Category Archives: Days Out

Day Trip: Misericords and other choir carvings at St Bartholomew’s, Tong, Shropshire

Introduction

This time last year I wrote a short 3-part series about misericords in the Chester-Wrexham area, at St Werburgh’s Abbey (now Chester Cathedral), St Andrew’s Church in Bebbington and All Saints in Gresford.  These are all terrific examples of misericords, in really excellent architectural contexts.  On my way back from a short break in Shropshire in October I passed Tong, which I have been meaning to visit for years, so dropped in. Tong is on the A41, just where the road meets the M54, and the church, St Bartholomew’s is literally a couple of seconds off the A41.  It is about an hour’s drive from the Chester area.  It’s a very small, pretty village, and the collegiate church seems disproportionately large, but there was an inhabited castle here, and it was well used in both medieval and Tudor times. The unusual name Tong appears in Domesday as “Tuange.”  Although there is no consensus on the subject, it may derive from a word meaning “fork in the river,” referring to a meeting place of two streams near the former castle.

Lady Isobel and Sir Fulke Pembrugge. Lady Isobel founded the church in 1409 on the death of her husband.

St Bartholomew’s is thought to have been the third church on the site.  It was built by Royal License from 1409, the year of the death of crusader Sir Fulke de Pembrugge, by Lady Isabel Pembrugge, his second wife. It was finished by about 1430.  Lady Isabel established it as a collegiate church, meaning that as well as the church there was a separate building that housed a small community of secular (non-monastic) priests.  There were five at Tong, plus one or two clerks, who were employed to say masses for the soul of Sir Fulke de Pembrugge, in order to reduce his time in Purgatory, as well as prayers for other deceased souls.  The priests also ran a school for village children and a hospital for the elderly and sick, slight ruins of which still survive.  Both Sir Fulke and Lady Isabel are buried in the church in an elaborate tomb, shown above.

The style of the church is Perpendicular Gothic, with the Golden Chapel added 100 years later as an extension in 1510.  It is possible that the arcading in the south side of the nave dated to an earlier, perhaps 13th century church, because the style is different, and could have been incorporated into the new church.  Quite unusually, there are no projecting transepts, so the footprint of the church is not cruciform.  An original porch projects from the nave, whilst on the opposite side a large vestry projects from the chancel.  The rest of the church and its history will be discussed on a future post.

Misericords are “mercy seats,” first employed in monastic establishments, and carved onto the underside of hinged seats in choir stalls.  When the seat is down, it can be sat on as normal, but when leaning up against the back of the choir stall it has a little protrusion on which a monk or nun could prop themselves during some of the long daily offices that were typical of monastic and collegiate life.  Many of these feature elaborate carved decoration.  The earliest ones in Britain were carved in monasteries in the 13th century, and later on they found their way into collegiate establishments, cathedrals and, later still, parish churches.  Whether in monastery, cathedral or church, they could include a variety of subjects, religious, classical, pagan, chivalric and naturalistic.  You can read much more about them on my introductory post on the subject here and my round-up post here, looking at who might have been responsible for the themes chosen, who may have paid for the misericords, why they were contained within the most sacred part of the church and how they might be understood.
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The misericords at St Bartholomew’s, Tong

The stone elements of the St Bartholomew’s choir, including the piscina (shallow basin used for cleaning communion and other vessels) in the sanctuary or chancel and sedilia (stone seat), also in the sanctuary all date to between 1410 and 1430.  The oak choir stalls would have been inserted only after the stonework had been completed, probably towards the end of the 1420s.

There are two sets of L-shaped eight choir stalls, facing each other with the entrance to the choir separating them.  Originally each would have had a misericord and today there is only apparently one missing, with no subsequent replacements, with only some slight restoration work carried out.  There are also with three-light traceried back panels, carved frieze, and desks, as well as carved bench ends, desk ends and carved poppy-heads, all dating to the early 15th century.  The published guide to St Bartholomew’s adds that one of the bench-ends seems to be a much simpler and less skilled example, and was probably a later replacement for one that was damaged.

Most of the misericords are botanical, but there are other themes, some of them natural and some of them apparently pagan, such as the face above.  Pagan faces, or grotesques, are not unusual, but although they are often difficult to interpret. Two show winged angels, one apparently in armour holding a shield, the other holding a book or coat of arms, and another apparently depicts a castle.  These may be references to the family who built the church.  Sir Fulke de Pembrugge, for example, was a crusader, and the family lived in the nearby castle.

 

It is sod’s law that the last of the misericords shown above is the one most discussed in books and is the one that I took three attempts to photograph and still came out dismally.  This is the only one that represents a specific scene: the New Testament story of the Annunciation.  In the middle is a lily growing in a vessel with two blooms and, at its centre, Christ on the cross. This arrangement is flanked on one side by the Angel Gabriel and on the other by the Virgin Mary, each of whom hold pieces of a scroll that records the Angel’s greeting and Mary’s reply.  The supporters may either represent doves of peace or the Holy Spirit.

 

Details of poppy heads (on the tops of bench ends and desk ends). Click to enlarge

There are numerous churches in the Midlands that could have provided the general idea for misericords at St Bartholomew’s.  For a list of misericords elsewhere in the Midlands see Misericords of Midlands Churches page on the misericords.co.uk website.  It is probable that many other misericords were lost when Henry VIII dissolved the monasteries.

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Visiting

Check the St Bartholomew’s Church website for up-to-date opening hours and events that may close it to the public, but at the time of writing it is open daily, and in the summer months runs heritage tours that do not need to be booked in advance.  The church’s post code is TF11 8PW but Tong is almost impossible to miss, just seconds away from the A41 immediately before the M54 roundabout.

When there are no events, it is easy to park on the quiet road outside the church.

There is absolutely tons to see at the church, which is a feast for the eyes.  The 1515 Golden Chapel alone is a remarkable thing with its fan vaulting, but the many other early Tudor monuments are also spectacular.  See the church’s Heritage links on the above site to explore what it has to offer the visitor.  There is also a guide book that you can purchase at the church for £2.00 (cash into an honesty box), at the time of writing, which is great value with excellent photographs and good explanatory text, although it skims over the choir carvings.

If you want to make a day trip of it, nearby is the marvelous RAF Museum at Cosford, around 10 minutes away, and the the small but attractive White Ladies Augustinian Priory, also around 10 minutes away. 

 

Sources

See the end of Part 3 of my original series on misericords for sources on the general subject of medieval misericords.

The St Bartholemew’s misericords are referenced in the following works:

Books and papers

Anderson, M.D. 1954. Misericords. Medieval Life in English Woodcarving. Penguin Books

Anon, 2002. St Bartholomew’s Church, Tong, Shropshire. ISBN 1 872665 59 4.
(Almost no information about the misericords but some background information about the medieval church, to which the misericords date)

Grössinger, Christa. 2007.  The World Upside-Down. English Misericords.  Harvey Miller Publishers

Websites

St Bartholomew’s Church, Tong
https://tong-church.org.uk/
History (very top-level)
https://tong-church.org.uk/history/
Tong’s timeline
https://tong-church.org.uk/tong-parish/timeline/

Historic England
Church of St Bartholomew
https://historicengland.org.uk/listing/the-list/list-entry/1053606?section=official-list-entry

The Medieval Bestiary
Excerpts from Francis Bond, Wood Carvings in English Churches: Misericords (pages 208-214). This text is believed to be in the public domain.  CHAPTER XVII: ON THE USE OF MISERICORDS – NOMENCLATURE
https://bestiary.ca/prisources/pstexts4837.htm

misericords.co.uk
Home page
https://misericords.co.uk/

 

 

Day Trip: The Iron Bridge and the Ironbridge Gorge World Heritage Site

Introduction

The Iron Bridge is the star attraction of the Ironbridge area, the focal point of the UNESCO World Heritage Site (awarded in 1986), and managed since 1991 by the Severn Gorge Countryside Trust, which includes 52 sites, 60 historic structures, 230 hectares of woodland, 25 acres of wild flower meadow, 26kms of paths and 8 kms of bridleways.  This includes at least twelve museums and managed sites, some of which are open all year round, others only seasonally.  This makes the Ironbridge Gorge a splendid place for an extended visit as well as for day trips to selected destinations.

It can be easy to come away with a fragmented view of Ironbridge Gorge whilst driving between the bridge and the different museums and villages.  Once known collectively as Coalbrookdale, the immediate valley area is now divided into Ironbridge, Jackfield, Coalport and Coalbrookdale with outlying attractions in the surrounding area.  However, all areas are united by the underlying geology that was revealed by glacial action and became the source of raw materials for manufacturing in the area, both of ironworks that produced industrial scale projects like the bridge itself as well as decorative objects for home and office; and clay-based household objects such as tiles, and finer decorative china.

The first engineer and entrepreneur to exploit the full potential of the Ironbridge area’s geology for industry was Abraham Darby I who had a small furnace in the area and who in 1709 successfully experimented with carbonized coal, called coke, as fuel instead of charcoal that depended on less volumes of mature woodlands and required much less labour.  Abraham Darby I’s formula for iron was a ratio of 600kg coke to 600kg of ironstone and 250g limestone, all of which were available locally, and produced 250kg iron.  Efficiencies in the iron manufacturing industry were further improved with refinement of coke production and the introduction of steam-powered engines later in the 18th century.
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From the leaflet “Exploring Ironbridge Gorge” showing the key components of the visitor attractions today

The other essential geographical feature was the river Severn, which flows through the Ironbridge Gorge.  The gorge was itself formed by the pressure from a glacier, that sat over much of Shropshire, on the underlying trapped water.  This water, with nowhere else to go,  forced itself out from under the glacier through the soft limestone of what are now named Benthall Edge and Lincoln Hill, forming the steep-sided channel that the river occupies today.  In the 18th and 19th centuries the water from the Severn provided both power, first to water wheels and then steam engines, as well as cooling for many of the machines and as part of many of the industrial processes.  It was also a major transport link between the Ironbridge area, the Bristol Channel and the rest of the world.  Looking at the river today in its wildlife and heritage setting, it is difficult to imagine how much pollution there must have been both in the air and in the water, produced by the furnaces, forges and kilns, as well as the chemical waste.

Source: The Iron Trail, Ironbridge Gorge (leaflet), Severn Gorge Countryside Trust

The Iron Bridge

The building of a cast-iron bridge was proposed by Thomas Farnolls Pritchard 1723-1777), who also designed the prototype.  Up until the building of the bridge, which opened in 1781, most of the traffic across the river was by ferry; the nearest bridge was the medieval Buildwas bridge next to Buildwas abbey, 3.8km upstream from the site of the new Iron Bridge. The connection between the north and south sides of the river was essential, allowing the movement of raw materials, people and supplies.  The bridge was an obvious solution to the problem of a river that was vulnerable to changing levels and seasonal weather extremes such as low levels, floods and high winds.

Thomas Farnollis Pritchard by C. Blackberd c.1765

Thomas Farnolls Pritchard specialized in the restoration of prestigious houses. Although he had built bridges in wood and stone, none had been as ambitious as his Ironbridge proposal, and this was the first attempt to use cast iron to span a gap this wide. the idea was to use a single arch to span the widest section of the river, avoiding piers that would impede navigation.  He sent his proposal for a cast iron bridge to John “Iron-Mad” Wilkinson, an obvious sponsor for this type of innovative project.  Wilkinson in turn discussed the matter with Abraham Darby III, who instantly saw the potential for the bridge not merely as a means of spanning the river, but of marketing his company and the benefits of the Ironbridge area as a whole, at that time known collectively as Coalbrookdale.  A committee was formed to take the project forward.

The only known image of the bridge under construction, by Elias Martin (1739-1818) painted in the summer of 1779

An Act of Parliament was granted in 1776, and shares were soon issued to raise funds. Work began in 1777.  The iron for the bridge was cast by Darby at his works, but there is no record as to which of his three furnace sites was responsible.  It is probable that the work was shared out to all three, spreading the load to ensure that existing and new commercial contracts continued to be delivered.  It is known that wooden scaffolding was employed in the construction of the iron bridge, but the exact process of construction is unrecorded.  The painted inscription on the ironwork that spans the top of the bridge reads “This bridge was cast at Coalbrook-Dale and erected in the year MXDCCLXXIX [1779].”  Ribs were cast in two pieces and joined in the middle.  Observation of the bridge’s construction shows that it was assembled using both metalwork techniques and joinery techniques such as mortise and tenon joints and dovetailing.  The ironwork was flanked by and set into stone abutments.

