clinic at Berlin, and during the war with Napoleon he was superintendent of the military hospitals. When peace was concluded in 1815, he resumed his professorial duties. He was also appointed physician to the general staff of the army, and he became a director of the Friedrich Wilhelm Institute and of the Medico-Chirurgical Academy. He died suddenly on the 4th of July 1840 at Hanover, whither he had been called to operate on the eyes of the crown prince. Gräfe did much to advance the practice of surgery in Germany, especially in the treatment of wounds. He improved the rhinoplastic process, and its revival was chiefly due to him. His lectures at the university of Berlin attracted students from all parts of Europe.
The following are his principal works: Normen für die Ablösung grosser Gliedmassen (Berlin, 1812); Rhinoplastik (1818); Neue Beiträge zur Kunst Theile des Angesichts organisch zu ersetzen (1821); Die epidemisch-kontagiöse Augenblennorrhoë Ägyptens in den europäischen Befreiungsheeren (1824); and Jahresberichte über das klinisch-chirurgisch-augenärztliche Institut der Universität zu Berlin (1817–1834). He also edited, with Ph. von Walther, the Journal für Chirurgie und Augenheilkunde. See E. Michaelis, Karl Ferdinand von Gräfe in seiner 30 jährigen Wirken für Staat und Wissenschaft (Berlin, 1840).
GRAFFITO, plural graffiti, the Italian word meaning “scribbling”
or “scratchings” (graffiare, to scribble, Gr. γράφειν),
adopted by archaeologists as a general term for the casual
writings, rude drawings and markings on ancient buildings,
in distinction from the more formal or deliberate writings known
as “inscriptions.” These “graffiti,” either scratched on stone
or plaster by a sharp instrument such as a nail, or, more rarely,
written in red chalk or black charcoal, are found in great abundance,
e.g. on the monuments of ancient Egypt. The best-known
“graffiti” are those in Pompeii and in the catacombs and elsewhere
in Rome. They have been collected by R. Garrucci
(Graffiti di Pompei, Paris, 1856), and L. Correra (“Graffiti di
Roma” in Bolletino della commissione municipale archaeologica,
Rome, 1893; see also Corp. Ins. Lat. iv., Berlin, 1871).
The subject matter of these scribblings is much the same as
that of the similar scrawls made to-day by boys, street idlers
and the casual “tripper.” The schoolboy of Pompeii wrote out
lists of nouns and verbs, alphabets and lines from Virgil for
memorizing, lovers wrote the names of their beloved, “sportsmen”
scribbled the names of horses they had been “tipped,”
and wrote those of their favourite gladiators. Personal abuse
is frequent, and rude caricatures are found, such as that of one
Peregrinus with an enormous nose, or of Naso or Nasso with
hardly any. Aulus Vettius Firmus writes up his election address
and appeals to the pilicrepi or ball-players for their votes for
him as aedile. Lines of poetry, chiefly suited for lovers in dejection
or triumph, are popular, and Ovid and Propertius appear
to be favourites. Apparently private owners of property felt
the nuisance of the defacement of their walls, and at Rome
near the Porta Portuensis has been found an inscription begging
people not to scribble (scariphare) on the walls.
Graffiti are of some importance to the palaeographer and to the philologist as illustrating the forms and corruptions of the various alphabets and languages used by the people, and occasionally guide the archaeologist to the date of the building on which they appear, but they are chiefly valuable for the light they throw on the everyday life of the “man in the street” of the period, and for the intimate details of customs and institutions which no literature or formal inscriptions can give. The graffiti dealing with the gladiatorial shows at Pompeii are in this respect particularly noteworthy; the rude drawings such as that of the secutor caught in the net of the retiarius and lying entirely at his mercy, give a more vivid picture of what the incidents of these shows were like than any account in words (see Garrucci, op. cit., Pls. x.-xiv.; A. Mau, Pompeii in Leben und Kunst, 2nd ed., 1908, ch. xxx.). In 1866 in the Trastevere quarter of Rome, near the church of S. Crisogono, was discovered the guard-house (excubitorium) of the seventh cohort of the city police (vigiles), the walls being covered by the scribblings of the guards, illustrating in detail the daily routine, the hardships and dangers, and the feelings of the men towards their officers (W. Henzen, “L’ Escubitorio della Settima coorte dei Vigili” in Bull. Inst. 1867, and Annali Inst., 1874; see also R. Lanciani, Ancient Rome in the Light of Recent Discoveries, 230, and Ruins and Excavations of Ancient Rome, 1897, 548). The most famous graffito yet discovered is that generally accepted as representing a caricature of Christ upon the cross, found on the walls of the Domus Gelotiana on the Palatine in 1857, and now preserved in the Kircherian Museum of the Collegio Romano. Deeply scratched in the wall is a figure of a man clad in the short tunica with one hand upraised in salutation to another figure, with the head of an ass, or possibly a horse, hanging on a cross; beneath is written in rude Greek letters “Anaxamenos worships (his) god.” It has been suggested that this represents an adherent of some Gnostic sect worshipping one of the animal-headed deities of Egypt (see Ferd. Becker, Das Spottcrucifix der römischen Kaiserpaläste, Breslau, 1866; F. X. Kraus, Das Spottcrucifix vom Palatin, Freiburg in Breisgau, 1872; and Visconti and Lanciani, Guida del Palatino).
There is an interesting article, with many quotations of graffiti, in the Edinburgh Review, October 1859, vol. cx. (C. We.)
GRAFLY, CHARLES (1862– ), American sculptor, was born at Philadelphia, Pennsylvania, on the 3rd of December 1862. He was a pupil of the schools of the Pennsylvania Academy
of the Fine Arts, Philadelphia, and of Henri M. Chapu and Jean
Dampt, and the École des Beaux Arts, Paris. He received an
Honorable Mention in the Paris Salon of 1891 for his “Mauvais
Présage,” now at the Detroit Museum of Fine Arts, a gold medal
at the Paris Exposition, in 1900, and medals at Chicago, 1893,
Atlanta, 1895, and Philadelphia (the gold Medal of Honor,
Pennsylvania Academy of the Fine Arts), 1899. In 1892 he
became instructor in sculpture at the Pennsylvania Academy
of the Fine Arts, also filling the same chair at the Drexel Institute,
Philadelphia. He was elected a full member of the National Academy of Design in 1905. His better-known works include: “General Reynolds,” Fairmount Park, Philadelphia; “Fountain of Man” (made for the Pan-American Exposition at Buffalo); “From Generation to Generation”; “Symbol of Life”; “Vulture of War,” and many portrait busts.
GRÄFRATH, a town in Rhenish Prussia, on the Itterbach, 14 m. E. of Düsseldorf on the railway Hilden-Vohwinkel. Pop. (1905) 9030. It has a Roman Catholic and two Evangelical churches, and there was an abbey here from 1185 to 1803. The principal industries are iron and steel, while weaving is carried on in the town.
GRAFT (a modified form of the earlier “graff,” through the French from the Late Lat. graphium, a stylus or pencil), a small branch, shoot or “scion,” transferred from one plant or tree to another, the “stock,” and inserted in it so that the two unite (see Horticulture). The name was adopted from the resemblance in shape of the “graft” to a pencil. The transfer of living tissue from one portion of an organism to another part of the same or different organism where it adheres and grows is also known as “grafting,” and is frequently practised in modern surgery. The word is applied, in carpentry, to an attachment of the ends of timbers, and, as a nautical term, to the “whipping” or “pointing” of a rope’s end with fine twine to prevent unravelling. “Graft” is used as a slang term, in England, for a “piece of hard work.” In American usage Webster’s Dictionary (ed. 1904) defines the word as “the act of any one, especially an official or public employé, by which he procures money surreptitiously by virtue of his office or position; also the surreptitious gain thus procured.” It is thus a word embracing blackmail and illicit commission. The origin of the English use of the word is probably an obsolete word “graft,” a portion of earth thrown up by a spade, from the Teutonic root meaning “to dig,” seen in German graben, and English “grave.”
GRAFTON, DUKES OF. The English dukes of Grafton are descended from Henry Fitzroy (1663–1690), the natural son of Charles II. by Barbara Villiers (countess of Castlemaine and duchess of Cleveland). In 1672 he was married to the daughter and heiress of the earl of Arlington and created earl of Euston; in 1675 he was created duke of Grafton. He was brought
