Tower of London and carved into the timbers of a room prepared for a visit by King James I (a man obsessed with witches to an unhealthy degree) at Knole House in Kent.

The scratchings are certainly intriguing although their association with deliberate attempts to ward off evil spirits is not a given: they could simply be marks made by masons to show how and where stones or timbers should be fitted or the product of apprentices learning the geometry needed for their craft. Perhaps, as with many superstitions, they started as one thing and became another. Whatever the truth of these marks, a belief has grown up around them that they exist as a protective measure, a belief it is not hard to understand in the context of communities living in genuine fear of witchcraft and in homes far darker than anything we can imagine in these days of instant light.

The urge to guard against danger or ill-luck is part of the fabric of our buildings and some superstitions of the past still linger. Few of us, for example, would raise an eyebrow at a horseshoe nailed above a door, even if we no longer believe iron has the power to repel witches. Niels Bohr, the Danish scientist who basically sorted out quantum physics for the rest of us, had one on his house and, when asked if he believed it brought luck allegedly replied: of course not but I have been reliably informed it will bring me luck whether I believe it or not. It's a line of thinking many are probably still happy to follow, although I imagine most would draw the line at a horseshoe rather than employing the full range of charms available to our ancestors.

A fear of magic implies a belief in its power. While witch marks and horseshoes are visible signs that a house is protected, some of the other methods used were far more secretive, perhaps because they had 'magic' in their creation. Repelling a witch is one thing, to be accused of being one yourself in the doing would be rather unfortunate. The stoppered vessels known as witch bottles for example, which have been discovered bricked inside walls particularly in houses in East Anglia, could be classed as a form of magic fly trap. The bottles were intended to trap the witch who threatened the home-owner and contained mixtures of pins (to catch the evil), red wine (to drown it) and rosemary (to cleanse it away). If the identity of the witch was known, adding a personal touch, such as their urine or finger parings, made the magic doubly strong. Other, perhaps less dangerous, charms included fashioning the lintels over windows and doors from rowan wood and concealing shoes in the rafters and the hearth - this latter superstition apparently stemmed from the story of a priest in the thirteenth century who once trapped the devil in a boot. For the finishing touch, a mummified cat could be placed in the chimney breast - possibly an inversion of witchcraft as it uses the traditional witch's familiar to repel the danger.

Protection is one thing but sometimes a stronger response to danger was required and charms gave way to curses. Examples of curses, essentially an inversion of magic/evil, have also been found in and around both church and domestic buildings. Curses which may be intended to direct the evil back at its perpetrator rather than merely block it do not need to be complex: witch marks have been discovered which are, apparently deliberately, incomplete, for example with a missing petal. Some curses, however, are very specifically directed: Roman-style curses in which the targeted person's name and the details of the damage to be inflicted have been found on church walls, including at Norwich Cathedral. The writing is corrupted, being inverted with the letters jumbled, hence the assumption that these are curses.

Many of us feel like we are currently living in dark days. Whatever the truth of these marks, and no matter how difficult it is to really 'read' their intentions, they offer a fascinating insight into a world where fear of external dangers was just as real and the need to guard against them perhaps no different to our gated communities and lives lived under the shadow of CCTV. If this has wetted your appetite, Matthew Champion's wonderful book Medieval Graffiti: The Lost Voices of England's Churches is a really good read.

Caring for our Collections - Grain Arks and Witch’s Marks

The purpose of witch marks was to create a protective barrier against witches or other supernatural entities. It was believed that witches had the power to enter homes or buildings and cause harm, so the marks were intended to deter them and keep the inhabitants safe. Historians and archaeologists have found numerous examples of witch marks in old buildings across Europe, particularly in England.

Collections Care Assistant Amy Davies explains the work that goes into conserving a medieval grain ark and how it can give us clues about the superstitious society in which Shakespeare lived.

These marks are often hidden from plain sight and were likely made with the intention of remaining unseen. They can be found in churches, manor houses, and even caves. The belief in witchcraft and the use of witch marks gradually declined with the waning of the early modern period. As scientific advancements and a more rational worldview took hold, the idea of witchcraft as a real threat diminished. Today, witch marks are viewed as interesting historical artifacts that provide insight into the beliefs and fears of the past. They are often studied by historians and archaeologists as part of their research into the lives and cultures of earlier societies. In recent years, there has been a renewed interest in witch marks, with some historians and conservationists advocating for their preservation and documentation. These marks offer a unique glimpse into a time when beliefs in the supernatural were more prevalent and shape our understanding of cultural and social history. Therefore, efforts are being made to identify, record, and protect these marks for future generations to study and appreciate..

Reviews for "Witch Marks: Uncovering the Hidden Messages of Witchcraft Symbols"

1. Jane - 2/5 stars:

I have to say, I was really disappointed in "What are witch marks". The writing style was too confusing for my taste and I found myself constantly having to reread sentences to understand what was happening. Additionally, I felt that the characters were underdeveloped and lacked depth. The plot was also quite predictable and nothing really surprised me. Overall, it felt like a waste of time and I wouldn't recommend it to others.

2. Mike - 1/5 stars:

I couldn't even finish reading "What are witch marks". The story was slow-paced and lacked a clear direction. The protagonist was unlikable and made decisions that were irrational and unrealistic. The dialogue was also awkward and didn't flow well. I found myself losing interest very quickly and ended up putting the book down halfway through. This was definitely not for me.

3. Sarah - 2/5 stars:

I had high hopes for "What are witch marks" but was ultimately let down. The concept was interesting, but the execution fell flat. The writing style was choppy and made it hard to connect with the characters. The plot felt rushed and certain events and motivations were never properly explained. There were a few moments of suspense, but they were quickly overshadowed by confusing narrative choices. Overall, it just didn't meet my expectations.

Decoding Witch Marks: Unearthing the Symbols of Spellcraft