Category Archives: Days Out

Late June at Ness Botanic Garden on the Wirral

On one of those days last week when I had a list of a hundred other things I ought to have been doing, and when the sun was blasting down from the heavens like an impending judgement, I jumped in the car and went to Ness Botanic Gardens on the Wirral.  Even on a seriously hot day, there was a breeze coming up off the Dee estuary, there were plenty of shaded and wooded areas to enjoy, and Ness is notable for the sheer quantity of seating and benches available throughout. I was there for three hours, so taking water was essential, but if you forget to bring any with you, the shop is well stocked with bottled water.

My previous visit, during rhododendron and azalea season, was only six weeks ago, but the change was absolute.  The brightly coloured floral effusions of shrubberies, woodland edges and wending pathways had gone over for the season, but in their place both sun- and shade-loving extravaganzas had emerged and were doing a fabulous job of ornamenting large areas of the gardens.  Water features are a significant aspect of Ness, and even though drought conditions were in play, the ponds and wending channels were looking good, supporting numerous water-adapted plant species, some of them with leaves as large as parasols, as well as dragonflies and damson flies.  The herbaceous borders in the big open expanse below the main building are being re-done and were not the extravaganza of colour I had been expecting, and the rose border had gone over, but what I learned on this visit is how much there is to see beyond the core areas.  The gardens extend into shaded wooded areas with winding trails and great views over the Dee and the north Wales coast, and there are extensive wildflower meadows.

There is plenty of parking.  Visitors are provided with a map of the site with the entrance ticket.  Ness has a nice, well attended café which does excellent coffee and a good range of sandwiches, hot food and cold drinks, with both indoors and outside tables available.  There is a small plant sales centre outside the shop, with excellent quality plants that are kept well-watered (mine are doing well in their new homes), and a shop indoors selling gifts.  The Ness Botanic Gardens website with full visitor details is here.

Available to download from the Ness Gardens website at https://www.liverpool.ac.uk/media/livacuk/nessbotanicgardens/Ness;,Map,3_2_26.pdf, but I have not found a way of rendering it easy to print. You are given a copy, however, with your ticket

For a very enjoyable day out, this could be combined very easily with the RSPB Burton Mere nature reserve, which is just 10 minutes away.

 

 

 

 

 

Cooling walks at RSPB Burton Mere on a seethingly hot day

My third visit to the RSPB nature reserve at Burton Mere on the southwest Wirral was made particularly remarkable by the unprecedented and indeed record-breaking levels of heat in late June.  Thankfully, Burton Mere offers an excellent balance of sunny board walks and leafy pathways and tracks, as well as cool hides, and there was a slight breeze from the Dee even where other areas locally were perfectly still.  The reed beds and woodland walks were delightful on such a hot day, and there were two different types of wild orchid in flower, which were something of a treat.  There were plenty of birds to see cooling down in the water, with the furthest hide,  Border Hide, as busy with a wide range of wading birds as it had been on both my earlier visits.  Apologies for the wildfowl photographs, which are at the absolute limit of the range of my camera lens.  A full daily list of what has been spotted is always posted on the RSPB Burton Mere’s Facebook page to give an idea of what to look out for.   I was particularly glad to see the avocets with their upward-curving beaks and distinctive black and white plumage.  Avocets had become extinct as residential breeding birds in Britain prior to their reintroduction in 1947.  According to the RSPB website, over half of those breeding in the UK today are still on managed wetland reserves.  There were plenty of them at Burton Mere this week.

There were only a few other human visitors, and when I paused at the welcoming café on my way out, for a delicious latte and an ice cream at an outside table in the shade, I was in splendid isolation, accompanied only by a small jackdaw, which eyed my ice cream with all the optimism of one who is regularly fed by visitors.  The heat has clearly deterred many visitors, but it was easy enough to avoid extensive periods of exposure to the sun.  Because of the heat, taking water is a strongly recommended precaution, but if you forget to take your own the café sells bottled water as well as other cold drinks.

Visiting details can be found on the RSPB Burton Mere website here.  If combined with the Ness Botanic Gardens, only 10 minutes away, this could make a good day out.  Both have cafés for lunches and other refreshments, and both have plenty of parking.

My previous post about RSPB Burton Mere, with much better photographs of the bird life, is on the blog here.

 

Bee orchid

Bee orchid

 

 

 

 

Southern marsh orchid

Southern marsh orchid

 

View across the marshes to Burton Point, where the purported hillfort is located on the RSPB land (look out for the sign posts)

My somewhat shaky video of the view from the Border Hide at Burton Mere, taken on my camera balanced on one of the Border Hide window sills.  I love the cacophony of bird calls (just under 2 minutes long).

 

William Hesketh Lever’s Port Sunlight Village – industry, architectural diversity and social responsibility

Port Sunlight. Source: Unilever Archives

It is quite a story.  When William Hesketh Lever purchased land for a new factory and decided to build a village for the workers and their families in 1888, he wanted it to be a place where people would enjoy living, to be a thing of beauty, to offer educational and leisure facilities, and to celebrate the best of both vernacular and formal British architecture.  Port Sunlight is often referred to as a model village, but this implies something rather effete, a bit of a vanity project, whereas the village was intended to offer all the benefits of a real, thriving, supportive community, as well as an educational and cultural hub.  Port Sunlight was to be the very antithesis of the slum housing and overcrowding that had crushed so many workers in industrial areas and enterprises of the northwest.

View down part of the Dell

View down a section of the Dell, once an inlet of the Mersey

To ensure that there was real architectural diversity, over 30 architects were employed.  Central roads were based on boulevards.  All streets were wide and the houses, all with a minimum of two bedrooms, were fronted with lawns.   As it grew during the late 19th and early 20th centuries there were open green areas, a formal garden based around an old inlet of the Mersey now called the Dell, cricket lawns, a bowling green, tennis courts, a theatre, an open-air swimming pool (ingeniously heated with surplus heat from the soap factory), schools, a church, a cottage hospital, a private fire brigade, a village shop and various improving societies and clubs, including a girls’ institute.  There were even plenty of allotments.  To top it off, a library was built with a small display area to share a changing selection of Lever’s ever-expanding collection of antiques and antiquities, which were eventually moved into a custom-made art gallery within the village, which still attracts hundreds of visitors a year.  Lever believed in prosperity sharing.  Instead of profit sharing, in which additional cash is put into pay packets, he shared the prosperity of the company by using it to maintain the village and continue expansion and to add improvements to living conditions.  The benefits to villagers came with risk, as anyone not caring for their home, or who fell short of Lever’s high moral standards could be ousted from their homes.  His attitude to the village and his workers has been termed paternalistic.  Today the village is managed and cared for by the Port Sunlight Village Trust, an independent charitable trust set up by Unilever in 1999.

William Hesketh Lever. Source: Wikipedia

William Hesketh Lever (1851-1925) was born in Bolton, the son of a grocer.  Although he and his younger brother James went into business together, providing the company with the name Lever Brothers, it was William who had the innovative flair that made the company a household name.  His commercial successes earned him the title baronet in 1911, after which he was Lord Lever and baron in 1917, becoming Lord Leverhulme (combining his own surname with that of his late wife).  In 1922, following the death of his wife in 1913, he was further honoured with the hereditary rank of Viscount.  He named his village after his best-selling product, the subject of his genius for branding and marketing, Sunlight soap.  The soap factory and related buildings sat behind the long low frontage of office buildings, which eventually became the Lever Brothers headquarters, on the very edge of the village.  It was featured in the Illustrated London News in 1898, clearly the focus of considerable wonder. Today, with its beautiful homes, its art gallery, its community hall, its green spaces and formal flower beds, and even its more recent garden centre, it really merits the term oasis, sitting between a busy, industrial and commercial part of the Wirral built around the A41, and the Chester-Liverpool railway line.

Hulme Hall

Hulme Hall

I was incredibly lucky to live in Port Sunlight for six months in the early 1990s, but apart from an enjoyable foray into the Lady Lever Art Gallery last year, had not had a wander around the village since moving back up to the area a few years ago.  It was huge fun to visit the Wirral History Festival on 21st March 2026.  It was a bright and sunny day, and the turnout was enormous.  There was a vintage double decker bus doing tours of the village, and the gorgeous 1901 Hulme Hall that hosted the event (originally built as a ladies / girls’ dining hall and named after Lever’s wife and designed by William and Segar Owen) was filled with a vast swathe of stalls. Entry to the Festival was free of charge but it inevitably ended up costing me a small fortune in purchases of books and journals 🙂  After its stint as a dining hall, and a temporary display area for Lever’s art collection, Hulme Hall housed Dutch and Belgian refugees in the First World War, later becoming a military hospital, and went on to be used by the American army in the Second World War. According to the Unilever Archives booklet the Beatles played there in 1962 and for the last few decades it has been it has been used for various community events.

Interior of Hulme Hall

Interior of Hulme Hall with the Wirral History Festival in full flow

The History Festival's village tour bus

The History Festival’s village tour bus doing the rounds near the Lady Lever art gallery

The subsequent walk around the beautifully maintained village, looking fabulous against blue skies and busy with visitors, was delightful.  Today the village, within a 130 acre estate, is home to more than 900 Grade II listed buildings.  It is impossible to do full justice to them here so I have picked out a few buildings to talk about, and have added snapshots of several others to give a sense of the village and its splendid character.  Although the buildings looked great in the sunshine, many of the photographs simply didn’t work, even with the help of Photoshop either because I was shooting straight into the sun or because buildings were in deep shade, and there are some notable omissions.  Hopefully I will take those on another visit. See the tourist map at the end of this post for some of the more prominent buildings.

As the image at the top of the post shows so clearly, Port Sunlight was a story of two distinct parts:  the factory buildings that were focused on the production of soap, and the village that housed the workers and their families.  The long low brick frontage of the office buildings along Wood Street served as something of a liminal area between the splendid village and the industrial buildings, including the soap factory, accessed via Central Road beyond the gates.  The original main entrance to the offices of Lever House, with its 1895 ornamental stone façade by William and Segar Owen, and the Royal coat of arms above is still in situ, proudly welcoming visitors to Lever Brothers. Lever Brothers amalgamated with Dutch margarine producer Margarine Unie in 1929, becoming Unilever, today one of the world’s biggest multinationals.  Unilever Merseyside Ltd (UML) was based in the same Wood Street offices well into the 1990s.

Central Road, Port Sunlight

Part of Central Road, Port Sunlight, leading past the office buildings and through the gates into the factory zone

Houses on Wood Street, opposite the entrance to the factory area

Houses on Wood Street, nearly opposite the entrance to the factory area. By Douglas and Fordham, 1894

Decorative detail on the above building

Decorative detail on the above building

 

Community buildings were of fundamental importance to the development of the village.  Next to the large 1902-04 Gothic Revival church designed by William and Segar Owen is the splendid Church Drive School designed by Grayson and Ould. Dating to 1902-03, it was built to supplement the Park Road Schools in the building now known as the Lyceum, eventually replacing it.  The Lyceum, particularly enterprising and imaginative, was built 1894-96 and sits next to the Dell and its attractive bridge.  Designed by Douglas and Fordham it was enlarged in 1898 and had the capacity for 350 boys and girls and 150 infants.  It became a Lever Brothers training facility in 1917, eventually becoming the Unilever Archives between 1904 and 2006.  Today it serves as a community space, and also hosts an interactive exhibition about the production of soap.

The Lyceum

The Lyceum

Church Drive School

Church Drive School

The Bridge Inn

The Bridge Inn intrigued me because Lever’s family were Congregational and were dedicated teetotallers.  According to the guide to the village produced by Unilever, it was built in 1900, having been designed by Grayson and Ould who also designed the rather more adventurous Church Drive School.  It was named for the 1897 Victoria Bridge, since demolished:  “It was originally opened as a temperance hotel with dining and tea rooms and a few guest bedrooms but, in 1903, a deputation of villagers requested that a licence be applied for. Lever had to agree to a referendum and over 80% voted in favour of a licensed public house!”

The Classically-inspired Lady Lever Art Gallery was not part of Lord Lever’s original vision for the village but having filled his several homes to capacity, and finding the display areas of Port Sunlight’s library and other public buildings insufficient, he decided to build a gallery so that he could properly share his collections with the general public.  He was one of the first British industrialist to create a gallery for his personal collections, although it was a practice very much in vogue in America, where he had visited with his wife and son.

Turner, Joseph Mallord William; The Falls of the Clyde; Lady Lever Art Gallery. Source: Art UK

The art gallery was named in the memory of his wife Elizabeth née Hulme who had died in 1913 before Lever became Lord Leverhulme.  Work began on the museum in 1914, with George V in attendance, and was opened in 1922 by Queen Victoria’s youngest daughter Princess Beatrice.  The items on display, from all periods of history and many different countries, were selected by Lever personally and included works purchased specially to cater for broader tastes than his own, as well as art that he commissioned.  When he died in 1926, a substantial proportion of Lever’s private collections was sold at auction, but the items in the Lady Lever represent some of the the best of his years of collecting.  The museum was handed to the nation in 1986. I visited last year, and posted about that visit here.

 

There is a huge mixture of housing styles and types in the village, some of them based on actual historical buildings, the others designed specially for Port Sunlight.

Cross Street, by Grayson and Ould 1896

On the corner of Lower Road and Central Road, by Lomax Simpson 1906

Central Road

Church Drive, by Grayson and Ould 1900-02

Park Road

Park Road.  The first set at far left were by William Owen, 1892-4

 

Detail of the above picture

Wood Street by Grayson and Ould, 1895

Greendale Road by William and Segar Owen, 1894

Park Street, by Douglas and Fordham 1895

Lower Road, by C.H. Reilly, 1906

Bath Street, by Talbot 1895-97

3-9 Bridge Street by Douglas and Fordham

3-9 Bridge Street by Douglas and Fordham

Wood Street

Primrose Hill by Jonathan Simpson, 1899

Port Sunlight's alternative sun dial

Port Sunlight’s alternative sun dial

The war memorial is one of the unifying components of the village.  Built between 1919 and 1921, and designed by Sir William Goscombe John, a friend of Lever’s, its theme was defence of the home.  Inside the memorial is a copy of a book containing names of Port Sunlight residents and Lever Brothers employees worldwide who served in the forces during the First World War.

The War Memorial

The empty boating pond in front of the Lady Lever was not added until the 1930s.  In spite of several attempts to restore it to its former glory, the original construction of the pond, which used to include a fountain with a statue, was not sufficiently robust to survive the best part of a century, and solutions are now being sought to implement a long term repair to enable the pond to be re-filled and the statue and its fountain to be restored to their original positions.

The successful garden centre is on the site of the open air swimming pool near Port Sunlight railway station and the Gladstone Theatre, and is a rather good use of the space.  I daresay that Lord Leverhulme would have approved of something that combined commercial enterprise with a product that would bring pleasure in both the village and neighbouring areas.

The bowling green with Hulme hall in the background

One of the two bowling greens, with Hulme hall in the background, Cross Street on the right and the 1890 William Owen buildings on Bolton Road to the left

The Queen's visit to Port Sunlight in 1988 during a visit to celebrate the village's 100th birthday, with the then Managing Director of UML.

The Queen’s visit to Port Sunlight in 1988 during a visit to celebrate the village’s 100th birthday, with the then Managing Director of Unilever Merseyside Ltd (UML).

Sources:

Books

Hubbard, Edward and Michael Shippobottom 2019 (third edition). A Guide to Port Sunlight Village.  Liverpool University Press

MacQueen, A. 2004. The King of Sunlight. How William Lever Cleaned Up the World. Corgi.

Websites

Based in Churton
Lord Leverhulme’s multifarious collections at the Lady Lever Art Gallery in Port Sunlight, Wirral
https://wp.me/pcZwQK-70x

An Institutional History of Internal Communications in the UK
Domestos and Domestics: The Family Metaphor at Lever Brothers. By Joe Chick, August 2023
https://historyofinternalcomms.org/internal-communication-unilever-family/

National Museums Liverpool
Lady Lever Art Gallery
https://www.liverpoolmuseums.org.uk/lady-lever-art-gallery

Port Sunlight Village Trust
Home page
https://portsunlightvillage.com/
About Us
https://portsunlightvillage.com/about-us/
Renewing the Boating Pond
https://portsunlightvillage.com/renewing-the-boating-pond-project/
Racism, the Belgian Congo, and William Lever. Second edition, June 2022
https://portsunlightvillage.com/wp-content/uploads/2024/07/PSVT-Racism-the-Belgian-Congo-and-William-Lever-Booklet-July-2022.pdf

Lever Brothers in the Congo. Source: Port Sunlight Village Trust

Lever Brothers in the Congo. Source: Port Sunlight Village Trust

Unilever Archives
Port Sunlight Village booklet and guide (PDF)
https://archives-unilever.com/media/_file/website-documents/port%20sunlight%20village%20booklet.pdf

Wikipedia
Listed Buildings in Port Sunlight (list with photographs)
https://en.wikipedia.org/wiki/Listed_buildings_in_Port_Sunlight

 

Tourist map of some of the main non-residential buildings of Port Sunlight. Source and full-sized version: Port Sunlight Village Trust

 

Half timbered magnificence – Little Moreton Hall near Congleton

The Close oblique view from the Newcastle-Congleton road of the absurd half-timbered structure, crowned by an  unbroken length of gallery window like some fantastic elongated Chinese lantern, and toppling, if not positively  bending over the tranquil water of a moat, the whole an ancient pack of cards about to meet from the first puff of the wind its own reflection, is something which once seen can never be forgotten.
James Lees-Milne, “People and Places,” 1992

 

The half-timbered moated Little Moreton Hall shows to particular advantage against a blue sky, and with spring daffodils and violets dotted around its gardens, and a neatly clipped knot garden, it was looking particularly fresh and sparkling on Wednesday last week.  It seems more than a little miraculous that it is still standing, as parts of it tilt away from other parts, and there are bends and kinks where no building should have them.  But at the same time it is so beautifully cared for that it looks pristine, as though it was designed to be like that.  As the guide book says, it looks as though it is defying gravity.  The impression is misleading and it has taken many different phases of restoration work to keep the building in once, secure piece.

The visit to the house is self-guided and is split between the ground floor, entered on one side of the courtyard, and the first floor,  via the staircase opposite.  The house is entered via the bridge across the moat, which leads through the first set of buildings into the courtyard.  The courtyard itself is a multi-textured vista of architectural features, carvings, mouldings, decorative shapes and tiny panes of window glass known as quarries, all forming different, mind-bending geometric patterns.  There is so much to take in that it is difficult to know where to start looking.

The Tudor reigns produced a wide variety of architectural styles, and the half-timbered manor house was a particular feature of this part of the world, with good examples still remaining at, for example, Speke Hall in Liverpool, Pitchford Hall in Shropshire and the smaller Churche’s Mansion in Nantwich.  Today the oak timbers are usually painted black, but this was not how they would have appeared in the Tudor period, when the oak would have been allowed to fade to a silvery colour.  It was a Victorian idea that the timbers should be preserved that led to them being painted black.