Once the basic frame was built, spanning 100ft 6ins (c.31m)  the scaffolding was removed in 1779 and a road was constructed over the top and a small toll-house added on the southern side.  The bridge eventually opened in 1781, on New Year’s Day.  Although it was built closely in the spirit of Pritchard’s original plan, several changes were made.  Pritchard did not live to see the bridge completed but his family were duly paid for his contribution.

The bridge had cost a massive £6000, twice the estimate.  Darby had taken on the bulk of this financial burden.  Although he was quick to use the marketing potential of the bridge deploying it as an advertising emblem, and visitors came from all over the world to see it, neither this nor the tolls for use of the bridge were able to make up the substantial shortfall.  Darby was unable to make up his losses and the bridge left him in debt for the rest of his life, with both business and properties mortgaged.

Unlike Buildwas and other Severn bridges, the Iron Bridge  survived the Great Flood of 1795, unlike the medieval stone Buildwas Bridge, proving the durability of a cast iron bridge.  Thomas Telford had repaired the Buildwas bridge in 1779 but during 1795 it was damaged beyond repair and, taking Ironbridge as his model, Telford replaced it with his own iron bridge.

Over the following century repairs were carried out as required, but during the early 20th century its stability was questioned and its demolition was suggested in 1926.  Fortunately, it was decided to save the bridge and was limited to pedestrian use from 1934, and was listed as a National Monument.  In 1950 it passed into the hands of Shropshire County Council.  Substantial restoration work has been carried out since 1972 to stabilize and reinforce the bridge.  It is now in the care of English Heritage.

A footpath runs under the bridge on the Ironbridge village side, allowing a good view of some of the metalwork.

The small town of Ironbridge began to develop in the later 18th century.  Today Ironbridge village is small but attractive, with a row of shops, cafes and pubs lining the road that runs along Severn between Ironbridge and Coalbrookdale, with houses, a massive church and other community buildings climbing the hill above the river in Ironbridge.  I can recommend the ice cream 🙂

The Museums

I have already posted about the glorious Jackfield Tile Museum here, with lots of photos, but there are at least total of twelve museums and related visitor attractions in the Ironbridge area, and I will post about the other four museums that I visited on future posts.  I would have visited the Broseley Pipeworks and the Tar Tunnel, but neither were open, so I plan to visit those when they re-open.  The Darby Houses were also closed.  Nor did I visit Enginuity, which appears to be geared towards children, but actually looks like a lot of fun, if you are child-friendly, with plenty of interactive activities demonstrating engineering principals.  Blist’s Hill Victorian Town just wasn’t my cup of tea, but the recreation of everyday life in 1900 Shropshire sounds like a good initiative.

From the “Ironbridge Valley of Invention” leaflet, 2024

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A have talked about the Jackfield Tile Museum in detail on a previous post.  Don’t miss it.  In the world of museums, this is a rock star.

Part of the Coalbrook China Museum

The Coalport China Museum to the east of of Ironbridge and Jackfield consists of two areas of interest – the displays of decorated china ware made in the local area, and the surviving furnaces in which many of them were made, which you can enter and walk around.  Although the china is worth seeing, partly because it demonstrates the many shapes, textures and patterns that were produced, I found the splendid industrial heritage of this site the most evocative and engaging part of the experience, bringing the sheer vast materiality of these enterprises to life.  This part of the Severn valley would have been full of these furnaces.  There is good car parking.  Ticket prices are on the Ironbridge website, and don’t forget to ask for an English Heritage discount if you  are a member.

The Toll House, free of charge, is set just to the south of the Ironbridge near to the car park, is now a museum of the bridge, telling it story.  This is mainly a matter of information boards rather than objects on display, but is very informative.  It also serves as a ticket office for those wishing to buy family tickets and day passes (although you can also buy tickets on an ad hoc basis when you visit individual museums).

To the east, easily reached by walking along the wide pathway that follows the Severn, is the Museum of the Gorge, also free of charge.  There is a small car park next to it.  The exterior of the building is fabulous, and there are some great internal features, and there are information boards about the history of the building and the conservation work, as well as a selection of reproductions of historic maps of Shropshire.

The Old Furnace at the Iron Museum

Up the hill is the splendid Coalbrookdale Museum of Iron.  The museum captures the essence of the area’s iron production output, from geology and early history via the bridge itself, including some excellent original images of the Ironbridge, via civil engineering equipment to a surprising and elaborate array of domestic items.  On the museum site is also the substantial and impressive remains of the the Old Furnace, some of which has been turned into an indoor feature.  Like the China Museum, this is a splendid mix of museum displays and well preserved and explained industrial archaeology.

Not shown on the above map is the Bedlam furnace, half way between Jackfield and Iron bridge on the north side of the river, which can be viewed from the laybay in front of it and is well worth visiting, partly because although there is little of it left, it was the subject of Philip de Loutherberg’s famous 1801 painting.

“Coalbrookdale by Night” by Philippe Jacques de Loutherbourg, 1801. Open coke hearths give off vivid flames and smoke. Archetypal image of the Industrial Revolution. From a colour transparency in the Science Museum Photographic Archive, CC BY-NC-SA 4.0 Licence.

 

Visiting

Wherever you are, keep an eye open for leaflets, as some of these have some very helpful information, including chronological charts, maps and self-guided trails to some of the features that are beyond the museums.

The bridge

The bridge is open to visitors all year round, assuming that no restoration or repair work is taking place.  The opening times for the toll house, which acts as a museum for the bridge, can be found on the Ironbridge Gorge website.  Extensive pay and display parking for Ironbridge is available on the south side of the river, which allows you to choose how long you are going to stay.  This is handy if you just want to spend a short time looking at the bridge and browsing in the village but also allows you to stay longer if you want to walk along to to Coalbrookdale to visit the Museum of the Gorge museum and up the shallow hill to visit Enginuity and the Coalbrookdale Museum of Iron.

The museums

The Iron musuem

All the Ironbridge Gorge museums are covered on one website – Ironbrige Valley of Invention.   This inexplicably has very few images of what’s on display, and suffers from Russian doll syndrome, with pages buried within pages, but the information on days when the museums are open and closed (changes seasonally) and the opening times are there if you look for them.  Some of the museums are closed completely at certain times of the year (such as the Tar Tunnel and the Broseley Tobacco Pipe Works).

Note that if you are a member of English Heritage there is a discount on ticket prices, but you will need to ask for it.

Other sites to visit in the area

This is a rich area for destinations to visit, including five medieval abbeys a relatively short drive away, a number of National Trust properties and only a little further afield, Shrewsbury makes for a rewarding day out with the abbey church, the excellent Shrewsbury Museum and Art Gallery and the attractive medieval and Georgian architecture.  Not far away is the RAF Museum at Cosford, just outside Telford (my post about it is here), and whilst there, the Church of St Bartholemew at Tong with its lovely medieval choir, its elaborate tombs and the remarkable Tudor chapel and is crammed full of interest and just a 10 minute drive away.

St Bartholemew’s Church, Tong

 

Sources:

Books, booklets and papers

2019 edition (no author or reference number).  Exploring Ironbridge Gorge (booklet). The Ironbridge Gorge Museum Trust Ltd.

Jones, C. 1989. Coal, Gas and Electricity. In (ed.) Pope, R. Atlas of British Social and Economic History Since c.1700. Routledge

Mathias, P. 2001 (second edition). The First Industrial Nation. The Economic History of Britain 1700-1914. Routledge.

Mokyr, Joel 1981 (2nd edition). Technological change 1700-1830.   In (eds.) Roderick Floud and Deidre McCloskey, The Economic History of Britain since 1700.  Volume 1: 1700-1860. Cambridge University Press

Osborne, R. 2013. Iron, Steam and Money. The Making of the Industrial Revolution. The Bodley Head.

Leaflets

Undated leaflet (no reference number). The Ironbridge and Town. The Ironbridge Gorge Museum Trust Ltd.

Undated leaflet (no reference number). The Iron Trail, Ironbridge Gorge. Severn Gorge Countryside Trust

2024 leaflet (no reference number). Ironbridge Valley of Invention. The Ironbrige Gorge Museum Trust Ltd.

Websites

Ironbridge Valley of Invention
Official website
https://www.ironbridge.org.uk/

UNESCO pages for Ironbridge Gorge
UNESCO World Convention
https://whc.unesco.org/en/list/371/

 

Day trip: The chaos of the Avanti train to and from Chester and Euston for “The Great Mughals” and “Silk Roads”

The Reading Room at the British Museum

One of the things I write about on this blog is how viable day trips to specific places actually are.  On Thursday December 5th my friend Helen and I went on a planned trip to London for the day to see two exhibitions and a quick touristy visit to Harrods Food Hall. The exhibitions are described briefly below, in case you are considering attending either and are interested in some insights, but this is mainly a story of an Avanti fiasco.

It’s the first time since moving to this area that I’ve been back to London by train, because on previous visits I took the car.  Virgin was still in charge of the west coast line when I was last traveling by train to visit my parents in the Chester area (when I was living in London), and although people complained about it, I used it a lot and found both the prices and the service very acceptable.  The line is now run by Avanti West Coast Trains.  A single return journey does not provide a valid sample of the service on an everyday basis, and perhaps this was not typical, but on a typically alternating dry-wet English day, not only were both direct trains that we should have been booked on, there and back cancelled, but there were other complications too.  It was a mess. Whether typical or not, this is certainly something to consider when planning a trip by train from Chester to London.

The Avanti Fiasco

A few weeks ago we both went to Chester to book the tickets on Chester railway station, in person, and that’s where the first problem occurred.  We wanted a direct fairly early train, and that limited us to three services – the 0732, the 0832 and the 0920.  Neither of us felt like an early rise for what was intended to be a very full but light-hearted day, so we selected the 0832, with return tickets booked on the 1902.  We learned later that we were supposed to have received a print-out of the travel plans, put none was given to us.  When we checked the tickets for the exact timings closer to the day of travel, we found that we had been booked on to the 0732.  In spite of Helen’s efforts to get our tickets changed, in person at the station, all the bookable seats on the the 0832 were already taken. The person at the station was apparently really helpful and apologetic but we were stuck with the 0732.  When we arrived we noticed that the 0832 had in fact been cancelled.  The passengers were presumably either heading to Crewe on the shuttle, or hanging around for the next 50 minutes because there is no direct train until 0920 (if that too was not cancelled).  On the upside, the train was clean and comfortable, stopping at Crewe and Stafford before arriving into Euston.

Avanti West Coast Train at Stafford. Source: Wikimedia Commons

When ready to take the train home, we returned to Euston with plenty of time to spare, and found that our train, the 1902, had been cancelled.  A station employee suggested that we take the 1833 to Manchester Piccadilly and change at Crewe.  We had to run for it but we made it.  It was absolutely packed but after walking through four carriages of a very busy train to try to find two seats together, we eventually installed ourselves.  The next bit of news, thanks to another passenger, was that no driver was currently available and we would not be leaving until 1900.  There were no announcements to this effect in the half hour that we were sitting there, so my thanks to that passenger for the information.  A few minutes after 1900 we slowly pulled off.  Nearing Crewe, having lost another 15 minutes en route there was an incredibly garbled announcement about people wanting to go to Crewe and Holyhead that involved platforms 5 and 6. No Avanti personnel came through the train, so there was no-one to ask for clarification.

We opted for platform 6 and once we had left the train at Crewe crossed the foot bridge and found the platform.  The overhead sign was reassuringly marked for Chester, leaving at 2103.   Just minutes before it was due to arrive there was an announcement to say that it was now coming in on platform 11, so we were again legging it along the platform towards the stairs to locate another platform (thanks very much to the knowledgeable fellow traveler who pointed us in the right direction).  We got back to Chester in the end, at something gone half past 9 (even that leg of the journey was late), rather later and much more stressed than we had planned.

In practice, both of the trains that we should have been on were cancelled. We were booked onto the wrong train on our outgoing journey, and on our return journey, instead of travelling direct to Chester in booked seats, we had to take pot luck on being able to sit together, and were forced to change and wait at wet and windy Crewe, adding yet more inconvenience to an already tiresomely unsatisfactory experience.

It is not yet over.  There is now the hassle of seeing if we can negotiate for some form of compensation.  I’ll update this post when the outcome has been decided.

 

The Great Mughals: Art, Architecture and Opulence at the V&A

This is a lovely, informative and eye-opening exhibition if you are in London before the 5th May 2025.  It has been on since November 9th 2024.  I didn’t take my camera so please note that all the photos below were either from the V&A website or were taken by Helen Anderson on her iPhone (see captions).

The great age of Mughal art lasted from about 1580 to 1650 and spanned the reigns of three emperors: Akbar, Jahangir and Shah Jahan. Hindu and Muslim artists and craftsmen from the northern regions of the Indian subcontinent worked with Iranian masters in the masculine environment of the royal workshops. Their very different traditions were combined to produce a radically new, and rapidly evolving style of art for the court. (V&A)

The exhibition covers the art of the reigns of three successive rulers on the Indian subcontinent.  Under each emperor the empire expanded and the resulting wealth funded a rich output of artistic work, including paintings, manuscripts, floor coverings, tiles, clothing, glass wear (including rock crystal) metalwork, jewellery, and other objects that made versatile use of gemstones and other raw materials such as mother of pearl and decorative stone.  A gold-hilted dagger and scabbard, for example, are studded with 1685 rubies This is very much the output of power and wealth.  The love of vibrant colour and glowing textures shines throughout.

Akbar’s entry into Surat in 1590-95. Source: V&A museum number IS.2:117-1896

Although it is a celebration of natural beauty, the overarching message is one of luxurious court living with its taste for the exotic and the religious all overlaid with by the idealism and expansionist determination of three imperial rulers.  Jahangir’s name means “World Seizer”, ahd he gave his son Khurram the title Shah Jahan, meaning “King of the World,” leaving no doubt that this is a story not merely of art and the skilled craftsmen that created it, but of political and territorial ambition.

The most astonishing thing, apart from the beauty of the artwork, is the sheer number of influences that were at play, producing a rich variety of styles and motifs.  Each region had its own characteristic approach to art and craft, as well as its own cultural motifs, but these were also mingled over time to create new portfolios of idea and expression.

The exhibition also includes pieces that express the influence of European ideas and art works on Mughal work.  The presence of merchants, diplomats, and Christian missionaries sometimes created a blend of Mughal and European concepts in art.

Each of the items, and the paintings in particular, reward examination on at least two levels: the overall subject matter on display, and then the individual details that make up these scenes. There are layers upon layers of patterning and motifs contained within the larger narrative, and each individual person, animal, bird, plant and building is a work of art in its own right.  This is clearly seen in the multiple layers of action, pattern and detail in Akbar’s entry into Surat above, and the glorious Squirrels in a tree, below. The sheer exoticism of some of the religious personalities are marvellous in their conceptualization.  As history, they also reveal a lot about court life, activities and and taste, and how extravagant and sensuous this all was.

by Abu’I-Hasan and Mansur. British Library Collection. Photograph by Helen Anderson, who holds the copyright

Rock crystal cup  studded with precious gems and kingfisher feathers, c.1620. Photograph by Helen Anderson, who holds the copyright

The rock crystal cup is an astonishing example of how different raw materials can be drawn together to produce a work of both breathtaking beauty and elaborate luxury, which can be enjoyed both as a single item and for its individual parts.  The rock crystal is set with rubies, emeralds and dark blue glass.  On the interior, the turquoise is provided by kingfisher feathers sealed under slithers of rock crystal, and the reverse sides of some of the stones are painted with tiny faces.   In spite of the luxurious components, all framed in gold, it miraculously conveys delicacy and charm rather than tipping into excessive ostentation and gaudiness.

Rock crystal cup showing interior with painted faces and kingfisher feathers, c.1620. Photograph by Helen Anderson, who holds the copyright

Some pieces seem much simpler at first sight, but contain such elegance and sophistication of design, form and shaping that they too sing out.  The wine cup of Shah Jahan is a particularly fine example of simplicity of concept and intricacy of design.

Wine cup of Shah Jahan, 1657. Source: V&A museum number IS.12-1962

This was a very well thought out and curated exhibition, making good use of the space in the several rooms and providing excellent information throughout.  It was quite busy at 1pm on a Thursday afternoon, but there was no sense of having to queue to see an item.  Whatever your taste in art, I would say that this is a must-see exhibition, because the quality of the objects is so high and the emphasis on natural beauty is delightful.  It is on until May 5th, and if I make it back to London before then, I will certainly visit again.

Man’s hunting coat with delicate colouring and splendid detail. Source:   V&A  For 23 more images see the V&A website

There is an excellent background to the history of this period on the V&A website, accompanied by many images from the exhibition, at:
https://www.vam.ac.uk/articles/the-arts-of-the-mughal-empire

Visiting details are on the V&A website here:

Photos are permitted without flash.

Gold thumb ring set with emeralds and rubies and enamelled on the inside, 1600 – 50, Mughal. V&A Museum no. IM.207-1920. Photograph by Helen Anderson, who retains the copyright


Silk Roads at the British Museum

Rather than a single trade route from East to West, the Silk Roads were made up of overlapping networks linking communities across Asia, Africa and Europe, from East Asia to Britain, and from Scandinavia to Madagascar. This major exhibition unravels how the journeys of people, objects and ideas that formed the Silk Roads shaped cultures and histories. The Silk Roads were in use for millennia, but this visually stunning show focuses on a defining period in their history, from about AD 500 to 1000. (British Museum)

The Silk Roads exhibition at the British Museum began on 23rd September 2024 and runs until February 2025.  Both Helen and I had reservations about it, each slightly different.  These are my thoughts.

Tang Dynasty Horse

First, this was very busy at around 3pm on a Thursday afternoon, and the exhibition’s organization does not make the most of the space, which was not as extensive as I had expected for such a widely advertised event.  Glass display cabinets only face one way, which does not help to break up the bunching of groups of people in front of them.  If the objects had been visible and labled on both sides, it would have been much easier to get a view of them.  Instead, it was a matter of queuing painfully slowly until visitors had read the signage or listened to the running commentary in their smartphones.  The alternative was to dash between display cabinets as they became available, which I did, but completely breaks down the narrative value of the signage.

Section of a wall painting from the palace of Varakhsha Uzbek, c. AD730, showing a hero on an elephant fighting wild beasts. Collection of the State Museum of Uzbekistan

Because the silk roads cover a very wide area, and this was quite a small exhibition, there is not a great deal of connectivity between the objects on display,  and there is a great deal of variety, meaning that the information boards are essential to tie everything together.  This means that you really have to read the information boards in the order in which they are displayed to understand the role of the objects in the exhibition. The main problem was that it was far too busy at 3pm on a Thursday afternoon, with long slow crocodile queues of people trying to see objects and related signage.  An earlier or later time might have made the exhibition a far more enjoyable experience.

As well as the cultural-artistic aspect of the story, I had been hoping to learn more about the silk roads themselves, with the objects used to illustrate the commercial history of how the trade in silk operated and why it became so important, but there was very little on the subject.  It was not about the silk routes themselves, focusing instead on how these routes lead to the dispersal of objects, religious ideas and technical skills over large areas, mainly between east and west.  The narrative on the information boards does a good job of conveying the latter, if you are able to read them in the correct order, and there are some helpful maps.

To me, the narrative drawing all these objects together around the silk roads theme seemed rather forced. It felt more cobbled together than elegantly thought through, but as busy as it was, there were some very fine pieces on display, and if you see this as something of a kaleidoscope, an impressionistic view of the silk roads and the items and ideas that moved along it, there are some really nice individual pieces to enjoy.

For a more positive and much longer review see Jonathan Jones on The Guardian website gives The Silk Roads a big thumbs-up,  There’s also a good and positive overview by Josephine Quinn on The London Review of Books.

The British Museum’s own introduction to the exhibition can be found here:
https://www.britishmuseum.org/blog/beyond-sand-and-spices-introduction-silk-roads

Visiting details are on the British Museum website here:

Photos are permitted without flash.

Funerary banner of a high-ranking Uyghur, perhaps a royal minister, named Kara Totok, wearing horse-riding attire. Museum fur Asiasfische Kunst.


Final Comments

Pilgrim vases from Abu Mina in Egypt AD 480-650. The one on the right is from Alexandria in Egypt; the one on the right was found in Kent. Both are in the British Museum collection (on show in the Silk Roads exhibition)

The booking of exhibition time slots makes the risk of train cancellations a more complex logistical factor than it should be.  Nowadays time slots for an exhibition are standard, and it clearly makes sense to give yourself a lot of wiggle room unless you are a paid-up member of an organization that allows members to enter without booking a slot.  Although most permanent collections (as opposed to temporary exhibitions) do not require you to book, the Courtauld Institute collection at Somerset House on The Strand is splendid but their website says that they will only let you visit their permanent collection with a booked, timed ticket.  I did email them to question if this was really the case, but they did not reply.  So I would suggest that after checking your destination museum or gallery, you book your train with a lot of wiggle-room built in.

If you have never visited the Food Hall at Harrods, it’s a fun destination at Christmas.  The prices are eye-watering, but as well as being stuffed full of indulgences, luxuries, it also stocks things that are very difficult to find elsewhere, and is a wonderful piece of pure tourism.  For a particular celebration I had wanted to pop in for white asparagus, which I cannot source up here, and snaffled the last pack that they had.  But after that vital piece of semi-sensible shopping, we then wandered through all the different rooms in the food hall, enjoying the beautiful displays, the fabulously packaged items and largely resisting the considerable number of temptations.

In spite of Avanti’s cancellation of both of the direct Chester Euston services that we chose, (which resulted in no seat bookings and the requirement to change at Crewe), it was a really good day and next time I will know that whatever I am / we are planning to do in London the best policy is to assume that the train service will go wrong, that Crewe will be involved even when you have tried to book a direct train, and that exhibition ticket slots need to be planned accordingly.

Good luck and enjoy!

Dale Chihuly’s contemporary central glass sculpture under the dome at the V&A

Sun and Fire – Life and death at the dawn of history. Shrewsbury Museum and Art Gallery, 2/11/24 – 30/04/25

This looks like a must-see exhibition at the Shrewsbury Museum & Art Gallery. On my to-do list:

Sat 2 Nov, 2024 – Wed 30 Apr, 2025

From the museum’s website:

Experience life in Shropshire between 4500 and 2000 years ago. That’s roughly the time from 2500 BCE until the Romans invaded Britain in 43 CE.

Before the Romans came, people in Britain didn’t use writing. That means there’s a lot we don’t know about them. But they left many objects and other traces in the Shropshire landscape and by examining these closely, we can try to work out what their lives were like. Come and see how we can tell that heat was vital to them. Find out how they used fire to make beautiful and useful objects, to cook and to cremate their dead.

Explore our interactive exhibition and learn how we once celebrated the sun with huge stone circles and bright gold objects. We can’t be sure why they did some of these things. We can only guess what they thought and believed. But we do know that in lots of ways these people were like us, with bodies and senses like ours. They felt the heat of flames on their skin and the sun’s warmth on their faces. Their lives were full of sensations, sights, sounds and scents.

Full details, including opening times and ticket prices on the Museum’s website at:
https://www.shropshiremuseums.org.uk/event/sun-fire-life-and-death-at-the-dawn-of-history/

Day trip: The Jackfield Tile Museum, near Ironbridge, Shropshire

 Introduction

Craven Dunnill and Co

At the top of my to-do list for my short break to Shropshire in October was the Jackfield Tile Museum.  I wanted to see all the Ironbridge area museums themed around the Industrial Revolution, and managed to do so, but I have a great love of tiles, and since I moved up to this area have been dying to visit the museum in the village of Jackfield, next to the river Severn.  It was even better than I had expected.  To get the most out of this museum, you have to really love Victorian and Edwardian design, because this is a celebration of the tiles produced during the late 18th, 19th and early 20th centuries, but if you do, it is a superb experience.

The museum is beautifully thought out, very well lit, and the tiles are presented in a way that allows them to be appreciated and understood not only as designs, but as the products of specific manufacturing processes, as the result of industrial innovation and as the output of very proficient commercial drive.  It is amazing what went in to making tiles and mosaics and turning them into a commercially viable product for both private homes and public buildings.

Craven Dunnill and Co

As well as original display cases and tile arrangements that show how the tiles were arranged to show to potential buyers, there are rooms showing development in artistic and craft styles (the Style Gallery) and reconstructions of entire rooms that used tiles as the major component of their decorative schemes.  There are also reminders that the tile-works also made plates, vases and other decorative items.  The museum also holds the John Scott Collection of tiles.

The impressively long 1872 building, the original Craven Dunnill and Co tile-works, is occupied partly by the museum and partly by a working tile-works.  Today’s Craven Dunnill is a successful commercial venture building on the successes of its 19th century predecessors, a very nice link between the building’s heritage and its present manufacturing activities.

Craven Dunnill and Co

Apologies for some of the photographs.  There is excellent lighting in the museum, but this sometimes makes it difficult to photograph without reflections, and many of the photographs have big patches of bright light on them.  Some of the angles are a bit odd too, as I tried to lean away from the reflections.  It didn’t help that I was in a bright fuchsia-pink coat, which reflected in the display cabinet glass!

Visiting details (with links to opening times, ticket prices, and parking details etc) are at the end of the post, as usual.

The length of the building reflects the way in which tiles were produced via a series of stages from east to west, from preparation of the clay to the finished product

The museum is arranged into different themed areas, which explain both different aspects of the Jackfield tile-works itself and the development in the 19th century of tiles and how they were marketed and sold, and what sort domestic, commercial and public locations they adorned.

Entrance, showing replica of one of the Craven, Dunnill and Co commissions

 

 

 

 

 

 

 

 

Introductory Gallery

One of the original 19th century floors of the Craven Dunnill and Co tile-works, where prospective customers entered to view tiles in the trade showroom.

The self-guided tour starts with information boards describing the background to the tile industry and its commercial development from the 17th century, when the area was famous for its clay tobacco pipe manufacturing works at Broseley.  By the 1720s there were several small potteries in Jackfield, taking advantage of locally available raw materials and the proximity of the river for power and transportation.  There had been a pottery on the Craven and Dunnill site since 1728.  The railway arrived in the valley in 1862, with a siding for Jackfield and stops at Coalport and Ironbridge, improving connections and the speed with which products could be shifted to market.  The expansion of local industries followed, and two of the largest Victorian tile factories in the world were built next to the railway:  Craven, Dunnill and Co in 1875 and Maw and Co in 1883.  Tiles were valued not only for their decorative value but, in a period that was just getting to grips with the importance of hygiene, were easy to clean.  By 1881 Craven Dunnill and Co had 94 workers including 53 men, 15 women and 25 youths.

Craven Dunnill and Co

Mosaics on the stairway up to the the trade showroom, displaying the skills of the tile-works

Craven Dunnill and Co

Craven Dunnill and Co

The Trade Showroom

The first gallery, The Trade Showroom, is the display area of the Craven Dunnill and Co. tile-works, where architects, interior decorators and their customers could view catalogues, but could also see samples of the company’s tiles wherever they looked.  Today’s layout preserves one of the company’s original display cabinets, and the tiles on the walls, including floor and wall tiles, are based on images of this room as it was in the 19th century.  Display cabinets in the middle of the room show other aspects of the company’s operations.  On this floor there are also reconstructions of the offices that would have existed in the building in the Victorian period, with recordings that you can listen to, capturing accounts of personal memories of the tile-works in the past.

On of the original display cabinets

 

A design book by Owen Gibbons from 1881. Gibbons and his brother taught at the Coalbrookdale School of Art, producing many tile designs

Mosaic cutter

 

Style Gallery

The Style Gallery offers a eye-dazzling view of the sheer number of fashions in tile design that trended during the Victorian period.  It is a reflection not only of how the Victorians were interested both in referring to and interpreting the familiar past, and reinventing the present but of how some of these styles employed imagery from the Far East and and the Middle East.

Both companies used well-known designers for some of their output, but much of the design work was done by in-house designers, some of whom were secured from the Coalbrookdale School of Art.  This was a rare opportunity for women to enter industry as skilled artisans.

 

William de Morgan

Examples from a series of 7 Art Pottery vases by Walter Crane for Maw and Co, 1889

 

Tiles in Everyday Spaces

This area of the museum is superb, recreating some of the real-world contexts in which tiles manufactured were employed.  It was great to see the Covent Garden tube station recreation, because that was my tube station for several years when I worked for a company on Long Acre.  And if I could have had a glass or two at that wonderful tiled bar, what a great destination that would have been!

Butcher’s shop, Ripon by Alfred Potter for Maw and Co

Washstand by Maw and Co., c.1883

Long Gallery

The Long Gallery is elegantly displayed and beautifully designed, showing both sides of individual tiles, and demonstrating the variety of methods and techniques as well as styles and designs manufactured locally.  Each of the displays shows a different decorating technique accompanied by tiles, with both front and back display, that illustrate that particular technique or method.

 

From the Long Gallery to the John Scott Gallery

Between the Long Gallery and the John Scott Gallery is a corridor with views into the historic mould store, and a panel on the corridor wall consisting of more historic moulds.  These all have relief patterns that were drawn on and then hand-carved.  To make the tile, the clay was pressed or poured into the mould, and then fired.  Once it had cooled it could be glazed, before being fired again.  The ones stored here are part of the commercial and industrial heritage of Maw and Co and Dunnill Craven and Co.

 

 

John Scott Gallery

Part of a six-tile panel showing a peony design, attributed to Kate Faulkner, Morris and Co., 1880s

Slightly anomalous, because this is a collection that does not relate specifically to the Ironbridge area, this gallery displays the collection of John Scott, who began collecting tiles in 1968 and continued until he died in 2020.  His collection, gifted to the museum in 2013, includes over 1700 pieces, of which an elegant portion are displayed here.  I really liked his statement, shown on one of the information panels, that he collected only what he both liked and could afford.  He was collecting for his own pleasure, not to build an illustrious collection.  By the time he died, his collection had become a remarkable reflection of the history of tile design and manufacturing.
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Uroboros, sometimes signifying eternity. By C.F.A Voysey. Pilkington

 

William de Morgan

 

One of six panels designed for Membland Hall, Devon. William Morris and William de Morgan 1876

Fish and water lilies. Relief-moulded tile panel design by C.F.A. Voysey, Pilkington

Art Nouveau tile panel by John Wadsworth. Minton Works c.1910. The repeat is achieved with just one tile.

Exterior buildings

Once you leave the museum, you will walk out through some of the original buildings that supported the works, including the massive kilns and storage facilities.  From here, you can re-enter the museum to visit the gift shop and the cafe before leaving.

 

When you leave, the church next to the tile-works is well worth a look, with a partially tiled interior.

Final Comments

All of the museums in the immediate Ironbridge area are well thought out and beautifully presented, and I enjoyed them all enormously.  The Jackfield Tile Museum was the one that most closely demonstrated domestic and commercial artistic tastes throughout England.

The museum offers an impressively detailed insight into multiple aesthetic tastes captured by Victorian tiles and mosaics, showing dozens of them to ensure that visitors are able to appreciate the sheer versatility and exuberance of Victorian taste.  Seeing the tiles built into pieces of furniture, and used to create entire spaces like churches, bars, bathrooms and the Covent Garden tube station brought the tiles to life, showing them both as aesthetic decisions and practical architectural applications. 

Even though the visual impact of the tiles was always going to steal the show, the museum does not neglect explanations of the really fascinating history of the local tile-works, the development of the manufacturing technologies that went into creating tiles and mosaics, and details about the commercial challenges involved in the marketing and sale of both.

I really loved it.


Visiting

Be careful with the opening days, because when I visited it was closed on Monday and Tuesday, but these days, and the times, change depending on the time of year. If you are intending to visit other museums too, it is worth checking out if they are open at the time of year of your visit.  The Broseley clay tobacco pipe works, for example, was closed for the autumn-winter season, which was disappointing.  You can find prices and opening times on the museum website here, and if you want to see other museums too there is a page with all the opening times in the related museums here.

If you are a member of English Heritage be sure to hand over your card, whether asked for it or not, to obtain a 15% discount.

There’s no guide book, which is a shame.

Jackfield Museum has a car park, which is chargeable via some sort of online arrangement that is loosely described on the website here.  I was staying nearby so walked down to the museum and didn’t need to get to grips with the parking system, but I suggest asking at the ticket desk if you have trouble with it.

Nearby there’s an excellent pub called the Black Swan with tables overlooking the Severn outside, and a cosy, friendly interior with excellent pub food.  It has a really super, mellow atmosphere and is a two-minute drive away, with plenty of free parking.  It has no website but it has a Facebook page and if you Google it, the phone number will come up.  It is quite small, so best to book by phone or in person.

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Day Trip: The RAF Museum Midlands at Cosford, near Telford

Sopwith 1 1/2 Strutter (replica) in Hangar 2

Even if aircraft and aviation history are not really the first things that spring to your mind when you are looking for a museum to visit on a day out in the general area, the RAF Museum at Cosford offers a thoroughly absorbing experience.  Aeronautical development has progressed so rapidly since the early 20th century that the first engineers and pilots might well find all the new innovations, capabilities and capacities that are on display at the museum fairly miraculous, and these have been significantly surpassed by much newer models.

This was my third visit.  The first visit was with my father who as a school boy at Calday Grammar on the Wirral had loved being in the Air Cadets, and went on to do his National Service in the RAF.  The second was with a friend whose father had served as a  Flight Engineer from before his 20th birthday during the Second World War, working and flying on Avro Lancasters.  Both my father and my friend brought away very personal experiences of the museum, but even without  these intimate connections, the RAF museum at Cosford is a rich journey into aeronautical history.  There is splendid innovation, superb technology, surprisingly aesthetic appeal and, in some cases, the sheer immensity of some of these vast monsters.  The full-life biographies of the aircraft themselves are themselves compelling, but the museum also tells dozens of stories about the people whose lives were embedded in the RAF, as well as in commercial travel, both in times of war and peace.===
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Hangar 4. Mikoyan-Guevich “MiG” 15bis.  Single seater jet intercept fighter, Russian-designed and notable for its use in Korea where its superior performance came as a shock to American pilots.  Maximum speed 688 mph. 1949-1970s

The aircraft are not exclusively British. There are American, German and Russian planes, as well as those built as joint enterprises.  The information boards compare and contrast them with contemporary British aircraft that they came up against, in terms of maneuverability, speed and technical specifications.  As well as planes there are also a couple of helicopters, staggeringly massive things that don’t seem even remotely aerodynamic, as well as some supporting ground vehicles including tanks, cars and aircraft tugs.  Although less obviously comprehensible, the range of aircraft engines on display also contributes to the story of aviation and its development, with information panels explaining how the engines improved the viability of aircraft.

Hangar 4. Hawker Siddley Vulcan in the foreground. A fabulous-looking long-range medium delta-wing bomber that was eventually converted for use as an air-to-air refuelling tanker

The focus on aircraft is not exclusively military.  Although there are a lot of those, several of the planes on display were commercial airliners of different sizes, built for carrying passengers, and the history of some of these early pioneers is well explained.

The museum is immense, taking up four gigantic hangars, each one with its own particular themes.  Although each of the Hangars is themed, there are some aircraft that don’t fit neatly into the themes, allowing for the inclusion of a lot of variety throughout all the hangars.

Bristol Britannia 312 turboprop aircraft known as The Whispering Giant due to is comparatively quiet engines. It first flew in August 1952. Due problems with the turbine engine less than 90 were made and sold to both civilian airlines, like the now defunct BOAC passenger carrier, and the RAF.

The Hangars

It is worth taking some time before you start your tour to have a look at the wall maps in the reception area, which provide details of how the different hangars connect. The numbering of the hangars is a little counter intuitive, because the first of the four that you visit is Hangar 2 (H2), then Hangar 3 (H3), then Hangar 4 (H4) and the last hangar that you visit is Hangar 1 (H1). The maps are dotted throughout the hangars but in order not to miss anything it is a good idea to sort it all out in your head in advance.  It is easy, for example, to completely miss the second hangar on your visit, because it is connected to the first hangar that you reach via two small doors that are relatively unobtrusive.  There is a guide book that has a copy of this map, copied below.  More visiting details are at the end as usual.

The site map from the Souvenir Guide (2024, Royal Air Force Museum), page 72

Hangars 2 and 3

The first hangar that you visit is Hangar 2, or H2.  To reach Hangar 2 the route takes visitors outside, passing between three magnificent aircraft, each with information boards, before passing a fourth, the innovative, versatile and very successful PBY Catalina flying boat and amphibious aircraft, at the entrance into Hangar 2.

On the other side of the door is a gallery dedicated to stories about RAF experiences between 1918 and 2018, before you pass into the hangar itself.

1940 wooden emergency exit hatch from the cockpit of Hawker Hurricane P2798 showing the cartoon cat Figaro, the personal marking of Wing Commander Ian Gleed, pilot and Second World War fighter ace

The function of the RAF, the world’s first independent air farce, remains unchanged across a hundred years: its mission is to defend the UK, to attack if required, to support in times of humanitarian crisis and to move people and equipment quickly across the world.

Like the other small galleries in the four hangars, this displays information about the immense variety of men and women who have served and continue to serve, with the vast range of skills that are required to make this military machine function. They also display the objects that related to those people, both formal and very personal.  This is an excellent way of using objects to connect people to their personal biographies and their official careers and the honours they were awarded.  Be sure to enter H3 from one door and return to H2 via the other so that you visit both galleries.

Page from the Souvenir Guide (Royal Air Force Museum 2024, p.32) talking about some of the highly personal measures that RAF personnel took to help them face the tasks before them.  Objects like these are just as much a part of RAF history as the aircraft in the museum

The main hangars in H2 and H3 focus on War in the Air and Test Flight, a mix of wartime and post-war aircraft.  Some of those on display are such icons that it is almost impossible not to reach out and touch.  In the First and Second World Wars, many planes were employed before it was possible to put them through their paces before they were needed in combat, and they were essentially put to the test in active service.

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The iconic Spitfire MK1, the oldest surviving example

 

The Boulton Paul Defiant was vulnerable to Luftwaffe fighters. Instead of being withdrawn from service, these were painted black and moved to night operations, although they were eventually withdrawn altogether.

 

TheGerman Junkers JU-88R-I

Although it is  not possible to convey the sheer immensity of the Avro Lincoln, it is an absolute giant of a thing.  Its design was based on the Lancaster, but although it was too late for a combat role in the Second World War, it served the RAF until 1963, long after the first jet engines had come into use.  Cosford doesn’t have a Lancaster, but this is an imposing creation in its own right.

An Avro Lincoln, giving no impression in this photograph of how massive it truly is

After the Second World War significant investment was made in developing technologies to provide specialized requirements, and testing became increasingly important.  Whilst some aircraft took on important roles in the RAF, others either failed to make it into production or were significantly modified before they were adopted.  The history of aircraft is as much about those that failed, or were not entirely successful, as it is about those that became either fundamental icons or invaluable workhorses of aviation history.  It is this mixture of aircraft biographies and narratives that define Hangars 2 and 3.

 

British Aircraft Corporation TSR2, Combat Prototype

Details of the British Aircraft Corporation TSR2, Combat Prototype

BAe Experimental Aircraft Project

 

Hangar 4

H4 is next, a soaring modern building themed around The Cold War.  It is a truly spectacular building in its own right, both outside and in, a functional and striking space for displaying a huge number of aircraft to best advantage.  This is all about a new generation of fighter and surveillance aircraft, missiles and drones, as well as support vehicles.  Entered from H2 at ground level, you find yourself confronting aircraft overhead, on the same level and below, with lifts as well as stairs to get down to the the lower level.  One of the novelties, apart from the aircraft overhead, is being able to walk along the gallery and view some of the vast machines that are sitting on the lower level face to face.

It is a magnificent visual display but as in the other hangars also has plenty of information about why each type of aircraft was built, and what makes them unique, plus information about the men and women who worked in these different contexts.  At the same time, it addresses the important and often vexed subject of conflicting ideologies and why such ideologies erupt into military action, making military assets a necessary aspect of modern life.  The focus is, as the name of the hangar indicates, the Cold War, and the opposing ideologies that resulted not merely in defensive strategies but also in both armed conflict and, in an attempt to reduce the likelihood of war, such initiatives as the North Atlantic Treaty Organization (NATO).
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The Vickers Valiant of 1955, designed for nuclear strikes, and withdrawn form service in 1965. Group Captain Ken Hubbard, caption if Vickers Valiant XD818 remembers its first drop of a British thermonuclear bomb with the resulting mushroom cloud “a sight of such majesty and grotesque beauty that it defies description.”

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Douglas Dakota

The Lightning, the first RAF fighter capable of flying at twice the speed of sound, but with short operational range

Details of a personalized Handley Page Victor, which entered service in 1958

Sikorsky MH53 Pave Low long range combat, search and rescue helicopter

Sikorsky MH53 Pave Low interior

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Scottish Aviation Twin Pioneer light transport

 

Hangar 1

The last of the hangars, H1, is themed along the lines of Transport and Training.  Transport of equipment, personnel and supplies is a major element of airforce logistics, and aircraft designed specifically for these tasks may be either passenger carriers or sometimes gigantic warehouses on wings designed to carry whole platoons or heavy armoured vehicles and armaments.  Training aircraft may be tiny by comparison with some of the vast aircraft in tis hangar, used for acclimatizing trainee pilots and building up the skills of both trainee pilots and other air and ground crew, including engineers.  This hangar also has an excellent display of engines, which also required the training of aircraft engineers, giving insights into the anatomy of these power houses propel aircraft off the ground and keep them in the air.

Fairchild Argus II light transport, which entered service in 1932

Hawker Siddeley Andover E.3A. Originally designed as a transport aircraft, it was converted to carry out calibration duties on radar and radio navigation aids

Percival Pembroke, which entered service in 1953 for light transport and communications and was withdrawn only in 1988

Hawker Siddeley Harrier GR.3

If the size of the Lincoln was the first of the aircraft to blow my mind, the Armstrong Whitworth Argosy is seriously humongous.  It is impossible to convey its scale, with its twin tails and its enormous wing span. It entered service in 1962 and could carry up to 69 troops or 13,000kg of equipment including armoured vehicles. It is two storeys tall from ground level to the cockpit.  The lens on my camera couldn’t fit anything like the whole thing in, and gives no sense of what this aircraft actually looks like, so see the image below the one in the museum of one of these crazy-looking things in flight.

Armstrong Whitworth Argosy

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Armstrong Whitworth AW660 Argosy C1 XP445 in RAF Near East markings from the BAE Systems website.

 

Rolls Royce RB211 22C engine used in the Lockheed Tristar, and the Boeing 747 and 767. Compare with the size of the edge of the doorway immediately to its right. Huge!

Vickers VC10 C1K long range transport

Final Comments

My father in typically mellow mode after he chose the RAF for his National Service, looking awfully youthful.

Anyone who visits will take something different away from Cosford, depending on their interests and their personal connections with aircraft.  We left the UK when I was a child, returning in late 1979, and part of my experience of living overseas was flying to and from Britain to visit family, first as an “unaccompanied minor” and then on my own, making it a routine form of travel.  Once, flying from Heathrow to Liverpool with my father in a propeller plane, he warned me about coming in to land and the noise and vibration that I, having only flown in jets, would probably find startling.  I did, but what fun! Years later, in a passenger plane taxiing down a Heathrow runway, the captain told those of us on the right side of the plane to look out of the window to see a Harrier jump-jet do a vertical take-off.  Fantastic.  Twenty or so years ago I saw a Vulcan flying at the Farnborough Air Show and have never forgotten it, and at the same show saw a vast commercial passenger plane being put through extraordinarily acrobatic paces, and that too remains in my mind as a very different but remarkable sight.  Two years ago I was at RAF Duxford with my father, and was lucky enough to be there just as a whole series of vintage biplanes were taxiing down the field and taking to the sky. Magical.  Aircraft do have their own special sorts of aura, some darker and some brighter than others.

The aircraft at Cosford are beautifully displayed, and while you can just stand and admire the sheer magnificence of these astonishing beasts, the signage is all thoroughly educational without in any way talking down to the visitor.  The sheer amount of information delivered in a digestible way is genuinely impressive.

Visiting

The museum is free of charge, but parking is charged (at the time of writing) at £7.50.  You can check for updates on charges and opening times on the museum’s website here.  The museum hosts a number of events throughout the year, including an air show and corporate events, so do make sure that the entire museum is open on the day you want to go, and that none of the hangars are closed for any reason.

The car park is huge, and payment of the set fee is via machines that are dotted around.  There is a really nice cafe in the reception area, which offers drinks, snacks and lunches, and everything is bright, clean and modern.  You will need to stop at what looks like a ticket stand to confirm that you have paid for parking, and so that you can be counted, because the museum’s funding depends on the volume of footfall.

The museum’s shop is in the third hangar, with some fun stuff for sale, but you can buy a souvenir guide in the reception area.  I did buy this, with some considerable doubt in my mind because anything that refers to itself as a souvenir doesn’t inspire confidence, but this 73-page booklet, full of great photos and information, was really enjoyable and when I arrived home I read it cover to cover.  Just like the museum itself, this mixes stories of planes and people, and the result is admirable.

The museum recommends that you allow four hours to get around all four hangars, including walking around the outside aeroplanes.  Not being an expert, and not stopping to listen to the many audio recordings or watch the video displays, I did it in a leisurely two and a half hours, stopping to read a lot of the excellent signage and to take photographs.  I took an additional half hour afterwards to consume a heavenly coffee and a bite to eat.  So for me, including my snack break, it was a three hour visit, which I enjoyed phenomenally.

Lockheed Hurcules C Mk 3P medium-range tactical transport aircraft that could operate from short runways.

If it looks like rain take a brolly or a raincoat with a hood, because you will have to walk from the reception area outside to the first hangar, and there are aeroplanes to see in the grounds as well.  The first two hangars, 2 and 3, are physically linked, but it is easy to miss that there are doors letting you through.  From there, it is a matter of going outside again, into Hangar 4, and again across a small access road into Hangar 1.  If you want a coffee or something to eat afterwards, it’s few minutes to walk back to the reception area via another two outdoor planes.

There is disabled access throughout, including H3’s viewing gallery, lower level and shop.  Signage is all at a level that can be read by wheelchair users.

Museum Ground Crew

Only one of the aircraft, at least on my three visits, allows visitor access, and this was a guided tour for a fee at restricted times, so experiencing the planes is a matter of viewing either from the floor or, in the third hangar, from both floor level and via a viewing gallery.

If you don’t want to be inundated with children, avoid weekends and school holidays.  School trips mean that they are not completely avoidable, but you stand half a chance.

Every time I have been there, especially last month (October) when I turned up at opening time, there were volunteers everywhere who are there to offer knowledge and help you with any visiting information.  They are a hugely knowledgeable and friendly bunch.

If you have even a marginal interest in aircraft or the history of technology, this makes for a very rewarding day out.

Hawker Cygnet, 1924-29

 

Day Trip: Wroxeter Roman City, near Shrewsbury

Hypocaust in the foreground with, in the background, the wall known as the Old Work, making one side of the former basilica.

Founded in the mid-1st century AD next to the point of the river Severn where it could be forded, Wroxeter (Viriconium) was built on land farmed by the Iron Age Cornovii.  It became a legionary fortress with the capacity to hold 5500 men in the 50s, becoming an urban centre towards the end of the 1st century, eventually becoming Britain’s fourth largest town, four times larger than the the legionary fortress.  The remains of the site lie in a rural landscape to the east of Shrewsbury and is managed by Historic England.  There is an imaginary reconstruction of a Roman villa.  Indoors there is a very nicely presented Visitor Centre with exhibits and displays, as well as a small shop.  Visiting details are at the end of this post.

Display in the Visitor Centre

There is little point repeating everything that the fact-filled guide book has to say about Wroxeter and its history, so this is just a short summary of what you can expect to see on a visit.

What remains of the site is a very small section of the original 192 acre (78 hectare) city, consisting of the lowest courses and foundations of the bath-house, part of a market-place and a row of column bases that marks one site of the forum.  The road that carries visitors into the town follows the line of the Roman road, Watling Street.  The city was surrounded by a 3-mile long circuit of ditches and banks originally topped with a timber palisade, now on farm land and not accessible to the public, but still visible on aerial photographs.

Information board in the Visitor Centre at Wroxeter

Unlike Chester, York, London and many other Roman urban developments that survived the departure of Rome, Viriconium was one of the Roman towns that were completely abandoned, beginning in the mid-3rd century.  Looking out over the surrounding fields towards the Wrekin, after which Viriconium may have been named, it is difficult to imagine a thriving urban mass of public and private buildings connected by a maze of roadways and alleys. A series of archaeological excavations, however, have provided insights into what used to be here, and the visitor centre and guide book do a good job of explaining it.

The town was divided by the mighty Watling Street that connected it to London in the south, and to Whitchurch to the north, where the road forked with one branch going to Chester and the other towards the northeast, York and beyond.

Artistic reconstruction of the basilica on an outdoor information board

The most conspicuous feature of the site is the single piece of surviving wall, known as the Old Work, shown at the top of this post, which is what remains of what was one of the walls of the basilica, which was shared with the rest of the bath-house.  The big opening in the wall marks where there were once double doors.  The layers of brick-like stone blocks and tile work were covered in pink plaster, some of which would have been painted with decorative scenes.

Information board showing the main architectural features at the site with the basilica shaded in blue, the shops and marketplace side by side in the foreground and the bath-house taking up the rest of the space.

Changing rooms at the end of the basilica

The bath-house, which has been excavated in its entirety, is the most complete part of the site, with remains of one wall, sections of the the hypocaust (raised heated floor) and the footprint of the baths’ basilica, giving a clear indication of the scale of the original complex.  Bath-houses were an important part of Roman life, a component of civilized living and a good place to socialize and network. Even the small industrial base at Prestatyn had a tiny bath-house (posted about here).  The Roman visitor to a big bath complex would usually begin in the basilica, a long thin space flanked by columns, where exercise and sports could be carried out in the central area, whilst the side aisles could have been used for personal care activities like massages and hair dressing.  At the end of the basilica were two changing rooms.

The outdoor plunge pool

Then bathers moved through the baths in a sequence from an outdoor cold water plunge pool (heaven help them in this climate!) to an indoor cold water pool (natatio), an unheated room (frigidarium), a  warm room (tepidarium), and a number of both wet and dry hot rooms (an alveus, caldarium, and sudatorium).  Heat was provided in the warm and hot rooms via a hypocaust, consisting of regularly placed pillars of tiles that once supported a raised floor about 1 metre high, through which hot air was directed from three furnaces.  Hollow box-like flue tiles were used to capture the hot air as it rose from below.  A piece of decorated ceiling plaster from the hot room has been reconstructed, and copies are kept in both the Visitor Centre and the Shrewsbury Museum and Art Gallery.

Hot room

Reconstruction of ceiling plaster of the frigidarium in the Visitor Centre

Part of the western extension of the baths

Water from the baths was drained away beneath the bath-house and was used to flush out the latrines, the lower courses of which survive.

One of the shops that fronted onto Watling Street

Although the rest of the remains today lack the impact of the basilica wall section, mainly consisting of no more than two or three courses of stonework, these too were important parts of the civic quarter of the city, and there are explanatory information boards all over the site that explain what you are looking at and showing helpful artists’ reconstructions of how buildings may have been experienced by the Roman inhabitants.

Part of an information board showing the market place used by wealthy residents

Next to the bath-house is what remains of a market hall, with two storeys surrounding a central courtyard, containing shops that sold high quality food goods to the wealthy.  This building survived into the fifth century AD.  Nearby were other shops with open fronts overlooking Watling Street, which may have included food and drink for those using the baths, like modern take-away outlets or bars.

One of the ground floor shops in the marketplace

Colonnade of the forum, facing Watling Street

Over the road there is a line of column bases that are the remains of what must have been a very impressive forum, which was once covered 2.5 acres (1 hectare) and measured 80m x 120m (262 x 393ft).  This consisted of covered buildings arranged in a square around an open courtyard. The buildings served administrative, legal and mercantile functions, and the ruins represent a colonnade that faced onto Watling Street.  The central area was for an open market where stalls could be rented by local traders.

The reconstructed Roman house, a simplified version of excavated building “Site 6,” had a shop facing onto the street with accommodation at the rear.   It was built in 2010 for a television programme and provides a good way of visualizing what Watling Street and other areas of Viriconium may have looked like.

The forum

The reconstructed Roman house

A room in the villa

Next to the house, but not open to the public, is the model farm built in the mid 19th century by Lord Barnard, and incorporates considerable amounts of Roman stonework in its construction.  The farm is no longer in use but is maintained by Historic England.

The visitor centre and the lavishly illustrated guide book provide an excellent overview of the entire city’s history and what was found in archaeological excavations, with more information provided in the Shrewsbury Museum and Art Gallery.

Visiting

Prices and opening times can be found on the English Heritage website here.  There is plenty of parking.  The visit begins at the visitor centre, where tickets are purchased and you are given the option of taking an audio guide. I didn’t take one, but plenty of people were using them.  There is a small shop where you can purchase a detailed guide book, and although it is impractical to read this as you go around the site, there is a site plan and an aerial photograph with all key features marked, both of which great to have as you walk around.  The Visitor Centre is small but excellent, with plenty of helpful information boards and attractive displays of objects found at the site.  There is no cafe but there is a picnic area with a few benches.

1st century harness mount showing Bacchus

The site itself is mostly on the flat, with pathways between all the main buildings and information boards explaining what you are looking at.  There was a coach-load of children there at the time I visited and it is clear that for children, the villa was easier to get to grips with than the ruins themselves.

Nearby is St Andrew’s Church, which I very annoyingly missed but is widely recommended with some attractive and unusual features, some dating back to the Norman period. Both the church and the model farm, the latter not open to the public, are described in English Heritage’s Wroxeter guide book.

St Bartholemew’s, Tong

If you are driving via the A41, both Lilleshall Abbey and Tong’s St Bartholemew’s Church are well worth the visit.  Tong is right on the A41, very convenient for a visit en route.

Near to Wroxeter is the 18th century National Trust Attingham Park property. Shrewsbury is not far, and has a really excellent museum and art gallery with a super Roman gallery with finds from Wroxeter. Shrewsbury itself is a lovely and apparently thriving town with a good mixture of architectural styles from the Medieval period onwards, including the vast church of the former Shrewsbury Abbey, some lovely half-timbered buildings and some fine Georgian architecture, as well as some great places to find lunch!

Sources

White, Roger H. 2023. Wroxeter Roman City. English Heritage (also includes St Andrew’s Church, the Victorian model farm and the reconstructed house)

Information displayed in the Wroxeter Visitor Centre

Information displayed in the Shrewsbury Museum and Art Gallery (Roman gallery)

Discovering Shropshire’s History (website)
Roman Shropshire – (AD 43 – AD 410)
http://www.shropshirehistory.org.uk/html/search/verb/GetRecord/theme:20061122101531

 

Rhuddlan Castle and the Statute of Wales

Rhuddlan Castle from the air. Source: People’s Collection Wales.

The magnificent Rhuddlan Castle, and its predecessor Twthill motte-and-bailey castle (the latter now just a mound), are located just over 3 miles south of the point on the North Wales coast where the river Clwyd, which Edward I diverted to pass the foot of Rhuddlan, empties into the sea at Rhyl. Like all of Edward I’s newly built English castles in Wales, this has some features in common with its brethren, but is at the same time a unique entity, each with a highly distinctive, unmistakable appearance in its own right, building on previous creativity to create even more innovative defensive measures.

I visited Rhuddlan last week for the first time, taking spur-of-the-moment advantage of a cold but gloriously sunny morning to make the most of Rhuddlan’s striking looks and lovely location.  The castle is an impressive sight, particularly as it is bounded on its northeastern side by fairly dense village housing and one gets the sense of emerging abruptly from the bustling present into a peaceful and finely fossilized landscape of the past.

This is the third post in an occasional series about the history of Edward I’s earliest castles in northeast Wales.  The background history to Edward’s sudden launch into castle building in Wales from 1277 is the first part, and can be found here. It looks at the disputes between Edward I’s father Henry III, king of England, and his subsequent and far more personally felt disputes with Llywelyn ap Gruffud, Llywelyn the Last of Wales.  The second post in the series looked at Flint Castle, the first of Edward’s castles in Wales started in July 1277, with its accompanying new town.  Rhuddlan Castle was started in September 1277, and is covered below.  Denbigh built in 1282 is posted about here.

St Mary’s Rhuddlan

I combined Rhuddlan Castle with a look at the last surviving chunk of Edwardian defensive ditch that originally surrounded the town, and a wander around the exterior of the nearby St Mary’s Church (its opening times to visitors are limited to the summer months), which was built sometime after the granting of the town charter in 1278, both of which are mentioned below. I then skirted the castle and followed the track and footpath down to Twthill. The story of life at Rhuddlan before Edward I, both pre- and post-Norman, will be covered on another post, and will include the background to and history of Twthill.

St Asaph’s Cathedral

After Rhuddlan I drove the few miles south to visit St Asaph Cathedral, which has connections to both Rhuddlan Friary, originally located near the castle, and Valle Crucis Abbey, near Llangollen.  Valle Crucis is the subject of an ongoing series of posts on this blog.  Rhuddlan Friary has been discussed on the blog here, and St Asaph Cathedral will be discussed on a separate post at a later date.

To make it an official day-trip, the day not being warm enough for an ice cream, I stopped for a very self-indulgent glass in The Hare in Farndon on the way home, which was the cherry on top of a very good day!

Visitor information for Rhuddlan Castle is at the end of the post.

Rhuddlan during the reign of Henry III

Henry III (reigned 1216-1272), father of Edward I, had ongoing problems with self-styled Prince of Wales Llywelyn ap Gruffudd, also known as Llywelyn the Last, a grandson of Llywelyn ap Iorwerth (Llywelyn the Great).  Llywelyn was based in Gwynedd, his home territory, but had managed to establish some degree of unity within his own family (particularly his brothers Dafydd and Owain) and throughout Wales, historically a fragmented and constantly shifting set of territories.  The powerful Marcher lordships along the Welsh border formed an aggressive barrier between Wales and the rest of England, and trouble had rumbled continuously along the border during the reigns of previous kings, causing the official border between the two countries to move regularly.  The crown held territories within modern Wales, and these came under attack by Llywelyn the Last. This is all covered in the post that describes the background to the disputes between Edward and Llywellyn, complete with a family tree of the relevant participants.

A Dominican priory, described on the blog here, was founded by Llywelyn ap Gruffudd in 1258 during the reign of Henry III, and is discussed.  The building does not survive, but some of its materials were visibly incorporated into the farm that now sits on the original site of the priory.  It is quite likely that during the 13th century played host to Llywelyn ap Grufudd, and later to both Henry III and Edward I during their visits.  As with most monastic institutions, the Dominicans were obliged to show hospitality to guests, irrespective of their political allegiance, and it would have been in their interests to stay in the good graces of both Welsh and English leaders.  Edward had probably taken advantage of hospitality at Basingwerk Abbey during the construction of Flint Castle.

Edward I’s Rhuddlan Castle

Expanding the the “Ring of Iron”

Map of Edward I’s campaigns in Wales. Source: History Matters at the University of Wales

Edward was granted the royal lands in Wales by Henry III on the occasion of his marriage to Eleanor of Castille, and took an active interest in the Welsh situation until his departure on crusade, during which his father died.  Edward inherited the dispute with Llywelyn, but was already very familiar with the the Welsh prince and his ambitions, and was also familiar with the Welsh landscape.  The expenses incurred during his crusade had left him with serious debts, and the terms of the agreement that Llywelyn had reached with Henry III involved a substantial annual payment by the Welsh prince to the Crown treasury, but there were problems.  Llywelyn was already three years in arrears, and was now refusing to pay homage to the new king.  Several treaties under Henry III had failed to achieve long term peace, and although the Treaty of Montgomery of 1267 had looked as though it might hold, Llywelyn ap Gruffud’s behaviour was intolerable to Edward who labelled Llywelyn an outlaw in 1276, and war was declared in 1277. A peace was brokered, but although Edward had every reason to believe that the treaty might secure peace between England and Wales, he began to build a series of castles in northeast Wales, eventually extending into northwest Wales, beginning at Flint in the July of 1277 and rolling out along the coastlines throughout the next two decades.  This was followed almost immediately by the foundation of Rhuddlan in the same year.

Artist’s impression of the Twthill motte-and-bailey castle by Terry Ball.  All that survives today is the motte. Source: Wikipedia

When Edward started building his castle at Rhuddlan in September 1277, Flint Castle and town were still under construction.  Flint had been virgin territory, and consisted of both a stone castle and a new defended town, an “implanted bastide.”  Although the site of Edward’s castle itself had not been occupied, Rhuddlan had been long-established, from the pre-Conquest period into the 13th century.  The existing wooden Twthill motte-and-bailey castle, a short distance from Rhuddlan probably served as a useful base from which to manage building works and campaigns as the new stone castle was built and the new town laid out and provided with perimeter defences.

Llywelyn, realizing that his cause was lost, surrendered  later in 1277 at Rhuddlan, several years before Edward’s castle was finished, and for a while it looked as though the resulting Treaty of Aberconwy would provide the basis for long-term peace.  Llywelyn had been granted the entire region of what is now known as Gwynedd, permitted to retain the title Prince of Wales, and his difficult brother Dafyddd was allocated territories in mid-north Wales whilst Owain was given control of the Llŷn peninsula.   Edward, however, was not taking any chances, and he continued with his castle building programme, unambiguously reinforcing his message that Wales was under English control, with Rhuddlan performing the role as the administrative headquarters for the region.  Should any attempts at rebellion be attempted in the future, Edward and his supporters would be ready.

Why Rhuddlan?

What were the strategic advantages that made Edward I choose Rhuddlan as the location for his third castle, his new administrative headquarters for north Wales?

First, the castle is right on the edge of the River Clywd, a fairly narrow but very attractive ribbon of blue threading its way between the fields, all the more impressive when you know that the river actually ran along a slightly different course until Edward canalized it and had it dredged to provide a deep-water channel for connecting the castle to the coast and the Dee Estuary. The River Clywd become un-navigable not far south of Rhuddlan.  The link to the estuary connected Rhuddlan both to Flint Castle and Chester to its east and then, later, to Edward’s castles at Conwy and Caernarvon in the west.

Photograph of Rhuddlan Castle in the context of the River Clwyd floodplain and the coast to the north. Rhuddlan Castle is at bottom left, near the rear foot of the RCAHMW dragon logo.  Source: Coflein, archive number 6356180 / AP_2007_2032

The castle itself sits above a very wide, low floodplain, on an area of raised land.  Standing on the battlements, reached by modern spiral staircases, the views over the surrounding landscape are remarkable, providing an excellent impression of how well the castle was positioned for sighting oncoming threats.  Economically, the wide floodplain was ideal for the development of a new town, with potential for raising livestock and agriculture.

Until Conwy was built, Rhuddlan was conveniently located as a regional HQ just on the edge of Llywelyn’s territory, and it was his most important base in Wales.  By the time Conwy Castle was up and running, Rhuddlan had become secondary in importance, but was still garrisoned and was very important in Edward’s chain of defences.

The Designers and the Design

The outer curtain wall, which only survives in very small sections, followed the perimeter of the revetted dry moat, and enabled archers in the battlements of the castle to fire over the heads of those protecting the outer defences.

Rhuddlan has a very distinctive look and feel to it, containing some innovative features that were carried through to other castles in the northeast.  The first architect to work on Rhuddlan, who was probably responsible for its layout and some of its initial design elements, was king’s engineer Master Bertram, who had been employed by Henry III is Gascony, and who brought with him Gascon design principles.  He was replaced after six months by Master James of St George, whose work Edward had seen in France at the castle of St Georges d’Esperanche, and who went on to build Edward’s great castles at Conwy, Caernarvon, Harlech and Beaumaris.

The most obvious novel feature of the design, when compared to Flint, was the use of both an inner and a very short outer curtain wall, shown in the photograph above, a concentric arrangement of defences that formed the template for Edward’s later castles, including nearby Denbigh, built in 1282.  The lower outer curtain wall, which at Rhuddlan was installed along the inner perimeter of a revetted dry moat, itself impressively lined with stone, enabled archers on the battlements of the main castle to aim beyond those defending the outer curtain wall without endangering them, whilst providing two lines of defence for the castle and its defenders.

Nice to see part of the original gateway in this 19th century watercolour by David Cox. Source: Victoria and Albert Museum

Originally a formal gateway granted access across the moat and the short outer curtain wall into the riverside entrance between the first pair of distinctive twinned towers.  Diagonally across the inner ward a second pair of twinned towers gave access via a secondary entrance. On the other two corners of the main castle were another two towers, each single.  All the towers, including the river tower, were 4 storeys high, including a subterranean basement in each.

Building the castle

The first task was to build defensive ditches, which which would offer protection for the construction camp as the castle was built, and would later become the dry moat.  At Flint Castle 1800 ditchers, known as fossatores, were employed for thus task, as well as the digging of the ditch and banks for the town defences, and it is probable that a similar number was employed at Rhuddlan, sourced from all over England, some of whom were forced labour.  It is possible that a proportion of the fossatores who had been employed at Flint were now deployed at Rhuddlan.

As the castle began to take shape, skilled craftsmen were also imported, including carpenters and masons. Carpenters would have been vital for the build, as they were responsible for the scaffolding as well as various buildings in both inner and outer wards, and other architectural features.  Masons used a mixture of stone types for the construction, all available locally, including yellow and red sandstones, the latter more vulnerable to erosion over the centuries than the yellow, and the grey limestone.   Extensive robbing from the lower levels of the castle after it was slighted (damaged to prevent re-use) after the English Civil War in the 17th Century gives the impression of a serious attack of delamination, but as peculiar as it looks helpfully reveals the underlying construction, showing that the the more enduring limestone covered more vulnerable sandstones.

View of Rhuddlan from the west showing what it may have looked like by the beginning of the 14th century. Illustration by Terry Ball. Source: Taylor / Cadw 2004, p.3

In 1278 sufficient progress had been made for the king and queen to stay at the castle, and in 1280 the towers were roofed in lead and in 1281 the king’s hall was roofed with shingles.  A well was sunk into the centre of the inner ward, 50ft deep.

Whilst work on the castle proceeded, one of the most impressive of the civil engineering feats at Rhuddlan was completed simultaneously.  The river Clwyd was diverted from its natural course, and canalized for two miles (3.5km), the work of 968 workers who were imported to Rhuddlan for the task in 1277, providing the castle with deep channel access to the coast, suitable for sea-going vessels, avoiding the need for trans-shipping.  This met Edward’s requirement for a fluid and seamless communications network.

There was space by the riverside tower, known today as Gillot’s Tower, for a single vessel to put in to dock at high tide, and a river gate alongside the tower, improving efficiencies for loading and unloading.  As Rhuddlan always had a garrison, and was on a number of occasions the base from which forces departed towards Snowdonia, it was often provisioned from Ireland with livestock and grain.  A military cemetery was established at the castle, a clear indication that Edward was expecting casualties in his dealings with Wales.

Work was suspended during renewed hostilities in 1282, when Llywelyn’s brother Dafydd instigated another rebellion against Edward I.  Dafydd attacked Hawarden Castle on 21st March, Palm Sunday.  His action encouraged other Welsh landholders to retaliate in kind, but it was not until June that Llywelyn took the decision to join his brother’s rebellion.  Although the Welsh rebellion seemed to gain ground for a while, the English assembled a substantial force at Rhuddlan, consisting of around 9000 men, which advanced into Wales taking several Welsh castles as they proceeded.  The castle was re-provisioned by ship from Ireland with livestock and cereals.  This time there was no peace treaty, and Llywelyn was killed on the battle field in the same year, whilst Dafydd was eventually caught in June 1283 and held at Rhuddlan Castle before being put on trial in Shrewsbury for treason, after which he was tortured and executed.  The cost was massive, some £120,000 (£83,288,423.43 in today’s money, according to the National Archives Currency Converter) with £50,000 having been raised by a tax on English residents.  There was also a huge cost in terms of English life;  the military cemetery established at Rhuddlan had run out of space by October 1282.

Work had resumed on Rhuddlan following the conflict and although there are no records of damage to the castle at that time, records of repairs do survive and these suggest that Rhuddlan had come under attack.  A record survives for the payment of 64 shillings to “Adam the tailor” for red silk to make pennons and royal standards for Rhuddlan.  As if the massive castle itself was not a sufficient statement of English power in the region, it was to be adorned with the rich and brightly coloured symbols of English monarchy.

The 50ft / 15m well in the inner ward

Today it is difficult to conceive of a royal court that was constantly on the move, but in the Medieval period, royal authority was reinforced by the movement of the monarch to properties around his kingdom, both his own and those of favoured aristocrats.  After the execution of Dafydd, Edward took his court on a tour of various provincial areas, whilst work continued at Rhuddlan.  He was back at Rhuddlan for Christmas.  Between 1283 and 1286 further investment was made on the royal apartments and chapel, both of which would have been in the wooden buildings in the inner ward, together with the kitchens.  Beam holes in the walls of the castle’s interior show where the roof beams were installed.  A well was sunk in the centre of the inner ward.  The outer ward would also have been filled with buildings, of a more utilitarian variety, including at least one granary, a forge, stables and storage facilities.

Arnold Taylor quotes a figure of £9613 2s 8 3/4d for the building of Rhuddlan between 1277 and 1282.  According to the National Archives Currency Converter, this would be some £6,672,184.58 in today’s money (or 11,209 horses or 21,362 cows or 961,313 days of a skilled tradesman’s labour).

Edward’s new borough and town

Plan of Rhuddlan. Source: Arnold Taylor/Cadw 2004, p.9

As at Flint a new borough was created and provided with defences and English settlers were incentivized to live and work there.  The new town, known as an “implanted bastide” after prototypes in Gascony, was built to the northwest of the the old town and was granted its charter in 1278.  This new-town bastide concept and its management are discussed in more detail on the post about Flint Castle.  Today’s town follows the original layout of the new town, its streets originally dividing the town into five sections leading down to a bridge across the river, with the High Street, Church Street, Castle Street, Parliament Street and Gwindy street being the key survivors.

The town was defended on three sides by a ditch with flanking banks, possibly topped with a timber palisade, a section of which survives off Gwindy Street, shown in the illustration and photograph below.  In the 1960s the complete length of the ditch survived north of the town, but by 1970 only the Gwindy Street section remained. Excavation of part of the defences, known as Plot 0, was undertaken when the land was due to be sold for development, but due to the heavily eroded state of the banks was unable to confirm if there were timber defensive features.  The fourth side of the defences was made up by a cliff running down to the river.

Source: Quinnell and Blockley 1994

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What remains of the double banks and ditch that surrounded the new town of Rhuddlan

Although it might have seemed like an unattractive proposition to be an immigrant English population living in a defended town in ostensibly hostile territory, there was a huge demand for land in England at that time, and the new towns in Wales represented great opportunity as well as risk, particularly as charters offered far more favourable conditions for the English than their Welsh neighbours.  Marc Morris refers to them as “those enclaves of English privilege, where the Welsh were obliged to trade but could not live and where the legal discrimination between the two peoples was a fact of every day existence.”  The risk for these settlers was very real, and it was the towns rather than the castles that were targeted by Dafydd in 1282, in Aberystwyth, Denbigh and Rhuddlan.
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The Statute of Rhuddlan of March 1284

Peniarth MS 41 a 15th century copy of the Statute of Rhuddlan. Source: National Library of Wales, via Wikipedia

In 1284 Edward I formalized how Wales to was to be governed and ruled after the deaths of Llywelyn in 1282 and Dafydd in 1283 during Dafydd’s ill-conceived rebellion of 1282.  The document that captured his requirements was the Statute of Rhuddlan or Statue of Wales, which was issued by Edward I from Rhuddlan whilst he was in residence. Although Edward had been sufficiently diplomatic to recognize different interests and hierarchical claims within Wales after 1277 for the sake of peace, in 1282 his aim was to bring the entire of Wales into a single administrative system controlled by England.

The Statue of Rhuddlan, part territorial administration and part legal treatise, handled Wales as a single homogenous unit, an extension of England and her criminal legal system.  Wales was divided into new English-style shires:  Flint, Merioneth, Caernarvon, Anglesey, Cardigan and Carmarthen, a structure that endured until 1536 when the Act of Union was passed.  An English administrative hierarchy was put into place with officials and administrators answering to a new justiciar based in northwest Wales. Legally, the Statue was an interesting mixture of English law with some concessions to Welsh traditions.  Criminal law was English, but the Statute allowed for Welsh traditions of civil law to be maintained for matters like contracts, inheritance, land deals and debt handling.

Edward’s castle building continued unabated even as the statute was being written up in Rhuddlan, announced and enforced.  It is thought that it was at Rhuddlan that Edward declared that the title and role of prince of Wales would pass to his own son and to the future sons of English kings.  Edward’s first child, who became Edward II, was born at Caernarfon in April 1284, in the month following the statute, and was officially granted the title of Prince of Wales in 1301.   The title has been handed down from reigning monarch to eldest son ever since that date, most recently on the death of Queen Elizabeth II when, the former Prince of Wales, Charles, having acceded to the throne on 10th September 2022, the title passed to his eldest son, Prince William.

Rhuddlan Castle after Edward I

Rebellion of October 1294

Resentment in Wales continued to fester, and in October 1294 Madog ap Llywelyn, a relation of Llyweln the Great, and Morgan ap Maredudd, both important land owners in northwest Wales laid siege to Edward’s castles at Criccieth, Conwy and Harlech.  This followed particularly harsh taxes imposed by Edward, that discriminated against the Welsh, and also Edward’s demand for men to fight in Gascony.  Rhuddlan served as a jumping-off point for Edward’s response to this uprising in March 1295, but Conwy was by now at the heart of the action, and Edward’s new headquarters whilst Caernarfon Castle was still being built (and which was damaged during the attack).  By June 1295 the uprising had been put down and order was restored.

Owain Glyn Dŵr, 1400-c.1410

In 1400, during the reign of Henry IV, Owain Glyn Dŵr, having been declared Prince of Wales by a group of his followers met at Glyndyfrdwy, lead a new rebellion in response to harsh conditions imposed by the English crown, and Rhuddlan was one of the castles and towns that came under attack. Rhuddlan Castle held out against the assault, but the town itself was brutalized, and there are indications such as the failure to properly repair town defences that the borough never recovered.

The English Civil War, c.1642-51

In the Civil War of 1642-48, the castle was held by the king’s forces but although it initially held out, it was surrendered to the parliamentarian commander-in-chief Major-General Thomas Mytton, and a decision was made in the House of Commons to slight the castle (render it unusable), which was actioned in May 1648. This was the fate of several medieval castles that were employed during the Civil War.

Rhuddlan Castle in 18th and 19th century art

John Boydell (1720-1804). “A North West View of Rhuddlan Castle in Flintshire,” in 1749. Source: People’s Collection Wales

In my posts about Flint and Denbigh I had a look at some of the art works that were produced in the 18th and 19th centuries when medieval buildings with their air of romance and mystery found an enthusiastic audience amongst painters of all skill levels.  There are so many art works of Rhuddlan that it is almost impossible to pick and choose, so I have selected views that show different aspects of the castle, and have added a link at the end of Sources to some more examples.

John Boydell was a publisher, talented engraver and promoter of art, as well as doing a stint as Lord Mayor of London. His 1749 image above not only captures the castle but the attached village and the distinctive bridge and that captures something of village life, with men fishing, a barge pulled up at the river edge, and people approaching on horseback and foot.  The strongly featured bridge is typical of his work – in 1747 he published The Bridge Book, featuring six landscapes all of which showcased distinctive bridges.  He did a rather nice one of Denbigh Castle too.

From the 1781 edition of “A tour In Wales” by Thomas Pennant (1726-1798) Source: Wikipedia via the National Library of Wales

Thomas Pennant was born in Flintshire and is best known for his remarkable A Tour In Wales, which eventuallyran to eight illustrated volumes, capturing three journeys that he made in Wales between 1773 and 1776. The National Library of Wales says that one of his greates gifts was “his ability to foster friendships. His appreciation of people was very well-known and because of this he always received sensible and full answers to all his enquiries for information.”  He was a great collector, but his interest was always in the subject matter and the details captured, rather than particular artistic merit.  The painting of Rhuddlan below was in the 1781 edition, capturing something of the sense of the isolation of the castle in a wide landscape, a contrasting and more delicate approach to Boydell’s bright and lively image.

Rhuddlan Castle as captured by artist George Pickering (1794-1857) and engraved by George Hawkins the Younger (1819-1852). See the National Library of Wales catalogue for a bigger image in which details can be clearly seen.

A completely different approach was taken by lithographer George Pickering the Younger, who got up close and personal with the castle, sacrificing the general form of the castle in favour of picking out particular features.  He artist looks out over the river and the floodplain beyond, the sun low in the sky, with village buildings shown in the background, including St Mary’s Church.  The ivy clinging to the towers is also shown on Peter Ghent’s painting below.  Cattle are shown grazing on the foreshore, a small sailing vessel is pulled up on the other side of the bridge, and there are other visitors inspecting the site.

Rhuddlan Castle c.1885 by Peter Ghent (1857–1911). Williamson Art Gallery and Museum.  Source: ArtUK

The oil on canvas painting of Rhuddlan Castle by Peter Ghent, now at the Williamson Art Gallery and Museum in Birkenhead, is a rather more impressionistic view of the castle, showing the ivy and the surrounding trees, and cattle cooling themselves in the river.   The riverside tower is not shown, although part of the river wall is shown.  The russet and green palette is characteristic of Ghent’s work.  Ghent was born in Birkenhead and attended Birkenhead School of Art.  He moved to Conwy, which he used as a base for exploring Welsh landscapes in both oil and watercolour.
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Rhuddlan Castle Today

The castle was given into state care in 1944 and conservation work began in 1947.  It was transferred from the Department of the Environment to the newly created Cadw, the Welsh Government’s historic environment service, in 1984.  It is beautifully cared for, without a single blade of grass out of place.  The ivy that once ran riot over its walls has been completely eliminated which given how invasive ivy is was a considerable task.  The castle continues to undergo conservation work as needed to prevent deterioration and to ensure that it remains safe.

The castle was deliberately slighted (i.e. partly demolished) at the end of the English Civil War in the 16th century so that it could not be reused in any future offensives, which accounts for its ruined state. This does not impede an understanding of the castle and its features, many of which remain.  Some of the damage is more recent.  The lower courses of stone have been extensively robbed since the 16th century for local construction projects, revealing the inner filling of the walls, and leaving it looking very denuded and rather peculiar at its ground floor level, but allowing the inner construction of the thick walls to be seen.

Although there are no floors left in the towers and inner walls, there are fireplaces and beam slots (the beams supporting the floors at each level) that show where each of the storeys was located.  Some of the fireplaces, like the one on the left, retain black burn marks, a really evocative link to the past.  Many of the fireplaces were quite huge and, given the diameter of the towers, must have provided substantial heat for the castle guardians and administrators who were based there even in the coldest Welsh winters, even if the space was a little cramped.

A number of modern excavations have been carried out at Rhuddlan, between 1973 and 1988 helping to clarify some details about the medieval history of Rhuddlan as well as information about earlier phases, particularly during the Norman and prehistoric periods (Neolithic, Bronze Age and Iron Age, including some particularly fine lithics and decorated pebbles dating to the Mesolithic).  These are summarized by Quinnell and Blockley in their 1994 publication, which can be downloaded from the Archaeology Data Service website.

Excavated Areas in Rhuddlan between 1969 to 1973. Click to expand.  Source: Quinnell and Blockley 1994, p4

Excavated object from Rhuddlan. Source: Quinnell and Blockley 1994, p.184

 

St Mary’s Church, Rhuddlan

St Mary’s, only a five minute walk from the castle, was closed when I visited, so I am going to cover it on another post next summer when it re-opens to visitors, but it is certainly worth mentioning here, as it looks as though it is a splendid piece of later medieval heritage.  An earlier Norman church was built to the east of the castle, but St Mary’s was first built in 1284 and was enlarged in the 15th century.  It has undergone changes over the years, and perennial multi-tasker Sir George Gilbert Scott had a go at it during his restoration of St Asaph’s Cathedral in the 1900s, but by all accounts the restoration appears to have been quite sympathetic. The gilbertscott.org website reports that “Scott treated the old building gently, lowering the floor in the nave and raising it in the chancel, providing some new windows, seating, a vestry and rebuilding the south porch.  He also provided a vestry screen, pulpit, an eagle lectern, altar rail and chancel seats.”  However, Quinnell and Blockley say that the church contains much of the original 13th century architecture in the nave and chancel.  They add that fragments from two different crosses, found during the demolition of a wall near the Vicarage in 1936, are now kept in the church.  Both have inter-laced decoration and have been dated stylistically to the late 10th or early 11th centuries.

If you are there when it is open, it should be well worth visiting at the same time as a trip to the castle (unfortunately the St Mary’s website does not currently show the times when it is open to visitors, but there is an email address).  Even though it was closed, I very much enjoyed a walk around the building and a poke around the churchyard.  Gravestones and their symbolism are eternally fascinating and there are some very good examples of churchyard monuments.

Final Comments

Rhuddlan is visually stunning, and retains plenty of its newly innovated  features to capture interest, demonstrating significant improvements in medieval castle design.  The canalized river showcases both Edward’s obsession with good communication links and the civil engineering skills that were available to him.  As a visitor attraction it is beautifully maintained by Cadw, which is particularly noticeable when comparing it with earlier images of the castle covered in ivy.  Rhuddlan attracted a serious amount of artistic interest, providing views of how it looked in the 18th and 19th centuries and, at the same time, demonstrating the fascination that artists had for medieval ruins. This is a site that really rewards a visit, particularly on a bright sunny day, when the red and yellow sandstones absolutely glow against a blue sky.


Visiting Rhuddlan Castle

Map of the Rhuddlan town trail from the North East Wales website

Rhuddlan is operated by Cadw, and is subject to an entry fee.  Details of opening times and entry charges are on the Cadw website.  There is a free car park, which also has a map of the main features of the town and the route down to Twthill, just five minutes away from the castle.  Beyond Twthill, the footpath passes the Abbey Farm and caravan park, the site of the former Rhuddlan Friary, which is on private land and cannot be visited.

As usual with Cadw venues, there is not much information about the history of Rhuddlan on the Cadw website, but there are plenty of online resources and there is an excellent short (9-page) Cadw guide book available from the ticket office, or from online book retailers, with a 3-D reconstruction and a site plan, as well as a history of the site and a numbered tour of the key features, each with a descriptive paragraph explaining what you’re looking at – well worth the £2.50 that it cost me in the Rhuddlan Castle gift shop.  You are also given a site plan as part of the ticket price, with 7 features picked out and described briefly (bi-lingual English and Welsh).

My battered copy of the Cadw leaflet that is provided with your ticket, showing some of the key features of the castle.  The reverse side shows the same details in Welsh.

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The approach to the castle is on the flat, as is the interior and the walk around the castle, so this is suitable for those with unwilling legs.  As with Flint Castle, the towers are fitted with modern spiral staircases, which will probably not be suitable for unwilling legs, but there is plenty to see without scaling the heights, including excellent views over the floodplain.

The ticket office also has toilets and a small gift shop.  There are no coffee facilities but there is a freezer with ice-creams and a fridge with cold drinks, and there are some tables and chairs outside for a sit down.

It’s a seriously attractive site, and well worth a visit.

Sources

Books and papers

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

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

Dean, Josh and Catherine Jones 2020. Archaeological Watching Brief report for Plas Llewelyn, Rhuddlan. Project code: A0209.1, report no. 0203. Aeon Archaeology
https://coflein.gov.uk/en/site/92914

Morris, M. 2008. A Great and Terrible King. Edward I and the Forging of Britain. Penguin

Quinnell, Henrietta and Marion R. Blockley with Peter Berridge 1994.  Excavations at Rhuddlan, Clwyd 1969-73. Mesolithic to Medieval. CBA Research Report No 95 (1994)
https://archaeologydataservice.ac.uk/archiveDS/archiveDownload?t=arch-281-1/dissemination/pdf/cba_rr_095.pdf

Rowley, T. 1986.  The High Middle Ages, 1200-1550.  Routledge and Kegan Paul

Shillaber, C. 1947. Edward I, Builder of Towns. Speculum, Vol. 22, No. 3 (Jul., 1947), p.297-309
https://www.jstor.org/stable/2856866

Spencer, Dan 2018. The Castle At War in Medieval England and Wales. Amberley Publishing

Stevens, Matthew Frank 2019. The Economy of Medieval Wales 1067 – 1536. University of Wales Press

Taylor, Arnold. 2004.  Rhuddlan Castle.  Abridged from a text by Arnold Taylor. Cadw

Websites

Abbey Farm Caravan and Camping Park
History
https://abbeyfarmrhuddlan.co.uk/portfolio-item/history/#top

Balfour Beatty
Balvac repaired this 13th century castle in North Wales
https://www.balfourbeatty.com/what-we-do/projects/rhuddlan-castle/

Cadw
Rhuddlan Castle
https://cadw.gov.wales/visit/places-to-visit/rhuddlan-castle
Rhuddlan, Norman Borough
https://coflein.gov.uk/en/site/303586

Coflein
Rhuddlan Castle
https://coflein.gov.uk/en/site/92914

Ecclesiastical and Heritage World
Rhuddlan Castle: Conservation of Castle River Dock
https://www.ecclesiasticalandheritageworld.co.uk/news/1038-rhuddlan-castle-conservation-of-castle-river-dock

Goldin Fine Art
John Boydell: The Enlightenment Man
https://www.goldinfineart.com/blogs/blog/john-boydell?srsltid=AfmBOop6p7_0_WrJ2Sx_WA4FEs0lZW09ZdoRzqo61Hc6WFokRC3aLG9h

National Library of Wales
A Tour In Wales. Thomas Pennant (eight digitized volumes)
https://www.library.wales/discover-learn/digital-exhibitions/pictures/a-tour-in-wales

Sulis Fine Art
Peter Ghent RCA (1857-1911)
https://www.sulisfineart.com/peter-ghent-rca-1857-1911-late-19th-century-watercolour-cottage-by-a-stream-qo859.html

Rhuddlan Castle in Art

Meisterdrucke
Rhuddlan Castle and Marshes, 1898, unknown artist
https://www.meisterdrucke.ie/fine-art-prints/Unbekannt/785633/Rhuddlan-Castle-and-Marshes.html

ArtUK
Rhuddlan Castle by John Lawson 1868 – 1909. Glasgow Museums Resource Centre
https://artuk.org/discover/artworks/rhuddlan-castle-84929

Darnely Fine Art
Rhuddlan Castle by Norman Wilkinson 1878-1971.
https://darnleyfineart.com/artwork/rhuddlan-castle/

Government Art Collection
Rhuddlan Castle by David Gentleman 1930 –
artcollection.dcms.gov.uk/artwork/17005/

Rhuddlan Castle in Art
Various examples – a good mix
https://jenikirbyhistory.getarchive.net/topics/rhuddlan+castle+in+art

A visit to Basingwerk Abbey, