The idea is not mine, it belongs to Stefania Mastrosimone who, a while back, wrote an article for Vanilla Magazine about this topic: in ancient Rome, walls were the equivalent of our social media. And oh! how right she is! While today we associate graffiti either with street art or, well, vandalism, depending on the talent of its authors, once upon a time it was how people gossiped and informed one another.
It is really like that: in the bustling streets of ancient Rome, graffiti was more than mere scribbles on walls: these writings were the Facebook and Twitter –pardon me, X — of their time, where citizens expressed love, hatred, political views, and even advertise services and products.
The walls of Pompeii, preserved by the eruption of Mount Vesuvius, still bear witness to these ancient expressions: from declarations of love to political satire, the graffiti of Pompeii provides a vivid snapshot of Roman society. One could find a lover’s poetic verse etched next to a merchant’s advertisement or a satirical comment about a local politician.
But Pompeii was not alone in this practice. Across the Roman Empire, from the lively markets of Rome to the far reaches of Britannia, graffiti was a common sight: public buildings, private homes, and even sacred temples were adorned with these writings, in a reflection of the diversity and complexity of Roman life. Indeed, everyone wrote on walls, from slaves to soldiers, from women to common folk: all took part in this ancient, yet still very contemporary, form of expression. It was a democratic medium, that allowed voices from all walks of life to be heard. Roman graffiti were carefully crafted messages meant to communicate, persuade, and entertain; they were a form of art characterized, sometimes, by literary flair and artistic flourishes. Some were even accompanied by drawings and sketches, adding visual appeal to the written word.
Moving forward in time, we discover that graffiti was a thing also in the Middle Ages. If we stopped looking at them, we’d discover a hidden world of symbols, names, and drawings etched into the walls of churches, castles, and public spaces. These markings, often overlooked, tell stories of faith, superstition, and daily life, providing a unique window into the medieval mindset, as explained and discussed in a fascinating project called Graffiti Medievali, present online with a beautiful website (www.graffitimedievali.it). In the dimly lit corners of ancient cathedrals, one can find intricate carvings of ships, knights, and mythical creatures. These were not mere decorations but expressions of hope, fear, and devotion: pilgrims, for instance, etched symbols of protection as they embarked on perilous journeys, while knights carved their heraldry as a mark of honor. But the graffiti of the medieval period also reflects the social hierarchy and cultural norms of the time, with nobles and clergy leaving their marks alongside common folk, each with their unique style and purpose. Some writings were prayers and blessings, while others were satirical comments on contemporary events.
During the Renaissance, graffiti continued to evolve, reflecting the artistic and intellectual awakening of the time. Artists like Michelangelo and Leonardo da Vinci left their sketches on walls, experimenting with form and technique. Though less documented than their ancient and medieval counterparts, the writings of the Renaissance offer glimpses into the minds of artists, scholars, and ordinary people. They reveal a society in flux, grappling with new ideas and redefining itself in the face of change.
In those years, and for much of the modern era, Venice was at the center of the world for its political and commercial power, so we should give a closer look at her graffiti tradition, too. Writer Alberto Toso Fei and historian Desi Marangon told Weird Italy online magazine that Venetian inscriptions uncover secrets of the city’s past and are a mirror of its cultural and artistic diversity. Their study reveals that, in Venice, graffiti was used to mark territory, commemorate events, and express personal emotions. It is almost as if the walls of Venice whisper secrets of love and betrayal, war and peace, joy and sorrow. They tell stories of merchants and sailors, artists and nobles, saints and sinners.
Now let’s move closer to us in time, to a moment when graffiti and wall art became a powerful propaganda tool: the Ventennio Fascista. Indeed, the Fascist era brought a new dimension to wall writings, turning them into instruments of political divulgation and control. What’s interesting is that, despite what fascism did to the country, many of those works are still visible here and there around Italy, preserved as historical landmarks. In his Muri in Camicia Nera (black-shirted walls), Claudio Marsilio tells about the history and meaning of these works, and how the trend took up, back in the 1930s, when Mussolini’s regime decided to transfer its slogans directly onto the squares and streets of Italy. Phrases extracted from Mussolini’s speeches were systematically spread across the country, turning walls into billboards for the regime’s ideology.
The murals were not mere decorations but powerful symbols of authority and unity: they celebrated the regime’s achievements, glorified its leaders, and promoted its values. From praising the peasant people to promoting love for the land, these writings were created specifically to support fascist ideologies and imagery.
Today, as mentioned, these murals are preserved as historical artifacts, offering insights into the principles and cultural practices of the time. They stand as silent witnesses to a turbulent period in Italian history and somehow remind us of the way art can shape public opinion and, at times, also become a political and ideological instrument of propaganda.
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