The house was built and owned by the Moreton family who passed it down through generations until it was handed over to the National Trust in 1938.  The Moretons were not landed aristocrats, and seem to have been both farmers and property speculators, buying land when it became available (most notably after the Black Death of 1348 and the suppression of the monasteries by Henry VIII in the mid 1500s), accumulating some 1360 acres (550 hectares) by the mid-6th century, most of which they rented out.

The prosperity of the Moretons was reflected in many additions to the house as a much-valued status symbol.  Joan Beck in Tudor Cheshire comments that contemporary writers “wrote almost exclusively about the gentry and the farmers, for, with due respect to the nobility, these were the folk who mattered and who were responsible for all the improvements.  There was a remarkable amount of new building and, where houses remain, the style of architecture and the size corroborate the story of wealth spent in this tangible way.  This was an age of materialism.”   This prosperity lasted until they declared in favour of the Royalists during the Civil War in 1642, after which the house was no longer expanded and began to deteriorate.  Sadly there are only a few surviving records of the Moretons and their activities, most of them legal.

The Great Hall

Four members of the Moreton family were responsible for the establishment and development of the Hall from the early 16th century until the mid 17th century.  William Moreton I (d.1526) had married into the prominent local Brereton family, and it was he who began to build the house.  It was made up of timber frames that were pegged together.  Thin sections of wood linking the panels, which were plastered and whitewashed, and brick fireplaces and internal staircases helped to give the whole structure stability.

William Moreton II (c.1510-63) was responsible for the north-west wing, the porch and, later, adding a first floor and the twin bay niches in the courtyard.

John Moreton (c.1541-98 followed, and it was he who created the delightful paintings in the ground floor parlour and the chapel (with the text in English rather than liturgical Latin, a significant sign of the religious times).

The painted parlour

The painted parlour

The greyhound was part of the heraldry of the Moreton family

The greyhound was part of the heraldry of the Moreton family

William Moreton III’s (1574-1654) contributions were more prosaic, adding the brew and bake houses.  He seems to have lavished most of his income on members of his extended family.  He was arrested during the Civil War and although he was released, his estate was confiscated in 1643 to be used as occasional billeting for the Parliamentarian soldiers and horses.  With their finances in tatters and their home deteriorating, the house remained in the family, but they no longer lived there and chose instead to rent out it out.  In  the 18th and 19th centuries the house became an object of curiosity, visited like so many other distinctive and ruinous buildings by artists looking for romantic subjects.

The best way to understand each of the rooms in the house is to to buy a guide book. The current version is excellent, and provides much of the information in this post, but the previous edition by a different author is also very good as well.  However, there is one room that should be highlighted – the Long Gallery.

An inventory of 1601 suggests that it was build before that date.  A casual glance at it from the outside shows that it has a dog-leg part way along, implying that it has slumped.  The problems lie in the way in which it was built contrary to the convention of placing an upper room directly over the frame of the room below, ensuring that the existing structure provided the new level with as much support as possible.  The gallery, however, is much narrower than the room beneath, perhaps to give provide a greater impression of length.  The result is that it has no direct support and is additionally weighed down by the stone slabs that cover the roof.  Repairs began almost as soon as it was built.  In the 1890s iron tie-rods were added and in the late 1970s and 1990s steel was used to improve the structural stability.  It is a glorious feature, with panelling, decorative woodwork in the ceiling, cross beams and banks of windows with tiny quarries.  At each end is a painted plasterwork frieze showing excerpts from The Castle of Knowledge.

In the parlour off the Long Gallery is a striking and elaborate stone fireplace overmantel.  Appearances are deceptive here.  The fireplace is level, but the rest of the room is askew!  It shows Justice and Prudence, popular 17th century Protestant themes, flanking the central panel, which would have been brightly painted (much like Plas Mawr in Conwy today).  The coat of arms celebrates the marriage in 1329 of John de Morteon to Margaret, an heiress and daughter of John de Macclesfield.  The leaded quarries in here are particularly pretty, and there is one that contains a piece of 1642 graffiti.

The fireplace in the Great Parlour, showing the coat of arms of Elizabeth I

The fireplace in the Great Parlour, showing the coat of arms of Elizabeth I

The home farm was established at the same time as the house, just across the moat in a neighbouring field, complete with the surviving cruick barn, as well as structures that are now lost, including stables and a dovecot.  At the rear of the house the knot garden, based on a 17th century design and planted in 1972, is flanked by a gorgeous yew tunnel.  To the side of the house, tables and chairs provide a lovely location for café users (excellent coffee and a fab bacon bap).   A walkway follows the line of the towpath from one side of the bridge to the other.  The plants in the garden have been chosen to reflect Tudor choices – many of them not only ornamental but useful too.  I had never heard of skirret (a white fleshy root vegetable like parsnips, a favourite of Henry VIII.  I had also never come across tussey musseys – posies of flowers and herbs carried as protection against disease.  Wild strawberries were not merely delicious but were used to treat cuts and bruises.

There is a viewing platform beyond the moat, which provides a slightly elevated view (the photograph at  the very top of the post).  A shop sells National Trust products and has shelves full of second hand books (with proceeds going to charity).  This is a National Trust property, with plenty of parking.  Visitor details are on their website.

With many thanks to Helen for the great company on a day that was both satisfyingly cultural and, over coffee and a bacon bap, profoundly lazy 🙂

 

Little Moreton Hall by George Theaker, c.1886

Little Moreton Hall by George Theaker, c.1886

 

Sources:

Beck, Joan 1969. Tudor Cheshire. Volume Seven of a History of Cheshire.  Cheshire Community Council.

Stubbs, Susie 2015. Little Moreton Hall. The National Trust

Rowell, Christopher, revised by Jeremy Lake 1984. Little Moreton Hall. The National Trust

St Winefride’s striking fan-vaulted pilgrim shrine at Holywell, c.1480

Introduction

15th century fan vaulting in St Winefride's well

15th century fan vaulting in the under chapel at St Winefride’s well. late 15th – early 16th century

On Friday I took advantage of a sunny cold day to revisit St Winefride’s Well and its late Medieval chapels.  During the Middle Ages it was a major draw for pilgrims to north Wales,  with its shrine, beautiful bubbling spring and the Basingwerk Abbey a few minutes away.  St Winefride’s (Welsh Gwenfrewi) shrine and the Holywell (Treffynnon) parish church were granted in 1093 to St Werburgh’s Abbey in Chester for them to manage and from which to derive an income.  It was later consigned to Basingwerk Abbey.

Nothing is known about what sort of buildings preceded the late medieval building that we see today, but there are details about Saint Winefride, a list of some of the well’s most notable earlier medieval visitors and details about the measures that were taken to promote the interests of the shrine throughout its history following the Norman Conquest.  The role of the abbey in the success of the well can also be seen.

View of the chapel from the south. The chapel is over two floor. The fan-vaulted ground floor has three bays, with the central one containing the well itself. The upper chapel is fully enclosed and its entrance is on the same level as the entrance of the parish church.

An abbey with a pilgrim shrine had a range of opportunities for income generation, and St Winifred’s was famous for its powers of healing and provision of miraculous cures for centuries.  In around 1480 a wealthy patron, possibly Henry VII’s mother Lady Margaret Beaufort, invested in the shrine, providing the miraculous spring with a gorgeous, lofty fan-vaulted open-fronted chapel, as well as an enclosed chapel overhead.  Today both parts of the chapel are very well cared for, located on the edge of the Green Valley Park, which has a superb industrial heritage trail wending through it (see my earlier post here).  There is plenty of parking at both the well and at the abbey, described at the end of this post.

Fan vaulting with roof bosses. From left to right, the rebus of Elizabeth Hopton, two monkeys, a fleur de lys.

Fan vaulting with roof bosses in the lower chapel. From left to right, the rebus of Elizabeth Hopton (showing a rebus of her name, with a hop plant emerging from a barrel or tun); two monkeys, which may have a number of interpretations; and a fleur de lys (representing chastity, often used for the Virgin Mary but also suitable for St Winefride).

There’s a real sense of this being a costly but personal project, particularly in the vaulted lower chapel, which in terms of elaborate ecclesiastical architecture is tiny, although its height gives a sense of heading heavenwards.  Although no documentation survives to say who was responsible for funding the building, the Stanley family’s crests and symbols give an impression of a cherished project and the sheer amount of other imagery are reminiscent of cathedrals and large churches of the period.  It manages to be both impressive and intimate, which is quite a trick.  The chapel upstairs is more conventional in terms of both its size and its layout.  What I missed on my first visit is that the wooden ceiling supports all have sculptural elements sitting on their corbels, as well as more easily visible stone ones lower down.  In both upper and lower chapels, as well as the inherent beauty of the architecture, there is humour as well as religious, pagan, family and royal themes in the imagery.
xxx


xxx

St Winefride's well, c.1480

St Winefride’s well, in the star-shaped basin late 15th – early 16th century

St Winefride and St Beuno

There are a number of versions of the story of the miracle of St Winefride or Welsh Gwenfrewi (also spelled Winefred and Winifred), and her uncle and tutor St Beuno.  The earliest that remain preserved date to the 12th century, and excerpts have been translated and published by T.W. Pritchard in his detailed 2009 book about the well.

Modern stained glass in the little prayer chapel next to the main chapels

Winefrede and Beuno in the modern stained glass in the little prayer chapel for worshippers today, next to the main chapels. The palm represents the spiritual victory of martyrdom, whilst the crozier (staff) symbolizes teaching, wisdom and guidance.

Winefride was born towards the beginning of the 7th century in the cantref of Tegeingl, in northeast Wales, the only child of Tyfid and his wife Gwenlo, or Wenlo, who were landholders in the area.  One of the 12th century accounts says that Tyfid’s estate was made up of four manors.

Winefride had decided to renounce marriage and to dedicate herself to God and the teachings of Christ.  Christianity was well established throughout Britain, partly due to missionaries who were often commemorated as saints for their work.  One of these was St Beuno, who had moved to the area from mid Wales and was engaged by Tyfid to teach Winefride, in return for land on which to build a church.  St Beuo built a church in a valley called Sychnant (dry valley), which is now Greenfield Valley, Holywell, where the well is located.

Sculpted figure

Sculpted figure, possibly St Beuno

One day, Winefride was at home alone whilst her parents were attending mass at the church, and a local prince, Caradog, knocked on the door.  She suggested he return later, but he became determined to marry the girl (who was of course beautiful).  Pretending to go and get changed, she ran to the church.  Caradog, realizing that he had been deceived, set out in pursuit and when he caught up with her near the door to the church, decapitated her in a fit of rage.  Beuno, hearing the noise, rushed out of the church and, finding a terrible scene, began to pray for help.  His prayers were answered.   Caradog melted into the ground, never to be seen again, and Beuno picked up her head and placed it back on her neck.  She came back to life, with only a slender white scar showing where the injury had been.  Instantly a spring erupted at the spot where her blood had been spilled.  The stones in the spring were said to be permanently red, the moss that grew around it had an aroma of incense and the waters produced miraculous cures.  The story continues, but the abbreviated version is that Winefride became a nun, moving from Holywell to Gwytherin to oversee 11 nuns as abbess, where she died and was buried.

Statue of St Winefride within the lower chapel, dating to 1886

Statue of St Winefride within the lower chapel. The niche with its elaborate and intricate canopy is original, but the medieval statue was lost, and this dates to 1886

The basics of the story, a pure and noble virgin who died rather than surrender her virtue, is a familiar one.  The spring, too, erupting where pure blood was spilled, is not unique. When St Paul the Apostle was executed by decapitation his head is said to have bounced three times, and at each place where it touched the ground a spring erupted. The linkage of springs, wells and purity are long established, and the added connection with baptism gave water particular potency in Christian thought.  Interestingly, Winefride combined the virtues of a martyr saint and a confessor saint, having first died for her beliefs and then having been resurrected to live for those beliefs and values.

Miraculous events and morality tales of this sort became a form of oral history, a mechanism by which the ideology, morality, values and essential beliefs of early Christianity, were spread and understood.  The partly fictional “lives” of saints purporting to be biographies (hagiographies) were particularly popular when distributed after the innovation of printing in England in the 1470s. St Winefride’s story, written down and transmitted via word of mouth, the monasteries, and later by the printing press, became a popular saint  and her miraculous healing well became a pilgrim destination.

The remains of the shrine to St Winefrede in Shrewsbury Abbey

The remains of the later 14th century shrine to St Winefride, Shrewsbury Abbey showing St John the Baptist at left, St Beuno at right and Winefride in the middle.

In the 1130s an account by one of the monks of Shrewsbury Abbey states that the monks had “lamented that they were very deficient in relics of saints and applied their minds to the problem of obtaining some.”  One of the monks, during a spate of sickness, had a dream that St Winefride had appeared to him and said that the monk would be cured if a mission were to be sent to Holywell to say mass at her well.  Convinced that Winefride was their patron, they decided to retrieve her bones and take them to Shrewsbury.  In 1138, over 300 years after St Winefride’s death, a contingent of monks duly went to Gwytherin. They dug up and translated (transferred) Winefride’s remains from her grave and took them back to Shrewsbury, where a shrine had been built to receive her. Legend states that during the journey a spring appeared at Woolston near Oswestry, where her bier was briefly placed on the ground during the journey (a photo of this is shown further below).  A new shrine was built to house her relics at Shrewsbury Abbey in the late 14th century, a fragment of which survives and is shown above. It was destroyed during one of the attacks on the monastery.
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The Shrewsbury Abbey church

The Shrewsbury Abbey church (the rest of the abbey was demolished, now replaced by a road and a car park)

The Spring that feeds St Winefride’s Well

St Winefride’s well is built over the point at which an ancient spring, an underground stream, erupted to the surface, producing a quite dramatic spectacle of fiercely rushing water, particularly after rainfall.  That was not the same spring that is seen today.

St Winefride's well

St Winefride’s well

In 1917 mining activities at Halkyn cut through the stream, causing a change in flow direction so that the stream now emerges at Bagillt on the edge of the Dee estuary, causing both dramatic change to the industries along the valley and to the well itself, which dried up.  The current spring water that enters the star-shaped basin beneath the vaulted roof now bubbles delightfully, but this comes from another spring that was diverted for the purpose, and has none of the vigour or volume of the original spring.
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The History of the Well

Hugh Lupus and the Abbey of St Werburgh

Romanesque elements surviving from the first Abbey of St Werburgh

Romanesque elements surviving from the first Abbey of St Werburgh

Today Chester Cathedral is a largely Gothic vision, with pointed arches and vaulting with roof bosses, but when it was built as St Werburgh’s Benedictine Abbey in around 1093 it must have been a superb example of the Romanesque curves and rounded arches brought to England by the Normans.  The abbey’s founder was Hugh d’Avranches (better known as Hugh Lupus, c.1047-1101), Earl of Chester, who had been appointed to Chester by William the Conqueror.

Holywell, including St Winefride’s Well and the parish church, were part of Hugh’s new territory. Earl Hugh gave Holywell to his wife, Adeliza, and she in turn awarded it to the abbots of St Werburgh’s Abbey.  A religious attraction like Holywell, with its miracle-producing shrine and its attached church cold produce a good income for an abbey, which took control of the tithes (a sort of religious tax) owed to the church, and to the oblations (gifts from pilgrims and visitors) to the holy shrine.

Transfer of ownership:  Basingwerk Abbey and subsequent transfers

The building that may have been part of the guest quarters at Basingwerk Abbey. Its burned timbers were dendro-dated, giving the roof a date of c.1385

Because it was located in a region that was a territorial bone of contention between the Welsh princes and the English kings during the 13th century, Holywell could be in either English or Welsh territory.  When Basingwerk Abbey was founded in 1131 by Ranulf II Gernon, Earl of Chester, it must have been a source of some discontent to the new abbot that such a rich potential source of income was sitting on the doorstep and benefiting a rival monastic order in Chester.

Fortune smiled on Basingwerk Abbey.  Holywell was granted to it in the 12th century.  It was briefly back in the hands of St Werburgh but in 1196 it was once again assigned to the monks at Basingwerk by the Welsh prince of Gwynedd, Llywelyn the Great (ap Iorwerth, c.1173-1240), who had pushed his frontiers east.  This gift was confirmed in 1240 by Llywelyn’s grandson Dafydd ap Gruffudd (and younger brother of Llywellyn ap Gruffudd known as Llywelyn the Last), who in a turncoat deal with Edward I had been given lands in northeast Wales following the Treaty of Aberconwy. Basingwerk then retained Holywell and its religious assets for nearly 300 years until Henry VIII suppressed the monasteries in the 1530s.  Although they suffered under Edward I’s final conquest of Wales, Baswingwerk and Holywell survived, which is more than either Llywelyn or Dafydd managed to achieve, being killed in 1282 and 1283 respectively.

St Winefrede Well at Woolston

St Winefride Well at Woolston. Source: Shrewsbury Orthodox Church

It is not known what the Holywell pilgrim shrine looked like throughout the changes of ownership between the two abbeys, as no descriptions or images survive.  The shrine and temple would have been built of wood in its earliest years.  In one of its doubtless numerous iterations it is quite likely to have looked something like the small pilgrim shrine at Woolston near Oswestry, shown on the left, also dedicated to St Winefride.  Wooden buildings were replaced by stone buildings when those buildings began to be well used. The first stone parish church at Holywell is thought to date to around the 14th century, and it is possible that the shrine was revamped at the same time.

Promoting the interests of the Holywell shrine

Statue of St Winefrede in a niche in the Henry VII Chapel, Westminster Abbey

Statue of St Winefride in a niche in Henry VII’s early 16th century Lady Chapel at Westminster Abbey. Source: Pritchard 2009, p.71

The task of ensuring the continuing success of St Winefride and the holy well, important both for monastic income and the economy of the Holywell, was occasionally given an official helping hand.

In 1253, for example, a request was made to the Cistercian General Chapter (the governing body of the Cistercian monastic order) to allow a “Feast of 12 Lessons” to be held annually on the saint’s Feast Day at Buildwas Abbey in Shropshire, and Basingwerk Abbeys, the two of which had become connected in a hierarchical relationship some time after Basingwerk was absorbed into the Cistercian order.  The normal feast was of 9 lessons (prayers and readings), and the fact that this was of 12 indicates the respect in which Winefride was held.  The request was authorized, meaning that St Winefride’s Feast was more likely to attract pilgrims to both of the abbeys as well as the Holywell shrine.

In 1398 the annual feast of St Winefride, which had been confined to north Wales and the Marches, was extended to the entire Canterbury area  by Archbishop Roger Walden.  In 1415 his successor Henry Chichele who had a particular interest in Welsh saints having been Bishop of St David’s, a centre for pilgrimage in south Wales, raised the profile of St Winefride’s cult still further.

Richard II established a chantry (payment to a member of the clergy in return for prayers and the saying of mass for the dead of a particular family) in 1377.  This was renewed annually by each subsequent king until the Dissolution, after which chantries and the mass were no longer legal.

An example of an Indulgence, this one issued in London. Source and details: Essex Records Office.

An example of an Indulgence, this one dated 1480 and issued in London. Source and details: Essex Records Office.

In 1427 the shrine’s popularity was assured when Pope Martin V granted indulgences over a ten year period for those who made the pilgrimage to the shrine and gave oblations to the chapel.  Indulgences were mechanisms for rewarding certain activities, mainly those that generated income for the Church, including pilgrimages, by reducing the time an individual spent in purgatory by a specific number of years and days.  In this case the time reduced was a year and forty days.  It was a way of trading off human fear of what followed death, but a ruthless way of raising funds, later famously condemned by Christian revisionist Martin Luther in his Ninety Five Theses.

The role of the well in the Middle Ages

North entrance to the under-chapel at St Winefrede's Well.

North entrance to the under-chapel at St Winefrede’s Well.  The barriers detract from the aesthetics but do prevent people falling in.

The well can be understood in a number of ways, all from different viewpoints.

From the point of view of Basingwerk Abbey, which had authority over the well and its shrine, it was both a source of prestige and income.  The prestige of having the miracle directly connected with an Anglo-Saxon saint was considerable, giving it a historical validity with real time-depth, with roots in the distant past.  Not only was Winefride a miracle-working virgin saint, but she had gone on to become a nun, and then an abbess.  Her credit and sanctity were flawless.  This status and prestige attracted pilgrims, and with them a source of potentially considerable income. The  importance of miraculous places of pilgrimage grew in the medieval period, and pilgrims not only brought donations (alms) but those with money also contributed to the local economy, meaning that the abbey was a contributor to that economy.  However, pilgrims could be a double-edged sword, as they also required some management to prevent them becoming a drain on the abbey’s obligation to provide shelter and food under the general heading of “hospitality,” to which the Cistercian order was committed and which included some form of accommodation and the supply of meals.

Rebus of Elizabeth Hopton's last name (a hop plant emerging from a tun, a type of Barrel

Rebus of Elizabeth Hopton’s last name (a hop plant emerging from a tun, a type of Barrel

From the point of view of pilgrims, miraculous venues offered a range of opportunities, depending on the motives for visiting.  The natural spring was said to have miraculous healing properties, and many will have travelled to be cured, whether rich or poor.  Others were engaged in a form of spiritual tourism, visiting all the most important shrines and relics either in a given area, throughout Britain and sometimes overseas.  Within the Welsh and border areas, Holywell was part of a pilgrim circuit with Basingwerk (with the Holywell shrine), St Asaph (Llanelwy, the church of the 6th century miracle-performing saint), Chester (with the Holy Rood of St John’s and St Werburgh’s shrine in the Abbey), together with other churches and monuments, and this could also be extended to reach the sacred Bardsey Island.

Archway leading to the steps into the well

Archway leading to the steps into the well

The medieval world was very concerned with the challenge of how to manage an afterlife that began with the terrors of Judgement Day and Purgatory.  Visiting saints’ shrines, or just being in close proximity to them, was a way of gaining proximity, at a little distance, to the divine, with the hope that some of it might, in some mystical way, rub off.  Just by touching a shrine, a little of the incredible divine energy could pass into a person; immersion in the spring that emerged from the spilling of a virgin saint’s blood must have seemed like being wrapped in the saint’s divinity.  This did no harm to nearby residents, who must have had a sense of the power of the shrine.

Likewise, monasteries that were filled to the brim with those devoted to Christian worship, whose virtue made them next in godliness to saints, were considered to be invaluable assets to those who lived in their vicinity.  The wealthy chose to be buried within monastic precincts, as close as possible to the most sacred areas.  In churches people wanted to be at the interior east end of churches or, if they were not sufficiently influential to be buried inside, as close outside to the east end as possible. The presence of the abbey so close to the shrine gave Holywell a particular religious vigour.

As well as religious benefits to outsiders, there were economic benefits to the local population.  Basingwerk Abbey had various agricultural (mainly livestock) and industrial (including silver mining) interests in the immediate area that would have employed many rural people, but as the medieval period shook off the manorial control that bound people to the land, the Holywell shrine offered potential for new opportunities, including hospitality and, if other pilgrim centres are anything to go by, the manufacture and sale of souvenirs.

Visitors and patrons in the Middle Ages

Pilgrim being carried to the healing waters of the spring

Pilgrim being carried to the healing waters of the spring. The 15th-early 16th century well shrine.

In the Middle Ages there was no clear dividing line between physical and spiritual health.  The idea of illness was embedded into the belief that the body was composed of a series of complex components that required balancing what were understood to be the essential fluids (blood, phlegm, black bile and yellow bile) with the elements (air, water, fire and earth) and their key characteristics (hot, cold, wet and dry) as well as astrology. Deficiencies and excesses in any one component might put the entire complex equation for stability and harmony in jeopardy.  When attempts to achieve balance these failed, and the person remained sick in body, mind or, for that matter, sin, pilgrimage was often seen as the most logical next step.  Pilgrims understood that this was a two-way street and that they would have to make some sort of sacrifice, part of which might be the difficulty of undertaking the journey, but gifts and promises of reform were also part of the negotiation.  Pilgrimages were undertaken for many other reasons too, but the healing properties of St Winefride’s shrine were probably the main attraction to most visitors.

Medieval ampulla for carrying liquids or earth from a pilgrim site

Example of a medieval ampulla used for carrying liquids or earth from a pilgrim site. Source: The Mobility of Objects across Boundaries

St Winefride’s recorded visitors and patrons are a roll-call of the celebrities of the era, the royal and the aristocratic, who were major marketing coups for Basingwerk.  Although those few known by name are listed below, the everyday participants along the pilgrim routes were more often ordinary people.  Reasons for their travels varied, including seeking to undertake a spiritual journey for personal improvement (perhaps one of many journeys);  to offer thanks for prayers that were answered; or to seek divine assistance for problems and maladies by asking a specific saint to intercede for them with God.  Some pilgrims also acted for those who were unable to attend themselves, offering prayers on their behalf, and returning home with garlands of the sacred moss or filling small flasks with the miraculous water.  These ordinary pilgrims from a wide variety of backgrounds always get lost in documented history, the Middle Ages being just as concerned with celebrity endorsements as the west is today, but were nevertheless the most essential components, the bread and butter raison d’être of a living shrine and the institution that managed it.

Ranulph II, Earl of Chester. Source: Wikipedia

Between 1115 and 1119 the second earl of Chester, Richard d’Avranches, son of Hugh Lupus made pilgrimages to the well.  With the shrine of St Werburgh within the Chester city walls, it might have been thought that he would look closer to home, but Richard is thought to have fallen out with the monks of the abbey.  In addition, it is not really a pilgrimage if it is only a ten minute walk, and Richard may have felt the need to make more of a gesture.  Ironically, a miracle took place during the pilgrimage, when Richard became cut off from his forces and his constable in Wirral prayed for assistance but as St Werburgh had been chosen rather than St Winefride, this was chalked up to a win for the Chester abbey.

In 1131 Ranulf II Gernons (1099-1153), fourth earl of Chester, founded the new Savignac (later Cistercian) Basingwerk Abbey somewhere in the area, presumably made of wood.  It is thought that it was moved to its current location in around 1157 to be rebuilt in stone, and this new location was very probably influenced by the presence of the nearby holy well, even though it was at that time part of the landholding of St Werburgh’s Abbey.

It is said that in 1188 or 1189 Richard I, the Lionheart (ruled 1189-1199), made a pilgrimage to Holywell.  Quite where he would have found the time is anyone’s guess.

Flint Castle

Flint Castle on the Dee Estuary, construction having begun in 1277

There is no record of Edward I (reigned 1272 to 1307) making a pilgrimage, but he presumably had no need to put himself to any real effort to visit either the abbey or the shrine, as by the 1270s he was already in the area.  In 1277 he began to build Flint Castle 6.9km/4.3 miles down the road from Basingwerk.  Whilst the castle was under construction it seems reasonable to assume that Edward was a frequent guest at the nearby monastery, and that he took the opportunity to visit the shrine.  In fact, Edward’s castle in Flint may have resulted in a busy time all round for the abbey, the church and the shrine, as the 100s of workers at the castle would have had at least some downtime and would doubtless have sought out a powerful religious shrine so close by.

In 1282 Edward’s armies returned to northeast Wales to engage with the Welsh princes once again, doing substantial damage to monastic lands in the process.  It is recorded that part of Holywell was burned, but it is not stated whether this was the village, the shrine or nearby buildings.  The abbey estates were certainly harmed, with the lost of crops and livestock, and Edward found himself compensating both Basingwerk and other Welsh abbeys that had come under fire during the fighting.  Pilgrims were presumably rather short on the ground at this time, but Edward and his armies probably formed part of the narrative of the abbey told to future pilgrims.

Miniature of Henry V

Miniature of Henry V, c.1411. Source: Wikipedia

According to chronicler Adam of Usk, Henry V (reigned 1413-1422) visited in around 1416, following his success at Agincourt, to give thanks, walking on foot to Holywell from the Shrewsbury abbey to which Winefride’s remains had been translated (moved) in 1138 from where she was originally buried in Gwytherin.  I have not found any reason why Henry would have singled her out to request support in battle, but apparently he prayed to her for assistance and his pilgrimage was an offering of thanks, which created a considerable stir.  Perhaps he had encountered the shrine as Prince of Wales during the military campaigns against Owain Glyndŵr that began in his father’s reign and which he ultimately suppressed.

The Earl and Countess of Warwick made gifts to the shrine in the 1400s there is is not stated that they ever visited.

Henry IV Bolingbroke (reigned 1399-1413) took the throne from Richard II (reigned 1377-1399), with Richard surrendering to Henry at Flint Castle in 1399.  It is possible that whilst he was in the area, Edward took the opportunity to visit St Winefride’s shrine, probably connecting with the monks at the same time.

In 1461 the Welsh bard Tudur Aled wrote that Edward IV (reigned twice in 1442-1483 and 1471-1483) had visited the shrine, but quite why is unclear.  He was a member, by descent, of the Mortimer family who had extensive properties in the Welsh Marches, in Chirk and Denbigh. There was, in fact, considerable resistance to Edward IV in areas of north Wales, including the rebellion of Owain Glyndŵr.  There is nothing in general events of that year that would seem to account for him being in Holywell, although Pritchard suggests that it might be connected with renewing the royal chantry, which seems like the most plausible reason.

St Winifrede's well by John Ingleby. Source: National Library of Wales via Zone47

St Winefrede’s well by John Ingleby (1749-1808) showing crutches slotted into the stonework above the spring.  Note the gallery at the left, and the mill wheel through the doorway.  Source: National Library of Wales via Zone47

Whether royal, aristocratic or of more humble origins, pilgrims continued to visit throughout the medieval period, and pilgrims continue to visit continue today.  As well as the sculpture on the left in the well chapel, showing a pilgrim being carried to the spring on an other man’s back (one in need, the other showing compassion) the visitor centre has examples of later wooden crutches that were apparently discarded after miracle cures had  been received.  In 18th and 19th century engravings crutches are shown slotted into the stone structure of the pilgrim shrine presumably as a record of successes and gestures of thanks (see the John Ingleby coloured engraving towards the end of the page).

For visitors to Holywell and the shrine in the post-medieval periods, which are not covered here, see the Early Visitors in Wales page dedicated to Holywell.

The late Gothic chapels

The patrons of the new chapels

Ceiling boss showing Lady Margaret and the Earl of Derby

Ceiling boss in the lower chapel allegedly showing Lady Margaret with her husband Thomas Stanley, the Earl of Derby

It has passed into tradition that the founder of the chapel that we see today was Lady Margaret, née Beaufort.  Lady Margaret was the mother, by her first husband, of the future King Henry VII who was the founder of the fan-vaulted Lady Chapel in Westminster Abbey, designed by Robert Vertue.  Lady Margaret, born 1443 had married three times by the time she died in 1509, her last husband being Thomas Stanley, Earl of Derby, a member of an important and wealthy local family in the Wrexham area.  She is thought to have patronized St Giles in Wrexham, St Mary the Virgin in Mold and St Chad’s in Farndon.  She sponsored two publishers, both of whom (possibly at her suggestion) published lives of St Winefride.  The involvement of the Stanley family, whether Lady Margaret was involved or not, is suggested quite strongly by the number of relevant carvings in the chapel, including:

  • A sculptural portrait thought to represent Lady Margaret and her husband Thomas Stanley (1435-1504), Earl of Derby (although with very little data, if any, to substantiate the identification)
  • Over the outside of the door to the gallery there is a the portcullis emblem that Henry VII (reigned 1485-1509) derived from Lady Margaret
  • The arms of Sir William Stanley (died 1495), brother of Thomas Stanley showing a wolf’s head enclosed in a garter (rewarded by Henry VII for his role in the Battle of Bodsworth of 1485 but executed in 1495 for conspiracy)
  • The arms of Sir William Stanley’s wife Elizabeth Hopton (died 1498) showing a barrel and a plant, forming a rebus – hop and tun – of her name
  • The 3-leg symbol of the Isle of Man reflects Sir John Stanley’s new title of Lord of Man, gifted to him in 1405 by Henry VII for his support during the War of the Roses
  • Other Stanley emblems including a stag’s head and eagle’s legs
  • Tudor emblems, including the dragon and greyhound in the spandrels of one of the doorways
  • The Royal arms of England and Wales at the end of the pendant ceiling boss over the spring
  • The coat of arms of Queen Katherine of Aragon (1485-1536), the wife of Henry VII’s son Arthur before Arthur’s death in 1502, featuring three pomegranates topped with a crown. Lady Margaret was her grandmother-in-law, dying in the same year as Katherine’s marriage to Arthur’s brother Henry VIII (reigned 1509-1547) in 1509

In addition, Henry VII chose to include a statue of St Winefride in a niche in the north apse of his own Lady Chapel in Westminster Abbey.  She is shown with her head on her shoulders, but there is also a small head on its side at her feet, sitting on the top of the well.

Lower chapel roof bosses.

Lower chapel roof bosses. Clockwise from top left:  Arms of Katherine of Aragon; Wolf-head shield of Hugh I or Richard d’Avranches (probably the latter); Either St Winefride or the Virgin Mary, very battered but originally two angels placed a crown on her head; the base of the pendant boss shows the royal arms of England and Wales whilst the pendant itself shows scenes from the life of St Winefride (very worn); the legs of the Isle of Man, off centre; greyhound and to its left dragon, both symbols of the Tudors (on opposing doorway spandrels).

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St Winefride's Well. NLW 1129695. National Library of Wales.

St Winefride’s Well c.1790. NLW 1129695. National Library of Wales via Zone47 Zone47.

The construction of the two chapels, above and below, seems to have been overseen by Abbot Thomas Pennant of Basingwerk, who held the abbacy from 1480 – c.1522.  T.W. Pritchard has argued that there is evidence form contemporary Welsh bardic-style poetry to assign the patronage and building to Abbot Thomas, but the weakness in this interpretation is that the bards connected with, and often living at, monastic properties were often effusive, fulsome and sycophantic, and not necessarily truthful.  The poets were making no attempt to capture history, creating a highly partial view of the world as they experienced it in hyperbolic language as an art form. Nor is it at all clear whether Abbot Thomas would have known of the fan vaulting style, or where he would have found an architect to produce it.  On the whole, given that I have seen no argument that the above family-related topics were added at a later date, the data seems to favour the Stanley family as the creators of the chapel, with Abbot Thomas managing the build locally, and perhaps investing in some of its creation.  Without documentary data this remains uncertain.

The concept

Plan and elevation of St Winefrede's Well. Source: Journey to the Past

Plans and elevations of St Winefride’s Well, lower and upper chapels. Source: Journey to the Past (a collaboration between Bangor University, the University of Wales Centre for Advanced Welsh and Celtic Studies (CAWCS) and the Royal Commission on the Ancient and Historic Monuments of Wales)

The late Gothic buildings that we see today came late in the well’s medieval history.  The style, late Perpendicular, comes towards the end of the 15th and beginning of the 16th century, only a couple of decades before Basingwerk Monastery was suppressed in Henry VIII’s Dissolution, shortly after which Edward VI began a policy of suppressing Catholicism.  It is not know what the chapel and well looked like before this time, because there are no images or descriptions, but the new architectural conceptualization design, consisted of two parts, the lower fan-vaulted well chapel, and over the top of this a more conventional church-like structure with a nave, side aisle, chancel and stained glass windows, with more sculptural elements.  These are discussed further below.

Holywell upper chapel and parish church

The parish church on the right and the upper chapel of St Winifride’s Well on the left, showing their proximity

The design was governed by how pilgrims used both the well and the neighbouring church.  Pilgrims would arrive in Holywell at the abbey.  Some of them would take advantage of the abbey’s hospitality.  In the late medieval period the abbot was responsible for new stone-built accommodation for visitors, but there must have been provision previously, perhaps built in wood.  For those who wanted to stay elsewhere, the late medieval town would have offered alternatives.

The upper chapel, looking west

For pilgrims staying at the abbey, a walk to the holy well would have been guided by a monk who would lend monastic authority to the event.  On arrival at the shrine, pilgrims would have been taken up to the chapel to pray and receive guidance before they could proceed to the shrine itself.  The upper chapel was designed to hold large numbers of people in a church-like layout and environment.  It was only a few steps away from the parish church where visitors could also attend services.  The placing of the upper chapel over the top of the well was a clever way both of making the most of the steep hill, and of linking the well with the parish church.  The design of the three bays of the shrine took pilgrims in a procession that entered through one entrance, proceeded around the shrine and lead either out the other side.  There were steps down into the well itself.

Lower Chapel

The well with the ceiling pendant boss overhead, which showed scenes from the life of St Winefrede around it, and the Royal arms of England and Wales at its base

The well with the ceiling pendant boss overhead, which showed scenes from the life of St Winefrede around it, and the Royal arms of England and Wales at its base.

At the level of the spring is a tall, narrow open-fronted well chapel, with a lofty fan-vaulted ceiling on slender compound piers over three bays of which the middle, encompassing the well, is the largest.  The chapel defines a processional area where people could enter at one side, circle the star-shaped basin where the spring emerges, and light candles before and leaving at the other side.  One theory is that the almost star-shaped well represented the Pool of Bethesda.  A staircase led to a gallery where people could look down into the well.  A rectangular pool received the spring waters outside, in a similar way as it does today, but images from the 18th century suggest that the much greater volume also allowed it to run out of the other end of the pool as a strong stream flowing down the hill.

The fan vaulting had sculptural roof bosses wherever there were joints.  The opportunity was taken with nearly all of them, big and small, to create sculptural elements, some of which are shown below.  The main pendant roof boss, suspended over the centre of the spring well, has the royal coat of arms of England and Wales on the base, whilst the sides shown scenes from the life of St Winefride. The columns around the well are now broken, the remaining stumps at two levels shown in the photograph above, but once formed an intricate screen, with filigree-style details in the spandrels.  The string-course of decorated stone along the top of the well was also decorated in the same way.

The entire effect must have been very like a tiny, sublime cathedral in rural northeast Wales.
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The themes on the ceiling bosses and other areas of the lower chapel show some interesting choices.  As well as the heraldry relating to the Stanleys listed above, there are some ceiling bosses relating to Winefride, Beuno and other religious themes, other families, and plant and animal motifs.

Upper Chapel

The upper chapel

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The upper chapel, looking east to the chancel

The upper chapel, looking east to the chancel

Over the top of the lower well chapel was an enclosed chapel, designed with a conventional nave and chancel, with one truncated side aisle, to which pilgrims could proceed following their experience at the spring to worship and hear services. The design of window openings and arches is Perpendicular with wide, flattened arches and tall mullioned windows that allow plenty of light into the space.  side aisle sits directly over the well, whilst the chancel at the east end extends beyond the space enclosed by the lower chapel.

The north aisle, overlooking the pool

The north aisle, over the top of the well and overlooking the pool. Only one aisle was built.

The camberbeam roof over the nave

The camber-beam roof over the nave

Modern stained glass window in the chancel

Modern stained glass window in the chancel

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As with the lower chapel, the upper chapel has some rather wonderful sculptural elements, with much less emphasis on family symbolism, and much more on the sort of themes that are found in the margins of illuminated manuscripts, on misericords, and in the roof areas of churches.  They include scenes of everyday life; pagan, mythological and religious motifs; and two humourous grotesques.  The wood carvings, high in the chancel and the nave on stone corbels are difficult to see due to their height and the lack of light.  The stone carvings, which are lower down, are quite easy to make out.

My photos of the wood carvings were frankly diabolical.  I couldn’t actually see what I was photographing in the chancel, so just pointed the camera and hoped for the best.  Even after applying Photoshop, in some cases I am still none the wiser.  Apologies, therefore, that there are so few of them.  A torch would be a handy accessory if you are thinking of visiting.

Sculptural elements from the upper chapel.

Sculptural elements from the upper chapel.

The chapel was considerably altered in the 1700s but has since been restored to something close to its previous appearance.
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The Dissolution of the Monasteries

The opening page of the Valor Ecclesiasticus, showing Henry VIII.

The opening page of the Valor Ecclesiasticus, which valued each of the main monasteries, showing Henry VIII. Source: Wikipedia

The suppression of the monastic houses from 1535 was Henry VIII’s multi-pronged strategy to gain a divorce from Katherine of Aragon, denied to him by the Pope (Katherine was fortunate enough to retain her head); to escape the authority of the Pope and the bishops and place himself as the head of the Church; to strip monasteries and priories of their valuables to raise funds for the Crown; and to release estates from formerly powerful monastic landholders, which enabled him to redistribute land, wealth and power, which he could use to generate money and to negotiate for long-term political support.  In order to assess the value of the nation’s monastic holdings, his hench-man Thomas Cromwell ordered the Valor Ecclesiasticus (a an assessment of the income and assets of each monastic house) and assessors were duly sent out to all parts of the kingdom.  All of those worth less than £200.00 were immediately suppressed, which included all the Welsh houses.  The remaining monks and nuns were dispersed, willingly or unwillingly.  They were often granted reasonably generous pensions if they left without a fight.  Abbot Nicholas Pennant, the last abbot of Basingwerk, clearly gave no trouble to the administrators because he left with a pension.  Monastic properties were sold, gifted or broken up and otherwise disposed of by Henry’s administrators.

All that remains of the monastic church at Basingwerk

All that remains of the monastic church at Basingwerk today

The impact on St Winefride’s Well was felt both immediately and incrementally thereafter.  With the loss of the abbey, the shrine no longer had monastic support and oversight.  Whatever funding, maintenance and care the shrine received were withdrawn.  The shrine would now be the responsibility of the church and the village.  Pilgrims were deprived of monastic hospitality.  With no monastic guidance to the shrine when they arrived, a lot of the ceremony and sense of a special occasion were removed, perhaps making a pilgrimage less attractive and rewarding.  Certainly the oblations (pilgrim donations) began to decline significantly.  At the same time, political and religious instability may well have deterred pilgrims.  The loss of the monks as managers of the abbey’s landholdings and industrial properties may not have been felt immediately, but whatever processes were in place may have required a new approach to estate management by those actually working the land and this may have had an impact on the local economy, particularly Holywell itself, undermining the economic stability and prosperity of the village at least for some time afterwards.
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After Henry VIII

The Devil selling Indulgences. Jenksy Kodex, c.1500. Source: Wikipedia

Splendidly evocative depiction of the Devil selling Indulgences, from a Czech illuminated manuscript called the Jenksy Kodex, c.1500. Source: Wikipedia

Quite what Henry VIII planned for the future of the new Church of England is not clear. He probably had very little strategic idea himself, but it is certain that the Archbishop of Canterbury, Thomas Cranmer (1489-1556), an advisor to Henry, had plans, which included maximizing his influence has the clerical head of the Church of England. One of Henry VIII’s particular obsessions was the destruction of all traces of the veneration of St Thomas Becket.  For Henry VIII, Archbishop of Canterbury Thomas Becket (1119/20-1556) had been the ultimate Church challenge to “royal supremacy” in which the king rather than the Church held ultimate authority.  Becket was murdered over the question.  The horror with which Becket’s murder was received forced King Henry II to back down and make the peace with a powerful clergy who were backed by the papacy and who had ultimately won the day.  In Henry’s similar battle with church supremacy, with the Pope refusing to condone the annulment of his marriage to Katherine of Aragon, Becket was the embodiment of Church interference with royal right to rule without challenge.  There are only a few representations of Becket today in churches.

After Henry VIII died, Archbishop Cranmer had great influence over Henry’s young son, Edward VI (reigned 1547-1553) during Edward’s six-year reign.  The result was a Tudor clamp-down on Papism, its rules and its traditions, including indulgences, the veneration of saints, and the worship of icons, a policy that went through phases of persecution and lapses of energy.  Edward was not pulling his punches, as this excerpt from Edward VI’s Royal Injunctions of 1547, demonstrates, commanding

. . . that they shall take away, utterly extinct and destroy all shrines, covering of shrines, all tables, trundles or rolls of wax, pictures, paintings and all other monuments of feigned miracles, pilgrimages, idolatry and superstition, so that there remain no memory of the same in walls, glasses, windows or elsewhere within their churches or houses.  And they shall exhort all their parishioners to do the like within their several houses. [See University of Michigan in Sources]

The instruction to erase all reminders of the recent religion, focusing specifically on objects, is an impressive measure of Edward VI’s understanding of the power of objects and how they mediate people’s ideologies, beliefs and sense of both security and identity.  The enormous destruction of objects and art during the Reformation was a strategy to systematically erase the tangible links between people and their beliefs, suppressing in every sense the way in which people understood, expressed and experienced their sense of the connection between the physical and spiritual world in which they lived and which defined their existence.  The result was often exactly what Edward VI would have wanted.  It is astonishing that St Winefride’s chapels were able to escape.

St Winefride's Well with Holywell in the background

St Winefride’s Well with Holywell in the background, 18th century. Watercolour by John Ingleby. Source: People’s Collection Wales

After the Dissolution the well began to become the focus of Catholic (specifically Jesuit) sedition.  In Holywell, Basingwerk Abby had now been stripped of its roof lead, always the beginning of ruin, and although part of it is thought to have been occupied as a house for a while, it was ultimately abandoned.  However, the well and the accompanying church continued to be an illicit focus of Catholic devotion, and St Winefride’s chapel continued to be maintained and visited, often at enormous risk to both residents and visitors, sometimes resulting in imprisonment or execution.  Perhaps directly linked to this illicit expression of devotion, and a way of bonding with the shrine, are many, many carved pieces of graffiti, mostly alphabetic, some dates and a few unexplained pictograms.  That’s all another story, and a really interesting one for another day, but it is really quite remarkable that the shrine survived centuries of religious intolerance to eventually experience a revival of pilgrim and tourist attention in 18th and 19th centuries, at which time the buildings underwent restoration.

Lead repair of stonework along the side of the well

 

Final Comments

Ceiling boss in the lower chapel

Ceiling boss in the lower chapel

St Winefrede, a 7th century saint, is one of the best known saints in Wales.  The miracle-working shrine with its gushing natural spring became so popular and important throughout the medieval period that in the late 15th or early 16th century it was provided with a brand new pair of chapels, upper and lower, that provided a building of late gothic splendour to frame the well and provide spaces for experiencing the spring and for worshipping in a church-like environment.  It welcomed pilgrims, was an asset to its owners and contributed to the economy of Holywell itself.

The site was awarded the status of a National Shrine in 2023.  It continues to be a significant draw for both pilgrims and tourists, and makes for a very attractive day out when combined with both Basingwerk Abbey and the industrial heritage park, continuing to make its presence felt.

Visiting

With parking nearby, a visit to St Winefride’s Well can take no longer than an hour or so to visit, but it can be combined with the Greenfield Valley Heritage Park to make a full day out, particularly when the small town at the top of the hill is included in the trip.

On the map of Greenfield Valley to the right, the Holywell spring and chapel are at the very top (the car park is just down the hill at the What3Words address ///scanning.smarting.brisk or a lay-by just up the hill at W3W ///fidgeting.grain.nail). Alternative parking is at Basingwerk Abbey at the very bottom of the park, bigger than that for the chapel, at W3W ///assess.origin.flicks). There is also plenty of parking in the town at the top of the hill.

The other sites on the map shown here are described on the post about Greenfield Valley’s industrial heritage.  The church of St James has been closed on the three occasions when I have visited, but it lies behind the chapel, just uphill from it.  There is a cafe next to the abbey, on the bottom right of the map, but check the website listed below, because at the time of writing it is under refurbishment.

The Visitor Centre, ticket office and souvenir shop are on the left as you enter the grounds, and it is from here that you collect the key for the upstairs chapel as well (they ask that you leave your keys as a deposit).  The Visitor Centre is a single large room, with some excellent interpretation boards and some original objects on display (note that there is a sign saying that it is not permitted to take photographs in the Visitor Centre).

The spring and the fan-vaulted well chapel are on the same level as the Visitor Centre via a door to the left of the ticket office. The overhead chapel, which sits over the top of the well chapel, is a little way uphill, on the footpath along the road.  To reach it you need to go back out of the Visitor Centre and turn left up the road.  Turn left again along the path that leads from the road to the church. The door faces uphill.

There is a free leaflet with a map, which you can collect from the ticket office.  I have scanned it and posted it here for download as a PDF, but note that the leaflet was longer than A4, so I’ve split it up and arranged it in portrait rather than landscape to fit it on two pages.  My version is not a thing of beauty, so it would be much better to pick up the leaflet when you visit!

I strongly recommend that if you don’t have a telephoto lens or very good zoom function on your phone, you take binoculars so that you can get a much better view of the carvings on the ceilings in the lower shrine and on corbel tops in the upper chapel.  A powerful torch would certainly help too, particularly in the upper chapel.

Finally, do note that this is still a place of pilgrimage and prayer, and you may run into people having a quiet moment in front of the statue of Winefride within the lower chapel, or even having a dip in the outer pool.  A lady did so when I was last there on a freezing cold day, and after drying off she went pray in front of the statue just inside the entrance of the lower chapel.  I carried on with what I was doing, but gave her space.
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Sources

Books and Papers

Joseph Mallord William Turner, Holywell: The Interior of the Cloisters, St Winifred's Well 1799


Joseph Mallord William Turner, Holywell: The Interior of the Cloisters, St Winifred’s Well 1799. Source: The Tate

Baker, Nigel 1998. Shrewsbury Abbey. A Medieval Monastery. Shropshire Books.

Barraclough, Geoffrey 1988. The Charters of the Anglo-Normal Earls of Chester c.1071-1237.  The Record Society of Lancashire and Cheshire, vol. CXXVI

Bartlett, Robert 2013. Why Can the Dead Do Such Great Things?  Saints and Worshippers from the Martyrs to the Reformation.  Princeton University Press.

Burne, R.V.H. 1962. The Monks of Chester. The History of St Werburgh’s Abbey. SPCK

David, Christopher 1969, 2002 (2nd edition). St Winefride’s Well.  A History and Guide

Farmer, David 2011 (5th edition). The Oxford Dictionary of Saints. Oxford University Press

Given-Wilson, C. (ed.) 1977.  The Chronicle of Adam Usk 1377-1421. Clarendon Press
https://archive.org/details/chronicleofadamu0000adam/page/n5/mode/2up

Garland, Lisa M. 2005.  Aspects of Welsh Saints’ Cults and Pilgrimage c.1066-1532. Unpublished PhD, King’s College London
https://kclpure.kcl.ac.uk/ws/files/2935809/420753.pdf

Gray, Madeleine 2007.  Welsh Saints in Westminster Abbey.  Transactions of the Honourable Society of Cymmrodorion 2006, New Series, 13 (2007), p.5-30
https://www.cymmrodorion.org/wp-content/uploads/2017/07/2_Welsh-Saints-in-Westminster-Abbey.pdf

Hubbard, Edward 1986. The Buildings of Wales: Clwyd (Denbighshire and Flintshire). Penguin

Pritchard, T.W. 2009. St Winefride, Her Holy Well and the Jesuit Mission, c.650-1930. Bridge Books

Tait, James 1920. The Chartulary or Register of the Abbey of St Werburgh. Chartulary of Chester, part 1. Chetham Society

Turner, Rick 2019. The Architecture, Patronage and Date of St Winefride’s Well, Holywell. Archaeologia Cambrensis 168, p.245-275
https://archaeologydataservice.ac.uk/archiveDS/archiveDownload?t=arch-3493-1/dissemination/168-2019/10-Arch_Camb_168_Turner_245-275.pdf

Webb, Diana 2000. Pilgrimage in Medieval England.  Hambledon and London

Williams, David H. 2001. The Welsh Cistercians. Gracewing


Websites

Based In Churton
Basingwerk Abbey
https://wp.me/pcZwQK-2Ju
Greenfield Valley (industrial heritage)
https://wp.me/pcZwQK-3eL
St Werburgh’s Abbey (multiple posts)
https://basedinchurton.co.uk/category/chester-cathedral/
A roof boss of Thomas Becket in the Abbey of St Werbergh (Chester Cathedral)

https://basedinchurton.co.uk/2023/07/14/a-ceiling-boss-in-chester-cathedral-the-murder-of-thomas-becket/

Early Tourists in Wales
Holywell and St Winifred’s well
https://sublimewales.wordpress.com/attractions/2231-2/

Essex Record Office
Salvation for sale
https://www.essexrecordofficeblog.co.uk/document-of-the-month-august-2017-salvation-for-sale/

Greenfield Valley Heritage Park
https://greenfieldvalley.com/

Greenfield Valley Café
At time of writing closed for refurbishment – check link below
https://greenfieldvalley.com/visit/greenfield-valley-cafe/

Heneb
Holywell
https://heneb.org.uk/archive/cpat/ycom/flints/holywell.pdf

Landmark Trust
St Winifred’s Well (Woolston)
https://cms.landmarktrust.org.uk/globalassets/3.-images-and-documents-to-keep/history-albums/st-winifreds-well-2025.pdf

Shrewsbury Orthodox Church
Saint Winefride (Gwenffrewi) (with a photograph of the St Winefrede chapel and spring at Woolston)
https://shrewsburyorthodox.com/local-saints/saint-winefride-gwenffrewi/

streetsofsalem
Monarchs and Monkeys
https://streetsofsalem.com/2014/03/26/monarchs-and-monkeys/

St Winefride’s Shrine and Visitor Centre
https://www.stwinefridesshrine.org/blank-1

University of Michigan – Digital collections
A collection of articles injunctions, canons, orders, ordinances, and constitutions ecclesiastical: with other publick records of the Church of England; chiefly in the times of K. Edward. VIth. Q. Elizabeth. and K. James. Published to vindicate the Church of England and to promote uniformity and peace in the same. And humbly presented to the Convocation.
https://quod.lib.umich.edu/e/eebo2/A79649.0001.001/1:7?rgn=div1;view=fulltext

 

Statue outside the shrine

Statue of St Winefride outside the shrine

 


 

A material connection between Plas Newydd (Llangollen) and Brynkinalt (Chirk)? (Plas Newydd #5)

Introduction

Brynkinalt, near Chirk

Brynkinalt, just outside Chirk

I went with a friend on a guided tour of the house, partly because it looked stunning, but also because I have been exploring the places with which Lady Eleanor Butler and Sarah Ponsonby might have had connections that either influenced or directly contributed to Plas Newydd.  By “influence” I mean the decorative styles that could have had an impact on the way in which the decorative vision of Plas Newydd in Llangollen was born and developed.  By “direct contribution” I mean the acquisition of the pieces of wood, glass, tiling, etc that make up the fabulous pastiche of decorative arts at Plas Newydd.  Photographs were permitted outside, but banned in the interior (which is still a family home) so I have been unable to include anything much to supplement the descriptions below.  xxx

Plas Newydd in Llangollen

Brynkinalt was of particular interest not only because, thanks to the excerpts from diaries and letters of Lady Eleanor and Miss Ponsonby, I knew that the ladies had been visitors to the house, but because reading up on the house informed me that it had been a Jacobean creation that had been radically altered in 1808 whilst the ladies were resident at Plas Newydd.  If I understand Lady Eleanor correctly, she would not have been shy about asking for unwanted decorative features if they became available.  My introductory piece about Plas Newydd is here, and the full series of five posts can be found here (including this one).
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Brynkinalt

The Coflein description of Brynkinalt, is as follows:

Brynkinalt, 1808 wing

Brynkinalt, with the new wing added in 1808

[T]his 1612 building now forms the central portion of the present brick built hall. The additions of 1808 include the single-storey wings on either side of the south front, which were further lengthened to include a billiard room and conservatory on either side. Two conservatories, now gone, were inserted into the south front between the cross wings. The west front was extended northwards to include an extensive service wing. All the extensions were castellated and the entire building was stuccoed. Work began in 1928 and stopped during the war to be taken up again in the 1950’s to reduce or remove the nineteenth century additions: the stucco was removed, except at the end of the east wing, and the large service wing which housed the kitchen at the rear was demolished except for the outer range which remains.

Brynkinallt consists of two principal floors with recessed bays, forward wings and a central porch. The doorway is has a Gothic pointed arch with a studded oak door and crest over, set below a label mould which rises to a string which extends between floors completely around the front elevation. The windows are ogee-moulded behind a chamfered surround, mullioned and transomed: 5-light to the porch chamber, 4-light to the ground floor of the wings, 3-light above and 3-light without transoms to the attics.

The interior is largely in a heavy Classical style. Of specific interest is a fine marble seventeenth century chimneypiece with a heraldic over-mantel with carvings. There is a great stair hall of 1808, with a gallery, Tuscan columns

The description gives something of a sense of how much Brynkinalt has changed since it was built in 1612. The Great Hall, for example, replaced a courtyard surrounded by some 50 rooms, so as large as it is, the house is now much more modest than it was originally.

Brynkinalt rear aspect

Brynkinalt from the rear, showing some of the gothic-style lancet windows installed in around 1808

The exterior retains much of its Jacobean appearance, albeit with the addition of some Gothic-inspired elaborations.  Removal of most of the 19th century external rendering has restored the splendid brickwork to view on the most visible parts of the house, although there is still much to be done at the rear, which gives a very good sense of the task that has already been undertaken.  The interior has been radically remodelled, with only the oak-panelled hall providing a sense of the Jacobean house.  Nearly all of the other Jacobean decorative arts and furnishings vanished due to Lady Charlotte’s re-imagining of Brynkinalt, and although the current interior is attractive and imaginative, it retains only pockets of its Jacobean heritage and it is not known what was done with the stripped-out Jacobean interior when those rooms were replaced.
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Links between the owners of the two houses

Anne Wellesley Countess of Mornington

Anne Wellesley, Countess of Mornington, mother of Arthur Wellesley,who became the Duke of Wellington. Source: Wikipedia

The connections that tie these two houses together were very confusing at first.  Family histories make my head spin, and not in an enjoyable way, but it was necessary to get to grips with the essentials. This was firstly because if the ladies were actively collecting when the house was being refurbished they might have benefitted from the unwanted decorative features and furnishings, and secondly because when Arthur Wellesely, the first Duke of Wellington, visited his grandmother Anne Hill-Trevor at Brynkinalt he also visited Eleanor and Sarah and, on at least one occasion, is said to have brought them decorative gifts.

The Viscountess Dungannon Anne Hill-Trevor (1715-1799), née Anne Stafford, wife of Arthur Hill-Trevor, the First Viscount of Dungannon (second creation, the first title having expired) lived at Brynkinalt and was partially responsible for introducing Lady Eleanor and Miss Ponsonby into local society, sharing both family and friends in Ireland with the two ladies.  Anne’s daughter, also Anne (1742-1831), married the first Earl of Mornington, Garrett Welsley (1735-1781) with whom she had nine children, one of whom was Arthur Wellesley (1769-1852) who became the first Duke of Wellington.  As mentioned above, Wellesley, before he was awarded his title, visited the ladies when on visits to his grandmother at Brynkinalt.

Dungannon (Brynkinalt) visits to Plas Newydd. Source: Early Tourists in Wales.

Dungannon (Brynkinalt) visits to Plas Newydd. Source: Copied from the Early Tourists in Wales website.

When the first Viscount died, Anne remained at Brynkinalt.  Their only son having died, the title passed to one of their grandsons, who became the the second Viscount of Dungannon, another Arthur Hill-Trevor (1763-1837).  It was his wife Charlotte (1763-1823) who initiated transformations of Brynkinalt, beginning in 1808, which removed much of the Jacobean architecture and interiors and added new kings featuring spacious rooms, large windows, tall ceilings, a plethora of ornamental columns and lightly coloured walls to replace dark panelling. Anne and Charlotte, between the date of Charlotte’s marriage (1795) and the first Viscountess Anne’s death (1799), were briefly contemporaries at Brynkinalt.

The diaries of Lady Eleanor report that even after Anne’s death in 1799 (the year that they received a gift of a cow from the estate, as well as venison and partridges sent with a messenger), visits to Brynkinalt continued.  Elizabeth Mavor says that in 1805 “there were jaunts to Porkington, Brynkinalt [and] Aston,” and an earlier reference in the journal to playing cards at Brynkinalt suggest that they were still welcome visitors. Certainly in January 1805 they were at Brynkinalt when the journal provides a short account of meeting someone who had arrived in St Petersburg the day after the assassination of “Emperor Paul.”  Other visits may well have coincided with the period in which Charlotte, the second Lady Dungannon (died 1823), was beginning to make her transformations in 1808.  Mary Carryll, who had accompanied Lady Eleanor and Miss Ponsonby from Ireland as their servant and good friend, was on visiting terms with Lady Dungannon’s upper servants.  The visits were probably less frequent, but there are clear indications that they continued, and Michael Freeman’s EArly Tourists in Wales website records that Lord and Lady Dungannon continued to visit the ladies at Plas Newydd.
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Direct contributions?

The removal of Jacobean features by Lady Charlotte probably included panelling, overmantels, doors, and furnishings that would not have fitted into her hybridized Neoclassical vision.  Unwanted carvings and furnishings could have been snapped up by local dealers and salvage companies, and some of it may have been purchased by private collectors.  As I have already mentioned above, if there were items going spare, it seems entirely likely that Lady Eleanor would not have been at all shy about asking for any unwanted decorative items.

Library window in Plas Newydd, with wyvern closely resembling that of Brynkinalt in the landing window at Brynkinalt at bottom left.

Sadly, in spite of the strong suggestion of the timings of Brynkinalt being remodelled as a fashionable country house over the period when Plas Newydd was becoming a showcase for earlier decorative arts, it is impossible, from the very few remaining pieces of Jacobean carving left at Brynkinalt to do anything more than speculate that some stripped-out pieces of Brynkinalt carving may now adorn the walls of Plas Newydd.

The stained glass, however, may be another story.  Plas Newydd is stuffed with stained glass fragments that are patchworked together to fit particular spaces (I have written about the stained glass here, based on the survey by Mostyn Lewis).  There is one tiny corner of Plas Newydd, a single quarry/tiny pane of glass that suggests that a piece of Brynkinalt stained glass has found its way to Plas Newydd (see photo above).  In the Plas Newydd library there is a black wyvern (dragon with two legs) with a gold crown around its neck, standing on a red cushion, which had formerly been framed in a gold lozenge.  This is such a good match for one at the top of the Great Hall staircase at Brynkinalt that it seems likely that the Plas Newydd fragment does derive, however it was acquired, from Brynkinalt.  It would be interesting to see if there are other connections of this sort between the stained glass fragments at Plas Newydd and the surviving stained glass panes at Brynkinalt.
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Influence?

Strawberry Hill House, Twickenham.

Strawberry Hill House, Twickenham. Source: Wikipedia

The absence of any formal research into any possible relationship between the two houses means that the evidence for direct influence is minimal at the moment, but the indirect influence in the form of the communication of ideas, could well be detected in Plas Newydd, and this lies in both the shape of the lancet windows and the stained glass.

When Plan Newydd is discussed, it is often in the same breath as Strawberry Hill in Twickenham, where Sir Hugh Walpole created an imaginative extravaganza to celebrate past styles, reinventing the Gothic to produce something that emulated architectural features but took a far more light-hearted, frivolous tone.  The same comment was made on the Brynkinalt guided tour concerning the changes made by Charlotte, Viscountess of Dungannon.  Lady Charlotte introduced Gothic-style window tracery in some rooms, arcading in the conservatory, castle-style turrets and crenellations, lending Gothic flourishes to a dominantly Neoclassical vision.  Whether or not the Ladies ever saw images from Strawberry Hill is not clear at the moment.  They had an a voracious appetite for experiencing the world vicariously via books and newspapers, so it is entirely possible.   It is extremely likely, however, that they could have had first hand experience of the new Gothic windows and the other modifications at Brynkinalt.

 

Prismatic arch, Plas Newydd, Llangollen

Library side of the prismatic arch, Plas Newydd

The most obvious potential influence on the stained glass is the large window on a landing at the top of the stairs leading from the Great Hall to the gallery, in which the glass is arranged in a similar way to that in the bedrooms at Plas Newydd.  There are also over-door panels of stained glass that would have been good models for the “prismatic arch” between the dining room and library at Plas Newydd.
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General Yorke and George Hunter Robertson

Although General Yorke owned Plas Newydd between 1876 and 1890 and George Robertson owned it between 1890 and 1910, and both contributed to the decorative features of the house, it seems unlikely that either were linked in any material way with Brynkinalt.  Any connections are likely to have been purely sociable.  General Yorke was a member of the Yorke’s of Erddig, another aristocratic family on the Wales-England borders, so there may have been polite connections.  George Robertson was a wealthy cotton trader from Liverpool, an outsider to the area with no previous links to Llangollen or Chirk.  Although he was an important resident in Llangollen, there is no sign of any synergy between the two houses.  In short, there is no indication that Brynkinalt or its owners had contributed anything to Plas Newydd after the deaths of Anne Hill-Trevor and Charlotte Hill-Trevor.
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Final Comments

Wyvern, Plas Newydd stained glass

Closer view of the wyvern at Plas Newydd. Apologies for the poor quality of the image, which is partly behind a curtain and on the wrong side of a rope barrier.

It will require a far more detailed investigation than my quick visit to attempt to unravel whether the connections between the owners of the two houses resulted in the transfer of any of the decorative arts from Brynkinalt to Plas Newydd.  At the moment the presence of any direct and indirect influences are purely speculative.  It probably occurs to anyone reading this that the most obvious thing to do would be to contact the Brynkinalt office to see if they have any additional input on the subject.  I did try, but received no reply, so if anyone else has anything to contribute on the subject, please do get in touch.

The visit to Brynkinalt was interesting in its own right, with a lovely exterior including a small formal garden that was meticulously manicured, and was showing splendid late summer colour.  There are many treats in store for the visitor in the interior, but the feature that completely stole my heart was the tiny first floor stone-built conservatory overlooking the valley below, an extravaganza of floral bliss with arcades and pillars.  The bougainvillea alone was wonderfully exotic.  For movie enthusiasts, the house was the the setting for Lady Chatterley’s Lover, and the stories about how this happened and the steps required to make the house ready for filming are a real eye-opener.  It was more than somewhat daunting to hear about the sheer amount of work and the corresponding costs associated with renovating and maintaining the building, and there is still much to be done, particularly to the exterior.  It was a good couple of hours well spent, and I recommend one of their open days.
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Panel commemorating the 1808 alterations at Brynkinalt

Panel on the rear of the house commemorating the 1808 alterations at Brynkinalt


Sources

Books and papers

Mavor, Elizabeth 1971, 2011 (2nd edition). The Ladies of Llangollen. A Study in Romantic Friendship. Moonrise Press.

Mavor, Elizabeth 1984.  Life with the Ladies of Llangollen. Viking (hardback).

Websites

Age of Revolution – Making the World Over 1775-1848
Wellington’s Places: Brynkinalt Hall. Some Welsh and Irish connections. By Dr. Mick Crumplin
ageofrevolution.org/themes/society/wellingtons-places/

Based In Churton
Splendid stained glass patchworks at Plas Newydd, Llangollen (Plas Newydd #2)
https://basedinchurton.co.uk/2025/05/16/spendid-stained-glass-patchworks-at-plas-newydd-llangollen/
Introduction to Plas Newydd in Llangollen: A packed extravaganza of the decorative arts (#1)
https://basedinchurton.co.uk/category/llangollen/plas-newydd-llangollen/

Brynkinalt
Home page
https://www.brynkinalt.co.uk/
(Brief details are also included in Brynkinalt advertising leaflets)

Coflein
Brynkinalt; Brynkinallt Hall; Bryncunallt, Chirk
https://coflein.gov.uk/en/site/26866

Early Tourists in Wales
The Ladies of Llangollen
https://sublimewales.wordpress.com/attractions/mansions-and-grounds/ladies-of-llangollen/
Descriptions of Plas Newydd and the Ladies of Llangollen
https://sublimewales.wordpress.com/attractions/mansions-and-grounds/ladies-of-llangollen/descriptions-of-plas-newydd-and-the-ladies-of-llangollen/
Visitors to Plas Newydd
https://sublimewales.wordpress.com/attractions/mansions-and-grounds/ladies-of-llangollen/visitors-to-plas-newydd/
Plas Newydd: List of Visitors, Alphabetical Order
https://sublimewales.wordpress.com/attractions/mansions-and-grounds/ladies-of-llangollen/visitors-to-plas-newydd/plas-newydd-list-of-visitors-alphabetical-order/

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The fabulous nature reserve at the RSPB’s Burton Mere Wetlands

Flying Canada Geese at the RSPB's Burton Mere wildlife reserveWhen I got up this morning and saw what a beautiful day awaited, I decided on the spur of the moment to go to the RSPB nature reserve on the Dee estuary at Burton.

Burton village, well-kept and firmly manicured, is located on the southwest of the Wirral, about 20 minutes drive out of Chester, an area now better known for giving its name to the nearby wetlands.  The wetlands are divided into two separate entities.  The first is the splendidly well organized and laid out nature reserve operated by the Royal Society for the Protection of Birds (the RSPB) which was specially set up for the benefit of birds and bird watchers, but accommodates general visitors too.  There is also a route through the wetlands on the far side of the RSPB reserve, and extending well beyond it, which is the Sustrans route number 568, developed for cyclists but welcoming walkers. It crosses the wetlands from Connah’s Quay, meeting the Wirral peninsula at just above Burton Point, and continuing on to Neston.  They provide two very different but both marvellous experiences of the wetland scenery.  I have already posted a short piece about my short visit to the Sustrans cycle and walking route in the Burton Point area, although I want to walk the whole thing eventually.

Greylag goose at the RSPB's Burton Mere wildlife reserve

 

A lapwing stretching its wings, whilst a common sandpiper stands by unimpressed

A lapwing stretching its wings, whilst a common sandpiper stands by unimpressed

The RSPB wetland reserve

Greylag geese with their bright orange beaks at the RSPB's Burton Mere

Greylag geese with their bright orange beaks at the RSPB’s Burton Mere

Several miles of wetland are enclosed within the RSPB reserve, which attract thousands of birds of many different species, with the river Dee invisible along the far edge of north Wales. The canalization of the Dee, completed in 1737, completely changed the environmental conditions of this part of the estuary, forcing the river to run along the Welsh edge of the estuary.  The canalized channel of the Dee is not visible from the nature reserve, but the miles of wetland are lovely.  There are huge expanses of pond and small lake, as well as flooded wetlands in the distance.  On a bright day with blue skies overhead it is gorgeous.  The reserve backs on to farmland at the rear, includes a woodland walk, and has a very attractive red sandstone railway bridge crossing the tracks below and even boasts the remains of an Iron Age hillfort which, if somewhat puzzling as an archaeological entity, has lovely views along the estuary towards Hilbre Island and across to north Wales.

 

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For bird watchers there is an enclosed viewing room where the ticket office is located, and throughout the reserve there are coverts and hides like the one above, all of them with benches, and all with windows suitable for both seated and standing visitors, and there are also viewing screens  and viewing platforms dotted throughout.

For less specialist visitors there are some splendid wending walks through the reserve, where water-loving plant and tree species abound, many in flower or producing berries at this time of year, and all providing a myriad of colours and textures over a base of deep greens and rich browns, which provide excellent resources for insect life.  The plants are so dense that where there is water running beneath boardwalks the water is scarcely visible.

 

The walks are all nice and even underfoot, many of the boardwalks coated in wire mesh to prevent them becoming slippery, and it is all beautifully maintained.  Being located on the side of the estuary, the nature reserve is nearly all on the flat.  All the main walks are wheelchair friendly, as are the hides and coverts.  There are actually four miles of signposted walks, as well as the woodland walk, which takes about half an hour.  There are plenty of benches dotted around for a moment of relaxation and contemplation.  Burton Point, at the furthest end of the nature reserve, is a tiny headland, which involves walking a short way up a slight slope and an informal footpath, and offers some great views along the estuary.  It is supposed to be the site of a small Iron Age promontory hillfort, but the evidence for this is difficult to see, although an interpretation sign does its best to offer a visualization of how it may have looked.

Even if you are not a regular bird watcher, the water birds are fascinating.  There are plenty of information boards showing what you are likely to see, and there is a whiteboard in the reception area showing a list of what has been spotted on a given and previous days.  Binoculars and cameras with enormous lenses (one of them in camouflage colours!) were very much in evidence and I soon found at why – my nice all-round lens, a 28-300mm zoom, was struggling desperately at its top end, and something much more powerful would have been helpful.  Do note that you can hire or buy binoculars from the reception area to get a better view of what birdlife is spending its time on the wetlands.   At this time of year the geese dominate, both in numbers and in voice.  Their honking can be heard wherever you are in the reserve, even when you can’t see them, There were Canada and greylag geese in great numbers, and a handful of Egyptian geese sunbathing on the far side of one of the stretches of open water, but there are plenty of other species too.

Greylag geese at the RSPB's Burton Mere nature reserve

There was something distinctly conversational, and rather cross, going on here, and you should have heard the honking!

Of the smaller water birds, as well as the familiar moorhens, coots and mallards, there were gorgeous lapwings and a variety of small wading birds, with slender legs and long beaks, including a common sandpiper that was distinguished by its rusty coloured plumage.  There were multiple grey herons looking like statues, waiting patiently for unsuspecting fish to swim by, and I spotted some tiny little fish in one of the ponds near the cafe which are presumably a popular part of the herons’ dietary intake.  There must be lots of reed-loving birds hidden in the wetlands, successfully shielding themselves from prying eyes.  There was apparently a spotted redshank, which was causing some excitement among the better informed bird watchers in one covert, but although I followed the directions that a father was giving his son (along the lines of – left of that greylag goose walking in front of that moorhen and then two back and one over) I was unable to spot it.  Bird feeders dotted around were attracting blue tits and great tits in great numbers and there were pied wagtails in some of the many trees that line the edges of some of the paths.  There’s an A-Z of bird species on the RSPB website.

One of many grey herons, on the hunt for unsuspecting fish at RSPB's Burton Mere

One of many grey herons, on the hunt for unsuspecting fish

This is a super place to visit, and seasonal changes in bird and plant life mean that there will always be something new to see, and there are plenty of butterflies, bees, dragonflies, damsonfiles and other insects to observe if you look carefully.  The grasshopper in the image below was particularly well camouflaged, and apparently there are sometimes lizards sunbathing in the sunnier patches.  On Burton Point there are rabbit warrens, and according to some of the signage (much of it directed at children, but still informative to older visitors) the local animals have a vibrant night life.

Spot the grasshopper

Regarding the hillfort on the promontory, Burton Point, there are websites that say that the small headland on which the site is located is privately owned and should not be entered without permission, but this is in fact now included in the RSPB reserve and is served by good footpaths and includes interpretation signage to give visitors some idea of what was here.  I’ll talk more about this site on a separate post.

Burton Point, a low promontory that overlooks the Dee estuary and is the possible site of an Iron Age Hillfort. In this photograph the footpath at far right leads into the woodland, where a vantage point looks down on the fortifications, but you can also see what remains of the fortifications at the far left of the photo where an earthwork is clearly visible

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Visiting the RSPB reserve

Meadow Brown butterfly beautifully camouflaged at the RSPB Burton Mere nature reserve

Meadow Brown butterfly beautifully camouflaged

The RSPB reserve is very easy to find, although if you rely on that Google SatNav, please note that mine, having been asked to find “RSPB Burton” informed us we had reached our destination before we had actually arrived.  Fortunately, if you use the What3Words smartphone ap, which is stupendous (narrowing locations down to metre-sized locations) you can find it at ///readings.sideburns.handicaps.  Other details can be found on the RSPB website which includes the address, postcode, as well as details of the current ticket price and full details about what the nature reserve offers the visitor: https://www.rspb.org.uk/days-out/reserves/dee-estuary-burton-mere-wetlands.

The RSPB site has been very well thought out, and is very welcoming.  A single lane road from Puddington Lane has speed bumps and plenty of passing places, leading to a well-sized car park.  Entrance is via a building with a look-out over the estuary.  The entrance fee is £7.00 at the time of writing (July 2025), which helps to support the charity. There is a nice modern cafe on site, which sells tea, very good coffee, cold drinks and snacks. This is also where the toilets are located.  There is a small shop next to the ticket desk that sells gifts, books and bird food.

I have been following the RSPB Burton reserve on Twitter for a couple of years, without ever having managed to get there, and every day they take a photograph of their whiteboard to give you an idea of what species have been observed recently so that you know what to look out for.  You can find this at https://x.com/RSPB_BurtonMere.  There is a placeholder for them on Bluesky but no content just yet.

I rarely give an opinion about wheelchair use, but there were actually several wheelchairs users out and about today.  It would not be possible to get wheelchairs up to the Burton Point hill fort, or navigate them down one or two of the little tracks that run at the back of the reserve, but all of the coverts and hides are wheelchair friendly and, for both wheelchair users and children, the viewing windows extend from low to high for both seated and standing visitors.  The same comments go for those with unwilling legs.

Dogs are not permitted, and nor are drones.

Excerpt from the RSPB's leaflet about Burton Mere

Excerpt from the RSPB’s leaflet about Burton Mere, showing the top things to do on a seasonal basis

 

The Burton Marsh cycle and walking route 568 along the Dee estuary, Wirral

In 2013 a track across the wetlands from Connah’s Quay via Burton Point to Neston was opened.  As part of the Sustrans cycle network it is known as Route 568 or The Burton Marsh Greenway, and an information board at the point where the route meets Station Road (see map at end) says that this section is now also part of the “King Charles III England Coast Path.”  This section of the route, Burton Marsh, is partly made up of metalled lane, and partly boardwalk, and is a terrific walk.  I had never heard of it until I was standing in what remains of the hillfort on Burton Point headland, part of the RSPB reserve, and saw it passing almost at our feet and beyond into the distance.  It is an extraordinary sight, a mainly straight track across the landscape, and such a brilliant idea.

I parked on the section of Station Road that runs parallel to the estuary, which is part of the cycle route to Chester, and is separated from the rest of the Burton Marsh stretch of track by a gate to keep the sheep in.  There’s a map showing where the parking is located towards the end of this post.  This walks is all particularly beautiful on a sunny day with a blue sky stretching to the horizon. A shifting sky, which one moment produced sun and the next light shade, brought out the textures and colours for miles around.  Because the estuary is so flat and vast it can be very breezy or windy, which was no bad thing on a particularly sticky July day!

 

I headed through the gate in the Chester direction.  Starting out from this point you are on a metalled lane and have fields rising on your left, currently planted with palest yellow barley, whilst on your right are marshland habitats stretching all the way to the river Dee running along the Welsh side of the estuary, with every shade of green you can imagine, dotted with bright clumps of flowering plants and layer upon layer of different textures.

The barley fields are soon replaced by a fairly short red sandstone cliff edge, which has been heavily quarried over the centuries.  Where this red sandstone becomes much more uneven and comes out towards the lane, there is a sign on your right that explains that here are the remains of an Iron Age hillfort at the top of this small headland.  This is fenced off, as it is RSPB land.

Burton Point

The lane pulls away from the headland heading out into the wetlands, and soon you find yourself on a long section of boardwalk, which rattles splendidly when cyclists come along, with the marsh habitats either side of you.

 

On a clear day the views seem endless as far as the way to the Clwydian Range of Wales.  The track gives a sense of how big that landscape actually is, and why it is such a special environment for wildlife, with aquatic plant life as far as the eye can see, and bird life launching itself in and out at surprising and random moments.  As well as plenty of Canada and greylag geese, both on the ground and in the air, there were dozens of skylarks, terns flying overhead and birds of prey too high to identify.  Unsurprisingly there were plenty of seagulls too.  Beneath the surface, there must be an awful lot more going on.

The intention was to walk for an hour and a half, see where that took me, and then turn back to retrieve the car, but the sudden onset of fairly heavy rain both greyed out the landscape and blocked the view so I only walked for around half an hour before turning around.  Even during that short walk, the views were superb and the environment absorbing, and one of the nice things about this is that however far you want to go, and from wherever you start, it lends itself to any length of walk.  I was chatting to a man on a bike who had stopped to watch a group of greylag geese, who had cycled from the middle of Chester and was going to visit his father in Neston before turning around and coming back, and by contrast there were a couple who were just out walking a short way with their dog and a child in a pushchair.  All very civilized and a great way of introducing a wide range of people to an entirely new environment in a very easy way.


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Visiting from near Burton Point

You can access the track free of charge from anywhere along its route.  Because it is all on the flat, it is suitable not only for walkers and cyclists but those with pushchairs, buggies, and wheelchairs.  There was even a man on one of those push-it-with-one-leg adult scooters.  There are gates at interfaces with roads because of the sheep.  Also because of the sheep there are frequent signs asking owners to keep dogs on short leads.   Having been followed for about half a mile by one particular sheep, which stopped and looked fixedly at me every time I turned around to see if it was still following me, I can confirm that sheep are a very likely to be encountered.

I have only done this from just north of Burton Point so far, a short drive from the A540 via the village of Burton, and you can park on the straight section of Station Road that runs along the estuary, and where there is plenty of room to park along the road (what3words: ///recur.films.dream if you have the Google-compatible app on your smartphone).  Station Road, as it leads back inland, also has some parking along its edges near to the estuary.  I have highlighted the main parking-friendly area on Station Road in the pink box below.

Convenient road-side parking near Burton Point marked in pink. Source: Streetmap.co.uk

If you fancy starting in Chester, you can set off from the Little Roodee car park, go around the Roodee itself, and then follow the track to Connah’s Quay and go from there.  Fortunately you don’t have to depend on my finger-in-the-air directions, because Sustrans has its own website with full details for Route 568, which you can find here.  It shows the sections where the route meets roads, and where it intersects with other routes in the network.

 

 

Castell Dinas Brân, Castle of Crows above Llangollen – Medieval ruins and stunning views

I have been visiting Dinas Brân on and off for decades, but have never got around to writing it up.  It was one of my favourite walks with the family dog in the 1980s when my parents lived hereabouts.  Much later, a regular return trip between Aberdovey and Rossett gave me the opportunity to see the castle from various different angles in all sorts of weather, the conical hill on which it sits soaring from the Dee valley providing a commanding, impressive position that dominates the landscape.  I recently drove into Llangollen to go up to the castle on a hot day, prepared for a moderately steep walk from the canal bridge, correctly anticipating a slightly breathless arrival at the ruins.

This is a splendid walk.  It is only about 2km (1.3 miles) from the Eisteddfod Pavilion, where I parked, although uphill all the way from the Wern Road canal bridge, so it feels longer, and the views towards the castle and back over the valley are splendid.  The views from the castle itself are of course stupendous, both aesthetically and geologically.  The geology and geomorphology are mentioned in brief below.  More about parking, the different routes and conditions underfoot are towards the end of the post in Visiting.

 

Dinas Bran ruins

Castell Dinas Brân, a Scheduled Monument, is the story of two fortifications, one dating to the Iron Age, at around 600BC, the other a medieval castle dating to the 13th Century.  It is far from unusual to find Medieval castles built within the circumference of an Iron Age hillfort, because both were making use of the same strategic features:  a good view of the surrounding countryside, a defensible position, often above cultivable land, and access to water.  This post is about the Medieval castle.

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History of Castle of the Crows

The medieval castle

Window of what was possibly the Great Hall of Dinas Bran

Window of what was possibly the Great Hall of Dinas Bran

It is not certain which of the Powys Fadog rulers built Dinas Brân.  The most common suggestion is that the castle was built by Prince Gruffudd ap Madoc (c.1220-c.1270), beginning in the 1260s, but there is an argument discussed by Paul R Davies that it may have been built by his father Prince Madoc ap Gruffudd Maelor.

Valle Crucis Cistecian Abbey, founded 1201

From c.1190 Prince Madoc was ruler of Powys Fadog, the northern section of Powys, which had been split into two on the death of Madoc ap Maredudd in 1160.  He founded the nearby Cistercian abbey in 1201, and although his territory was comparatively small, he clearly had ambitions to establish his name and ensure his legacy, A castle would have been consistent with that intention, and as Davis points out, materials and workers could have been shared between the two sites.  Prince Madoc died in 1236 leaving four sons, of whom Prince Gruffudd was the only one to survive.  Whether Madoc started work on the castle or not, it is clear that Prince Gruffudd continued it, completing it well before the war of 1277.

Together with Powys Wenwynwyn to the south, Powys Fadog was sandwiched between the much larger territory of Llywelyn ap Gruffudd’s Meirionydd in the west of Wales and England to the east.  Llywelyn (c.1223 – 11th December 1282, also known as Llywelyn the last, grandson of Llywelyn the Great) and his brother Dafydd (1238 – 3rd October 1283) had been in a long-term power struggle with Henry III that erupted once again under Henry’s son Edward I.  Whilst the northeast territories provided a buffer zone between the two warring factions, their rulers were inevitably dragged into the question of where to bestow their loyalties.  There was never any certainty that the members of a single family would throw in their lot with the same side, and some, like Llywelyn’s brother Dafydd, switched sides at least once.

Wales following the 1267 Treaty of Montgomery showing Powys Fadog sandwiched between Gwynedd and England. Source: Turvey 2002, p.xxvii map 8

Prince Gruffudd was married to an English wife, presumably for diplomatic reasons, providing a nod of friendship to the English.  With Lady Emma Audely he had four sons, the eldest named Madoc, and one daughter.  Presumably seen as fair game by Llywelyn, Powys Fadog was attacked.  When Henry III was appealed to for help but did not come to Powys Fadog’s aid Gruffudd seems to have thrown in his lot with Llywelyn, arranging for peace between Meirionydd (Gwynedd) and the return of his territories by agreeing to the marriage of his eldest son Madoc to Llywelyn’s sister Margaret.  Dinas Brân was apparently built in support of the interests of Llywelyn the self-styled Prince of Wales, borrowing certain elements of architectural styling from Llywelyn’s castles, including the D-shaped tower at its southern side.

Gruffudd apparently died in around 1270, because it was in this year that his sons signed a grant to provide Lady Emma with lands of Maelor Saesneg to secure her future.  At this time ownership of the castle would have been split four ways between his sons, because primogeniture was the English but not the Welsh system of inheritance.  Instead of one son or daughter inheriting an estate, on the death of a father all property was divided between the remaining sons, with provision usually made for wives and daughters.  Each of Prince Gruffudd’s sons had his own decision to make in November 1276 when war broke out again between England and Wales.  However they started the war, Gruffydd’s eldest sons eventually submitted to Edward, but in May 1277 an English force sent to take possession of the castle found it in engulfed in flames and it was evident that the garrison left behind had remained loyal to Llywelyn.  The decision to burn and abandon the castle rather than defend or surrender it did not, however, completely destroy the castle.

After the Treaty of Aberconwy in 1277 Llywelyn paid homage to Edward, sitting to the left of the king’s throne, with Alexander of Scotland at the king’s right. The peace did not last.

After the Treaty of Aberconwy in 1277, Llywelyn’s power was confined to northwest Wales.  The English inspection of Dinas Brân to assess the damage caused by the fire found that although considerable superficial damage had been inflicted, the well-built castle was structurally sound and still of strategic value.  Henry de Lacy, Earl of Lincoln, wrote to Edward I recommending that the castle be repaired and garrisoned with English troops.

Following Edward’s triumph, Powys Fadog was abolished as a territory.  Edward gave ownership of the castle and all its lands to John de Warenne, the early of Surrey.  The castle, however, was no longer relevant as a symbolic stronghold of the former territory and now stood at the borderland of the new friendly lordships of Chirk, held by Roger Mortimer, and Bromfield and Yale by John de Warenne.  Instead of devoting any attention to Dinas Brân, de Warenne became busy building his new castle at the eastern end of Bromfield and Yale on the Dee crossing at Holt near Chester.

Ruins of Dinas Bran

Ruins of Dinas Bran

There is no record of the role performed by Dinas Brân, if any, during the final great conflict between Llywelyn and Edward of 1282, when the English were triumphant.  Llywelyn died on the battlefield that year, and Dafydd was captured and put to death in 1283.  As Holt Castle grew, Dinas Brân was abandoned.

A completely unsubstantiated legend concerns the fate of the two underage sons of Prince Madoc, Gruffudd’s eldest son.  Walter Tregellas in 1864 tells the story, in which Edward I conferred guardianship of the two boys on Roger Mortimer and John de Warenne:  “it is stated that the two children were soon afterwards drowned under Holt Bridge . . . This is said to have happened in 1281.”  He goes on to recount an even better version of the conspiracy, however: “it is uncertain whether the king himself did not cause the children to be put to death.”  There is no evidence whatsoever about what became of the two younger children of the prince of Powys Fadog.

Dinas Bran and the wonderful scenery beyond

Dinas Bran and the wonderful scenery beyond

The only hint that they castle buildings may have been re-used is a poem by Hywel ab Einion Llygliw Myfanwy Fychan in the 14th century, in which he claimed to have been rejected by the beautiful girl who lived there.  There is no evidence to support this later domestic occupation, but neither is there anything to deny it.  John Leland, visiting in 1536, found it in ruins.

 

The Victorians

Dinas Brân Castle by Alphonse Dousseau, c.1850. Source: The National Library of Wales, via WikiData.

When ruins became desirable romantic destinations, Dinas Brân was an obvious lure for painters (many of whom chose to paint safely from below) and more adventurous tourists.  The Holyhead road was the major route through north Wales, with Telford’s great route, now the A5, opening in 1826, and the railway was opened in 1864.  A local entrepreneur, demonstrating great faith in the spirit of adventure demonstrated by the new tourists, decided to make the most of the popular site and the first visitor provision was supplied in 1820, with a cottage added in the 1880s as a tea room together with an octagonal camera obscura, which was still in situ by the start of the Second World War.

Walking up the hill not far from the summit I found a piece of slender white clay pipe, about an inch long, on a piece of well-worn hillside.  This almost certainly belonged to the period of Victorian interest in the castle.

Victorian cottage built for serving teas to visitors on Dinas Brân. Source: People’s Collection Wales

 

The castle as it stands today

Fieldwork

Plan of Dinas Brân, both prehistoric and medieval, following the geophysical survey of 2017

There has been very little fieldwork at Dinas Brân, and even the antiquarian investigators who explored other sites seem to have felt that this was one challenge too many.  The only exception appears to be alocal treasure hunter who is mentioned in a journal entry by Lady Eleanor Butler of Plas Newydd, whose home was in full view of the castle, and who commented that their landlord had informed them that a smith from Dimbraneth “has been dreaming of more than a year past of treasure at Dinas Brân. Hew has within this week begun to dig.”  There is no report of any discoveries.

In 2017 a geophysical survey was carried out and this was quite comprehensive, addressing both the medieval castle and the prehistoric hillfort.  Although nothing conclusive was discovered, magnetic readings did suggest that a fire had scoured the ramparts, perhaps tying in with contemporary reports that the sons of Prince Gruffudd had set fire to the entire structure rather than surrender it to the English.

In 2020 a survey was carried out by the Clwyd Powys Archaeological Trust (CPAT) to assess the condition of the site, both the castle and the prehistoric hillfort, making recommendations to make it safer and more approachable for visitors and to manage archaeological impact.  Earthworks were noted beyond the hillfort but were not included in the survey.

CPAT excavation at Dinas Brân in 2021. Source: Heneb

It was not until August 2021 that the first archaeological investigation was carried out at the site, organized by CPAT.  It was a small exploratory dig, with four trial trenches both within and outside the castle walls.  The main aim of the project was less investigation of the history and more about assessment of the condition of the building’s foundations.  Although the excavations did no more than reveal the medieval floor surface, one sherd of medieval pottery was recovered and a “ledge/kerb was discovered projecting from the gatehouse wall, with a portcullis slot in it near the east end, and a fine masonry carved pillar base at the western end.”  In 2021 the Heneb report said that the excavation report was “awaiting a second phase of work in 2022,” but I have been able to find nothing about a 2022 excavation and no further reports.

Modern conservation work was carried out by Recclesia, who surveyed the site and inserted stabilizing rods into the south wall of the castle to ensure that it stays upright now and in the future.

The surviving architecture

Detail of an old interpretation board

The plan drawn by Tregellas in 1864. with annotations

The castle was very fine in its day, with imposing fortified walls and stone and timber buildings.  There are hints that there were decorative features.  I have annotated the plan drawn in 1864 by Walter Tregellas to make this easier to follow.  If you have walked up from Llangollen, and climbed the east-facing slope of the hill, you will have entered opposite the original entrance.  I had had a long wander around before tackling how the ruins relate to the original layout but when I got stuck into the site plan, I started at the entrance.

The ditch surrounding the castle

The site consists of a rectangular court orientated east-west, c.82m  by 35m, surrounded by a ditch dug out of the bedrock, which provided the material from which the castle was built.  As well as building materials available within the immediate vicinity, it was found that there was sandstone facing in certain parts of the castle, which would have provided it with both refinement and prestige.  It is not clear where this came from, but it is likely that it was sourced from the same location as the Valle Crucis ashlar.  The ditch surrounding the castle was an impressively deep and wide feature, running around three sides, the northern side of the castle being positioned directly over a steep drop.  At the southwestern corner of the ditch was once a well, the location of which is now very difficult to see.

An artist’s impression of how the gatehouse (right) and the keep (left) as they may have looked when it was first built. Source: Clwydian Range and Dee Valley

The original entrance was marked by a gatehouse that, being one of the points of weakness of the castle, was built so that it could be well defended, with twin English-style towers forming a gatehouse, each with hollow basements and, remarkably, appears to have been furnished with highly ornate rib-mouldings.  This is unprecedented in Welsh castle design and may have been copied from an English example.  One of the two gate towers still has the underfloor barrel-vaulted arch that was accessible from the courtyard; although it is now open to the outside, this would have been closed in the 13th century and is probably the enlargement of an arrow slit.  The vaulted room is closed to the public except on special open days.  The gatehouse was supplied with latrines on its northern side, that emptied down the walls into the ditch.

The vaulted undercroft in the gatehouse

 

The stairwell that lead up to the first floor of the keep

Heading clockwise from here, you encounter the square keep.  This was once an impressive building that helped offer protection for the gatehouse as well as the most vulnerable eastern approach.  It will also have provided a home for the main family members and a final retreat at a time of siege.  It was equipped with latrine which, like the gatehouse, emptied into the ditch.  Additional security was provided for the keep.  It could only be entered via a first floor door reached by stairs from a walled passage, and was separated from the rest of the castle interior by its own ditch, which would have been crossed by a liftable bridge.

Continue around to the right to follow what was once the long south curtain wall.  The section of wall with two giant openings in it was either the site of the castle’s Hall, where dining and socializing would have taken place, or its chapel. The two openings, providing plenty of light for interior, would have been about 1.8m (6ft) wide at their maximum width.  They would have had shutters to protect the castle from the elements, but no window glass.

At the far end of the Hall a doorway opened into a D-shaped tower that extended beyond the line of the curtain wall.  The D-shaped section has gone, but this tower was a major feature of the castle, rising to two if not three floors.  A good surviving example can be seen at the well known Ewloe Castle (about which I have posted here).  Again, this was a defensive measure providing archers good views over the ditch and the flanking walls. The ruins of the inners walls give a sense of the size of this half of the room. It is likely that part of this was used for the castle kitchens, which gives weight to the argument that the adjoining apartment was the dining hall rather than the chapel.

Further along this stretch and you will find yourself looking out between two sections of wall, a gap that represents the remains of the postern gateway.  As well as providing a useful secondary pedestrian entrance on the opposite side of the castle from the main gatehouse, this could also be used as a “sally port” that would allow foot soldiers to mount a surprise attack from an unexpected position.

A rectangular building at the west end may have been either the hall or the chapel or served another purpose.  This area is likely to be highly disturbed, archaeologically, due to the Victorian building works in this area. The rest of the interior would have been filled with timber-built buildings, including accommodation for servants, storage, stables and workshops.

 

The landscape  

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British Geological Survey geological timeline.

Standing on the peak of the hill, you are 305m (c.1000ft) above seal level.  Geologically, Llangollen is divided into two main formations.  At the top of Dinas Brân you are standing on one and looking at the other.

Beneath your feet the rock formations are dark grey Silurian shales and silstones, which were laid down as deep sea sediments and then subjected to metamorphic processes.  These are the same rocks that you see in the Dee river bed from the Llangollen bridge, with the rapids flowing over them.  The stone quarried from the ditches of this Silurian hillside were used to build the castle, and are uncleaved, around 30-40cm thick.

Above this layer in Llangollen is the heavily layered Carboniferous limestone escarpment that so dramatically forms a backdrop to Llangollen and Dinas Brân, laid down when the sea was warm and shallow.  The Devonian, which theoretically should have sat between these two geological periods, is missing, presumably because it was not under water in this area at that time, and did not form the rich, deep layers usually laid down in marine contexts.

The solid geology of Clwyd showing rock types. Jenkins 1991, p.14

Geomorphologically, the Vale of Llangollen is a typical U-shaped valley carved by the advancing ice and associated debris of the Welsh Ice Sheet as it advanced east.  The river Dee wends its way through this flat base, and former river beds are visible in the landscape, the former routes of the river blocked by the ice sheet, forcing water to find a new passage.

The  plant life that has settled into place on this isolated outpost is typical species that are capable of surviving on highly exposed rock with very little topsoil.  Drought-resistant annuals like foxgloves and swathes of rock-hugging perennial succulents like sedum anglicum are dominant at this time of year.


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Visiting

Map of the footpaths to Dinas Brân Castle (Kightly 2003, Denbighshire County Council)

The castle is on the open hilltop and is free of charge to access.  There are no facilities at all.  You will need to take water and any snacks with you, although there are plenty of facilities down in Llangollen itself.

There are two main approaches to the castle for walkers arriving by car from the east.  One is a longer walk from the valley bottom, and the other is a much shorter but slightly steeper walk from the other side, approached along the narrow road now marked on the map as the Offa’s Dyke Path (even though Offa’s Dyke does not actually follow this exact path).  A map taken from the bilingual booklet Castell Dinas Brân Llangollen (in their Enjoy Medieval Denbighsire series) shows two alternative routes, with variations. 

The easiest place to park if you are heading up from the valley is the International Eisteddfod Pavilion (marked as the Royal International Pavilion on the map), which offers a really lovely walk along the canal to arrive at the canal bridge where you cross to begin the walk.  The second approach is much shorter and takes you from the Offa’s Dyke Path, a single-track road that follows the line of the hill, and has spectacular views; there is no official parking here, although there is space to pull over and park for about 4-5 cars (being careful to leave passing spaces) and this gets full very quickly on fine days.  

Both routes require sensible footwear, whatever the weather.  I was wearing some excellent lightweight hiking trainers with heavy tread, perfect for a hot day, but in damper seasons I would go for hiking boots.  Although the path starts off metalled in Llangollen itself, mainly because it is one access point to the local school, it becomes much more uneven underfoot as the path goes on, with patches of coarse bedrock and scatterings of loose scree.

The Eisteddfod Pavilion is on the A539 on the way out of Llangollen towards Valle Crucis and the Horseshoe Pass.  The car park is big, with a pay and display system.  From here, go up out of the car park towards the canal bridge, and go down on to the towpath to the left of the bridge, turning to the right under the bridge to head east in the direction of Llangollen.  This is a lovely stretch of canal, passing the marina on your left.

When you reach the next canal bridge, with a cafe on the right, walk up on to the bridge.  Directly in front of you, heading straight up a short flight of stairs, is the public footpath.

From here on it is easy to find your way.  Just keep going straight up.  You first pass the school on the left, and a field on the right, with a gate at the top of this first stretch.  Go through the gate, cross the lane, and keep going up the other side.

You will pass various attractive buildings along the way, the largest of which is the Grade II listed Dinbren Hall, built with conviction but without a great deal of imagination in a very lovely location in 1793.

Soon you will reach another gate.  This has signage on the other side of it warning to inform you that you have now arrived at the foot of the hill, and to keep dogs on a lead (there are sheep all the way along this walk).

It is less even underfoot from here, with a very short uneven patch, but you will find that just over the other side the path opens out onto the hillside, with a clear view of the path ahead.

A very short uneven section of path, but it evens out just on the other side

 

Beyond this, along the steepest part of the route, the ziz-zag path marked on the map is beautifully maintained at the time of writing, with occasional stretches provided with a hand rail and long shallow steps where required.

This brings you out at the the west end of the castle, where the Victorian camera obscura and teashop used to be located.  If you are approaching from the other side, via the Offa’s Dyke Path, you will find a similar zig-zag arrangement to provide a less strenuous way up the hill than heading straight up the side.

Eastern approach to the castle

You can easily turn this into a circular walk from the Eisteddfod pavilion. For the quickest of the two easiest routes, come down from the castle onto the lane under the limestone escarpment and head downhill along the Wern Road, which takes you back to the canal bridge.  For a longer but really attractive route, continue along Offa’s Dyke Path, past Wern Road, which eventually heads downhill and comes out at the Sun Trevor on the A542; cross the road, cross the canal bridge, turn right and walk back along the towpath into Llangollen.  Although this is a much longer way back, it is all metalled lane and nicely maintained towpath, so is very easy underfoot.

Sources

Ordnance Survey Explorer no.256: Wrexham/Wrecsam and Llangollen.  Particularly useful if you want to make this into a circular walk, or to visit other local sites like the Horseshoe Falls and Valle Crucis Cistercian abbey.

If you are particularly interested in medieval architecture in the Denbighshire area, do download their bi-lingual PDF booklet Enjoy Medieval Denbighshire.

Map showing sites featured in the “Enjoy Medieval Denbighshire” PDF

Books and papers

Berry, D. 2016 (4th edition). Walks around Llangollen and the Dee Valley.  Kittiwake Books

Davies, John 2007 (3rd edition). A History of Wales. Penguin.

Davis, Paul R. 2021. Towers of Defiance. The Castles and Fortifications of the Princes of Wales. Y Lolfa

Kightly, Charles 2003.  Castell Dinas Brân Llangollen.  Denbighshire County Council (bilingual booklet with excellent illustrations, artist reconstructions, photographs and information)

Jenkins, David A. 1991.  The Environment: Past and Present. In (eds.) John Manley, Stephen Grenter and Fiona Gale. The Archaeology of Clwyd. Clwyd Archaeology Service, p.13-25

Jones, N. W., 2020. Castell Dinas Brân, Llangollen, Denbighshire: Condition Survey. Unpublished report. CPAT Report No. 1739
https://coflein.gov.uk/media/366/634/cpatp_144_001.pdf

Roserveare, M. J., 2017. Castell Dinas Bran, Llangollen, Denbighshire: geophysical survey
report. TigerGeo Project DBL161.

Tregellas, Walter 1864. Castell Dinas Bran Near Llangollen, Denbighshire. The Archaeological Journal, 21, p.114–120
https://archaeologydataservice.ac.uk/archiveDS/archiveDownload?t=arch-1132-1/dissemination/pdf/021/021_114_120.pdf

Turvey, Roger 2002. The Welsh Princes. The Native Rules of Wales 1063-1283. Pearson Education

Venning, Timothy 2012. The Kings and Queens of Wales. Amberley

 

Websites

Coflein
Castell Dinas Bran
https://coflein.gov.uk/en/site/307064/

Clwydian Range and Dee Valley
Dinas Brân
www.clwydianrangeanddeevalleyaonb.org.uk/projects/dinas-bran/

CPAT
Historic Landscape Characterization: The Making of the Vale of Llangollen and Eglwyseg Historic Environment
https://heneb.org.uk/archive/cpat/projects/longer/histland/llangoll/vlenvi.htm

Heneb
Castell Dinas Brân, Llangollen
https://heneb.org.uk/cy/project/castell-dinas-bran-llangollen/
Dinas Brân, Llangollen Community, Denbighshire (HLCA 1150)
https://heneb.org.uk/hcla/vale-of-llangollen-and-eglwyseg/dinas-bran-llangollen-community-denbighshirehlca-1150/

Recclesia
Castell Dinas Bran
https://recclesia.com/our-work/castell-dinas-bran

Scottish Geology Trust GeoGuide
Dinas Brân
https://geoguide.scottishgeologytrust.org/p/gcr/gcr19/gcr19_dinasbran

 

You can explore the castle from afar via this Sketchfab 3D model by Mark Walters.

 

A video showing the two main stages of occupation of the Dinas Bran hill, on the Clwydian Range and Dee Valley website, beginning with the hillfort and moving on to the medieval castle.

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More decorative arts at Plas Newydd – Delftware tiles, gilt leather wall hangings and intricate plaster ceilings (#3)

Introduction 

Plas Newydd after 1814.  People’s Collection Wales

The local Llangollen builder of the unassuming little cottage of Plas Newydd could not have envisaged the cultural extravaganza that emerged from the plain and simple 5-room unembellished cottage rented by Lady Eleanor Butler and Miss Sarah Ponsonby from 1780.  The transformations introduced by the ladies was  embellished by General John Yorke, who had known the ladies as a boy and built a new extension to the house, running Plas Newydd as a museum.  This was in turn elaborated by George Robertson, who built his own extension.  Both extensions eventually had to be demolished due to dry rot, but the remaining cottage was saved.  Plas Newydd was eventually sold to Denbigh County Council, which now does an excellent job of caring for it.

The story of Plas Newydd is covered in Part 1, providing a general introduction to the house and its most notable owners.  Part 2 looked specifically at the stained glass.  Although the house is particularly noted for its fabulous carved wood (not yet discussed) and stained glass composites (discussed in part 2) it also features traditional delftware tiles in fireplaces, embossed leather wall hangings, Lincrusta wallpaper and elegant plasterwork ceilings. These make up the subject of this post.

It is not always at all clear which of the various owners added which decorative features.  Even more difficult, dating the different elements is not at all straight forward.  Whilst the stained glass and wood carvings represent a wide chronological range (from the medieval to the late 19th century), the tiles could date from the 17th to the 18th centuries, whilst the embossed leather could belong to the 16th to the 18th centuries.  Lincrusta wallpaper was invented and marketed only from the 1877.  The plaster ceilings are probably Victorian in date, rather than having been imported from older buildings, as they seem to have been made for the rooms in which they are installed.
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Dutch delftware tiles

Fireplace in the Oak room with floral themes in Green and red, with blue corner motifs

The Dutch tiles in the fireplaces at Plas Newydd are sometimes said to have been installed by General Yorke, but it slightly concerns me that the General does not mention the tiles in his Catalogues of 1884 and 1888, and it is possible that it was Mr Robertson who installed them.

Tiles, being ornamental and installed into the fabric of a building, are categorized with other installed decorative arts including plasterwork, wall coverings, decorative stonework, wooden craftwork, and stained glass.  The Plas Newydd tiles include some really lovely examples, showing characteristic themes including sailing boats, windmills, rural scenes and flowers.  Whoever acquired them had a good eye.  The tiles work splendidly well with the medley of other styles, shapes, textures and colours, providing an elegant, cooling and quiet balance to some of the darker and more exotic elements.  Most are blue and white but some have delicate reds and greens to pick out the natural shades of the flowers depicted.

Delftware (“delftware” when not at the beginning of a sentence) is a collective term for tin-glazed earthenware, both functional and ornamental pottery, that became synonymous with the Netherlands.   Although named for the potteries in Delft, which were the first in the Netherlands to produce this particular blue and white glazed earthenware, the style of ceramics takes its inspiration from Italian maiolica, also known as majolica, ware, which was imported into the Low Countries (today the Netherlands and Belgium) in the early 16th century, where it began to be copied.  The relationship between maiolica and delftware is very obvious.  Maiolica had a brighter and more colourful palette but a very similar emphasis on blue, white and small painted scenes.

Delftware is made using a tin glaze.  The importance of this is that unlike a plain lead glaze, which is clear and rather glossy after firing, tin oxide can be added to a lead glaze to provide an opaque, white glaze, which can then be painted with designs and re-fired.  This was a technique imported via the Mediterranean from the Middle East.

It is clear from the variety of corner motifs, and the absence of them in many cases,  that these were not a single batch, but they shared familiar delftware themes  – human everyday activities, rural scenes and shipping. Dining room

Although Delft became the most important centre for tile production, for both local consumption as well as for export, the tiles were amongst the most utilitarian products that did not require specialist techniques to form them and were made at a variety of locations, including Rotterdam.  As well as being highly decorative, they were easy to clean and durable.  The tiles, typically measuring 13cm x 13cm, were commonly used internally for lining walls and fireplaces, where they could withstand heat, and basements and cellars where they were largely impervious to chill and damp.  To ensure that they could withstand these conditions they were fired twice, first at 950-1000 degrees and after they had dried and were glazed and painted, were fired again at c.1000 degrees, which also fixed the glaze.

The Oak Room

The tiles soon became popular in prosperous middle-class homes but, like all fashions that emerged in the upper echelons, eventually trickled down to the general population, finding particular favour amongst the newly wealthy class of prosperous farmers in rural areas of the Netherlands.  Fashions in the countryside tended to lag behind those in more urban areas, meaning that factories continued to produce particular styles some decades after they had been replaced in the homes of towns and cities.

Although delftware is often thought of as blue and white, due to the popularity of this minimalist palette following the import of Chinese blue and white china by the Dutch East India Company (VOC) in the 17th century, a palette of pastel shades was also used.  Although China-inspired scenes were used for a while, there were soon replaced by the classic themes on delftware, including birds, flowers, rural scenery, people (including children) engaged in everyday activities and sea-going vessels.  Corner motifs (hoekmotiefs) became an important part of the overall design in many tiles, and the same motifs appear repeatedly on many of the tiles.  The corner motifs help to provide focus and act as a substitute frame.  Amongst the most popular of these were the ox-head motifs, as shown in the polychrome floral example from the Oak Room.

Different types of ox-head corner motifs. Source: Kamermans 2014

I have no idea what is going on in this scene, but would love to know! Do get in touch if you can explain it! Dining room

As they were easy to transport by road and water, making them an ideal export product, and there was a ready demand for them, tiles became a popular item in England, where they were imported in large numbers.   In the 16th and 17th centuries Dutch and Flemish potters migrated into England to escape religious persecution and began to manufacture delftware pottery and tiles, which they could sell directly to English markets, helping to spread their popularity.  An area of London now known as Potters Fields was named for the Dutch potters who, in around 1620, established the earliest delftware production in England, but others were slightly further afield, such as the 17th century factory established in Edward III’s ruined manor on the eastern edge of Bermondsey on the Thames in the shipbuilding area next to today’s Angel public house.

In the 18th century English potters began to open their own tile-works and this became an increasingly important industry centred on London, Bristol and Liverpool.  Until the middle of the century designs were typical of those from the Netherlands but soon began to become increasingly diverse to suit local demand.  Local production reduced costs, and when Sadler and Green of Liverpool developed transfer printing for tiles from the late 18th century, costs dropped even further, ensuring that delftware spread to lower income households.

 

Fireplace in the library

Detail of the fireplace in the library.  Every tile has the same decoration: a formal flower arrangement in a vase, with fleur de lys corner motifs.

 

A mixture of decorative topics are shown on the tiles in the main bedroom.

Trying to pin a date to any of the tile sets at Plas Newydd is not possible for a non-expert.  The most useful guide to the chronological development of delftware that I have found to date was produced by the Philadelphia Museum of Art by van Dam and Tichelaar in 1984, and provides an excellent overview of how delftware originated and how its popularity was split into urban and rural settings within the Netherlands, with different trends in each. For example, with particular reference to the tiles at Plas Newydd, tiles with frames such as those shown below tend to be earlier than those with only small corner motifs.  Tile thicknesses reduced from earlier tiles that were as much as 18m mm thick to only 6-7mm in the 18th century.  Polychrome examples such as those in the Oak Room were popular in the Netherlands in the mid-17th century but but went out of fashion in urban homes, surviving in rural homes for a while until here too they went out of fashion in around 1700.  Other chronological clues are the themes that made up collections of tiles.  For example, the number of landscapes and pastoral scenes increased at the expense of ships and sea monsters, whilst there was an increase of  wide landscapes, and the production of many more Biblical themes often framed in circles.  Finally, amongst various other clues, the Dutch tile was usually 13mm sq, and this was emulated by English artists, but some manufacturers began to produce 152mm sq tiles for the English market.  However, whether any of this is chronological direction is applicable to trends in English tile art I simply have no idea, and at the moment it is unknown whether the tiles are Dutch or English.

Main bedroom, including rural scenes and two identical floral arrangements in vases, fixed into position side by side.   The tower next to them is also anomalous; the others are all provided with a decorative frame and are rather more painterly in conception

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Delftware pottery continued to be made into the 19th century, and indeed are still made today, but were replaced in popularity towards the end of the 18th century in England by new fashions.  Tiles continued to be used, but English manufacturers in Stoke on Trent and Jackfield began to innovate new styles of tile design, which soon became very popular.  In hearths backings of iron and brick were soon preferred.  At the same time other types of decoration became fashionable on other types of domestic pottery, such as willow pattern.

Dining room

When it became unfashionable delftware was removed and replaced, soon entering the salvage market, making it easy for dealers to scoop up and sell as collectibles.  At the same time, English  imitations of the Dutch examples, remained lower in cost.  There is no reason why General Yorke or Mr Robertson, both wealthy collectors, should not have been able to source Dutch tiles if so desired, but at the same time the more inexpensive and more easily accessible English tiles might have been preferred.
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The Impressed, Gilded and Painted Leather

Detail of the Oak Room showing both carved oak, on the left and gilded and painted leather work on the right, with newer wood components fitted to tie in the wooden section, aesthetically, with the leather hangings.

The ornamental richness of the antique leather wall hangings installed in Plas Newydd by General Yorke are defined by bright colour and ornamental richness.  Sometimes referred to as Spanish leather or gilt leather (Dutch goudleer, Flemish goudleder, and French cuir doré), they are impressed or embossed and painted, and they combine many elements of wood carving, oil painting and tapestry, with themes that were all popular in the 17th century, but in a medium that is far less frequently preserved in British museums and period homes.  General Yorke, in his catalogues of the house dating to 1884 and 1888, puts them in the 16th century, but does not explain why he assigns this date to them.

Parrots, such as the two green ones shown in this scene in the Oak Room at Plas Newydd, were very popular in Dutch art of the 17th century of all kinds, reflecting the exotic discoveries of the Dutch East India Company and representing the excitement of exploration and the luxuries, of which parrots are an example, that they returned to the Netherlands, associated with wealth, prestige and status.

Some of the best work was produced in the Netherlands, where the most accomplished gilt leather craftsmen, such as Martinus van den Heuvel the Younger (c.1647-1711), were recognized and celebrated as masters of the art.  There may have been many more leather wall hangings, also referred to as panels, in the new wing that General Yorke built adjacent to the original Plas Newydd cottage, but the examples that survive in the Oak Room and on the upper staircase are remarkable in their own right, surrounded by ornamental panelling, each distinctive piece retaining a character of its own.  The majority of examples in Britain are actually from the Netherlands, which was the main producer of gilt leather, and even where it was produced in other countries, it was strongly influenced by Dutch examples.

Tapestry and leather hangings were the most expensive of all of the decorative arts used as wall coverings, far more labour-intensive than wood panelling and wainscotting.  Sadly, there are remarkably few easily accessible sources of information about this extraordinarily rich medium. The art work is often glorious, emulating tapestry, embroidery and oil painting, but with the added splendour of the three-dimensional embossing, with often intense colours, including silver and gold, contributing a real sense of  luxury and wealth.  As well as its considerable visual impact, it was also practical, offering a durable layer of insulation.  The V&A adds the interesting thought that in dining rooms it had a particular value over tapestry, as leather hangings did not retain any of the smell imparted by food.  The examples at Plas Newydd demonstrate its value as a form of decorative art.

Gilt leather wall hanging. The Oak Room with a Flemish and Dutch style still life of flowers typical of the 16th to late 17th centuries.

Embossed and painted leather wall hangings became popular in the wealthiest households in the 16th century, first in Europe and then via the Low Countries into England.  Its popularity was rejuvenated once again during the 18th century, when it was particularly influenced by Indian and Oriental examples. The success of Dutch and Flemish gilt leather work is comparable to delftware and oil painting, and like both, there was a large export market for embossed leather.  In situ examples are still to be found throughout Europe and beyond and are an important component of museums specializing in the decorative arts.  Although leather wall hangings were considered to be durable when compared with tapestries, which were vulnerable to insect incursions and damp, their long-term survival rate has not been poor, and what remains represents a tiny percentage of what was produced.

The so-called gilding, which is incredibly convincing, is apparently not gold, but a cleverly devised concoction developed to resemble it:

The shiny surface on gilt leather is not real gold. The golden surface is created by silver leaves coated with an oil-resinous varnish intensely coloured with yellow substances such as aloe and saffron. These ‘gilded’ leather panels are subsequently decorated with fashionable ornamental patterns.  The designs and decorative motives are either directly transferred to the silver leaf (or the gold varnish) with inked wooden moulds, or they are directly impressed on moist leather, after the gilding, with wooden or metallic moulds, adequate to give the surface a more or less sharp relief.  The transferred designs are often painted with covering pigments, but mostly with transparent organic colours, lacquers and coloured varnishes in an oil medium.  [Gilt Leather Society]

The Gilt Leather Society also describes the steps that followed:

Gilt-leathers with a flat surface are further impressed with punches which border and enhance the scenes and motifs, often complete them, and make vibrant the unpainted gold or silver surfaces. The decoration obtained with plates and moulds is repeated skin after skin, or divided over a few skins, which once connected form a continuous design. The assembly of artefacts is completed by sewing or by gluing the decorated skins.

A design reminiscent of the Italian style of grotteschi pioneered by Raphael after the discovery of the Roman wall paintings in the Domus Aurea in Rome

Utterly fascinating. The Netherlands Institute for Conservation, Arts and Science (NICAS) divides gilt leather into three principal types: flat with decorative repetitive patterns, embossed with decorative or illustrative or representational depictions (figures 11-13), and lastly flat with painted scenes.  Although initially following designs developed in textile production, particularly silk brocades, in the 1620s Dutch leather craftsmen began to emboss leather to produce a three-dimensional element to their work, and they began to explore designs that were not derived exclusively from textiles, as described by NICAS:

Designs in the very fashionable auricular style were introduced. Exuberant naturalistic motifs, such as foliage, garlands, flowers, insects, birds and other animals, elegantly covered the whole surface, without a defined orientation. Allegorical or mythological figures were often used, with themes such as the five senses, the four seasons, the four elements and vanitas symbols.  This renewed gilt leather was in great demand, both inside and outside the Netherlands. By the end of the seventeenth century designs underwent a change in style. Patterns became symmetrical, the embossments diminished and subsequently disappeared, patterns again began to mimic textile designs. This reflected the French influence in the decorative arts and in architecture at the time. [Posthuma de Boer et al 2016 (NICAS), p.21]

Detail of floral still life shown further up the page

It seems remarkable that the leatherwork has survived as well as it has, given its inherent fragility over long periods of time, and its construction, which the  Gilt Leather Society describes as “a delicate sandwich of materials.”  Unsurprisingly, given the complexity of production and the resulting costs, gilt leather was gradually replaced by wallpaper after the mid 17th century, undergoing a brief revival in the 18th century.

I have been unable to find any analysis of the leather work at Plas Newydd, so have no idea what sort of date/s could be assigned to them.  All the examples in Plas Newydd are impressive for their richness and detail, although they represent a variety of styles, and possibly span more than one period.  Although leather panels were used in churches and other ecclesiastical institutions, they were also frequently employed in wealthy homes and high status civic settings, with themes appropriate to those contexts, used in a similar way to tapestries and later wallpaper.  There is nothing in the Plas Newydd wall hangings to suggest a religious connection.
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Lincrusta wall coverings

Lincrusta wallpaper in the dining room at Plas Newydd

The dining room at Plas Newydd was remodelled by General Yorke who panelled the room and provided it with its Lincrusta wallpaper, which is not unlike the rich colour of the gilt leather wall hangings in the Oak Room, but was far less expensive and was designed specifically to cover large areas.

In the 1860s Frederick Walton (1834 – 1928) created Linoleum as a floor covering, water-resistant and hard wearing.  In 1877 he followed this success with a patent for Linoleum Muralis (wall Linoleum) but it was marketed as Lincrusta-Walton.  The Lin was from the Latin Linum for linseed, from which Linoleum and Lincrusta were made, and Crusta meaning relief.  It was employed, as the Lincrusta website puts it “from royal homes to railway carriages,” replacing wainscotting, plasterwork and leather hangings, and is still sold today.  Not only was it was a new, attractive and durable solution to decorating walls, but it was water resistant too.  The manufacturing process combines gelatinous linseed oil and powdered wood, which is combined to form a paste that is first spread onto paper and then passed through steel rollers, one of which has the required pattern embossed on it.  At Plas Newydd it does a good job of emulating the leather wall hangings and providing a suitable background for carved furniture.
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Plaster-work ceilings

The main bedroom ceiling

Unlike the stained glass and the wooden panelling, it seems inconceivable that Lady Eleanor and Miss Ponsonby could have afforded even one plasterwork ceiling, but it was certainly not beyond the means of General John Yorke, whose purchase of the house was followed by elaborate additions of his own, including the decorative half-timbering of the original cottage that remains today as well as the addition of an entire new wing.  The same can be said for Mr Robertson.  I have not seen any record of what fitted in either General Yorke’s or Mr Roberston’s wings, so the ceilings in the cottage and the new wing cannot be compared.  Given that most of the interior wood and glass of Plas Newydd was assembled from decorative arts installed at other locations, the first question with the plasterwork ceilings is when were they added?

Removing ceilings from one building and transferring them to another sounds ambitious but was occasionally carried out.  For example, at Emral Hall near Worthenbury (Wrexham), the ceiling, together with panelling and stone carvings, were lifted from a room and transferred in their entirety to Portmeirion when Emral Hall was scheduled to be demolished.   An example from Hyde Abbey House in Hyde in Winchester had been curtailed to fit its new home, making it obvious that it had been transferred from another location because the design had had to be curtailed to fit its new home.  Most of the plasterwork ceilings at Plas Newydd, however, look as though they were designed for the rooms in which they were installed, rather than having been cut out of another building. This means that at least some of the ceilings were probably custom-made for Plas Newydd and probably date to the latter half of the 19th century. Even if this assumption is correct, it is unknown which company might have been responsible for the work.

Ceiling in the second bedroom

In the 19th century a number of innovations were made in the manufacturing of ceiling plaster.  Gelatine moulds were introduced in the mid 1800s, and hessian began to be added to plaster with timber laths to make it simultaneously more light-weight and much stronger. This resulted in a product that was both a lot easier to move from a workshop and to install.  At the same time, the introduction of ornate wall papers created a demand for much simpler geometric ceiling plaster.  Without professional insights into the Plas Newydd ceilings, it is impossible to go much further, except to observe that the plaster ceilings are all very nicely made and consist of several different designs.  The pattern in the Oak Room is repeated in the second bedroom and the dining room, but the examples in the library and the main bedroom are unique to those rooms.  That in the main bedroom is particularly ornate.  If anyone has any expertise in this area and have an opinion about the Plas Newydd ceilings, I would be very interested in hearing from you.
xxx

The library

The library

Final Comments

I have not found anything published on the subject of the Plas Newydd decorative arts that have been covered in this post, so the above information is regrettably very short on details relating to the examples in the house.  If you are reading this and have an opinion about any of the subjects covered here, it would be great to hear from you.

Although the two wings added by the General and Mr Robertson respectively were demolished due to dry rot in the 1960s, the original cottage with all its embellishments has been beautifully preserved, and this provides insights not only into the achievements of Lady Eleanor and Miss Ponsonby but also into types of decorative art that were favoured by their successors and, in the case of Lincrusta, only became available long after the deaths of the ladies.

The sheer intensity and concentration of the decoration, even without furnishings and collected objects, would probably have stunned Elizabethan and Jacobean audiences, and would certainly have impressed 18th and early 19th century visitors, but although every item is divorced from its original context, each individual piece has a very distinctive voice of its own.  The resulting kaleidoscope of colours and textures is remarkable and very satisfying.  An amazing visual experience and, as described in the Visiting Details in Part 1, a great day out.

 

 

Sources

My thanks again to Michael Freeman for the Plas Newydd pages on his excellent Early Tourists in Wales website.

The audio guide for Plas Newydd, free with your ticket, is a useful introduction to all the different aspects of the house as you are walking around.

Books, booklets and papers

Brazil, Helena 2018.  Lincrusta 1877-1887:  The development, designs and character of Lincrusta-Walton.  Unpublished M.A. thesis.  University of Lincoln for the degree of MA by Research, September 2018
https://repository.lincoln.ac.uk/articles/thesis/Lincrusta-Walton_1877_-1887_The_Development_Design_and_Character_of_Lincrusta-Walton/24325975/1

Bostwick, David 1993. Decorative Plasterwork of the Yorkshire Region 1570-1670. Unpublished PhD Thesis, University of Sheffield
https://etheses.whiterose.ac.uk/id/eprint/1895/

van Dam, Jan Daniel and Pieter Jan Tichelaar 1984. Dutch Tiles in the Philadelphia Museum of Art.  Philadelphia Museum of Art
https://ia800201.us.archive.org/18/items/dutchtilesinphil00phil/dutchtilesinphil00phil.pdf

Durbin, Lesley 2005.  Architectural Tiles. Conservation and Restoration. From the Medieval Period to the Twentieth Century.  Elsevier Butterworth-Heinemann
https://www.academia.edu/34465762/Architectural_Tiles_Conservation_and_Restoration

Fleming, John. and Honour, Hugh 1977, 1989 (2nd edition). The Penguin Dictionary of Decorative Arts. Viking

Gapper, Claire, Karen Parker and Edward Roberts 2002.  Elizabethan and Jacobean Decorative Features at Hyde, Winchester.  Proceedings of the Hampshire Field Club and Archaeological Society (Hampshire Studies), 57, 2002, p.59-80
https://www.hantsfieldclub.org.uk/publications/hampshirestudies/digital/2000s/vol57/Gapper%26others.pdf

Kamermans, John 2014.  Developments in Research on Dutch Tiles.  In Susanna Varela Flor (ed.) A Herança de Santos Simōes Nova Perspectivas para o Estudo da Azuleraria e da Cerâmica.

van Lemmen, Hans. 2005. Delftware Tiles. Shire Album

Osborne, Harold (ed.) 1970. The Oxford Companion to Art. Oxford University Press

Osborne, Harold (ed.) 1975. The Oxford Companion to the Decorative Arts. Oxford University Press

Posthuma de Boer, Martine, Eloy Koldeweij, Roger M. Groves 2016. Gilt Leather Artefacts: White Paper on Material Characterization and Improved Conservation Strategies within NICAS, Delft. Netherlands Institute for Conservation, Arts and Science (NICAS)
https://www.academia.edu/32424868/Gilt_Leather_Artefacts_White_Paper_on_Material_Characterization_and_Improved_Conservation_Strategies_within_NICAS_Delft_2016

Pratt, Nigel 2020. Decorative Plasterwork in South-West England, c. 1550-1640, Unpublished PhD Thesis, University of Exeter
https://ore.exeter.ac.uk/repository/handle/10871/121309
Volume 1 https://ore.exeter.ac.uk/repository/bitstream/handle/10871/121309/PrattN%20Vol%201.pdf?sequence=1&isAllowed=y
Volume 2 https://ore.exeter.ac.uk/repository/bitstream/handle/10871/121309/PrattN%20Vol%202_TPC.pdf?sequence=3&isAllowed=y

Wells-Cole, Anthony 1997.  Art and Decoration in Elizabethan and Jacobean England.  Paul Mellon Centre for Studies in British Art / Yale University Press

Veysey, A. Geoffrey and David Freeman 1988.  Plas Newydd and the Ladies of Llangollen. Glyndwr District Council.  (Based on the booklet by Veysey, County Archivist for Clwyd County Council, published in 1980.  Two sections were substantially updated by Freeman in 1988 – the Oak Room and the Ladies’ Bedchamber).

Websites

Adorares
The History and Modern Revival of Spanish Leather Wallpapers
https://www.adorares.com/exploring-european-crafts/the-history-and-modern-revival-of-spanish-leather-wallpapers

British Listed Buildings
Lleweni Hall, including Stables to the NE. A Grade II* Listed Building in Denbigh, Denbighshire
https://britishlistedbuildings.co.uk/300001060-lleweni-hall-including-stables-to-the-ne-denbigh

British Renaissance Plasterwork – The web site of Dr Claire Gapper, based on her PhD research
British Renaissance Plasterwork
https://clairegapper.info/

Building Conservation
Lincrusta-Walton and Other 19th-century Raised Relief Wall Coverings, Building Conservation. By Helena Brazil and Paul Croft
https://www.buildingconservation.com/articles/lincrusta-walton/lincrusta-walton.html
Repairing Lime Plaster Ceilings. By Sean Wheatley
https://www.buildingconservation.com/articles/lime-plaster-ceilings/lime-plaster-ceilings.htm

Brynkinalt Estate
https://www.brynkinalt.co.uk/

Coflein
Emral Hall, Worthenbury
https://coflein.gov.uk/en/site/35805/
Town Hall, Portmeirion
https://coflein.gov.uk/en/site/407060/

Delfts Aardewerk (trans. Delft pottery – articles in English)
https://delftsaardewerk.nl/en
The city of Delft in the seventeenth and eighteenth centuries. By Céline Ariaans, 17th March 2020
https://delftsaardewerk.nl/en/learn/6691-the-city-of-delft-in-the-seventeenth-and-eighteenth-centuries

Driehaus Museum
“The Most Perfect and Beautiful of All Wall Decorations” October 16th, 2016
https://driehausmuseum.org/blog/view/the-most-perfect-and-beautiful-of-all-wall-decorations

Gilt Leather Society
What is gilt leather?
https://giltleathersociety.org/gilt-leather/what-is-gilt-leather/
Gallery
https://giltleathersociety.org/gilt-leather/gallery/

Heritage Plaster Services
Architecture & Plaster Design in the Victorian Period
https://www.heritageplasterservices.co.uk/blog/architecture-plaster-design-in-the-victorian-period

Historic England
Historic Fibrous Plaster in the UK Guidance on its Care and Management
https://historicengland.org.uk/advice/technical-advice/buildings/inspection-and-maintenance-of-fibrous-plaster-ceilings/
Or – https://cadw.gov.wales/sites/default/files/2019-07/Historic%20Fibrous%20Plaster%20Eng_0.pdf

Internet Archive
Catalogue of designs of Lincrusta-Walton manufactured by Fr. Beck & Co., branch of National Wall Paper Co. 1900
https://archive.org/details/gri_33125000661575/mode/2up

The Leiden Collection
Young woman in a niche with parrot and cage
https://www.theleidencollection.com/archives/artwork/GD-105_young-woman-in-a-niche-with-a-parrot-and-cage_2023.pdf

Lincrusta
Home page
https://lincrusta.com/
Brand Story

https://lincrusta.com/about-us/#brand-story

Lincrusta Heritage
Lincrusta-Walton
https://www.lincrustaheritage.co.uk/lincrusta-walton

Homes&Antiques
Tiles of style: why both antique and new Delftware will always be in fashion
https://www.homesandantiques.com/antiques/collecting-guides-antiques/delftware-tiles-collecting-guide

Netherlands Institute for Conservation, Art and Science
Project: Gilt Leather Artefacts
https://www.nicas-research.nl/projects/gilt-leather-artefacts/

Regts Delft Tiles
FAQ
https://www.regtsdelfttiles.com/faq#delfttiles
Where do you still find those antique Dutch Delft tiles?
https://www.regtsdelfttiles.com/blog/where-do-you-still-find-those-antique-dutch-delft-tiles.html

The Stained Glass Museum
Glossary
The Development of Stained Glass in England

https://stainedglassmuseum.com/glossary

V&A
‘Delftware’: tin-glazed earthenware tiles
https://www.vam.ac.uk/articles/delftware-tiles?srsltid=AfmBOoqHATTpRhhTIlBSCGJT3g2_qS8-qt5mh3L7xanNqOlu-Pmp2FG4
Gilt-leather Panel ca. 1650-1670
https://collections.vam.ac.uk/item/O370332/panel-martinus-van-den/

The Victorian Emporium
The Origin of Mouldings, August 4th 2011
https://www.thevictorianemporium.com/publications/history/article/the_origin_of_mouldings?srsltid=AfmBOoqiYBY6zNGjHqpghfsYyUY_xhR4TvZfS4t6S4GfZPrud4jOU-Sf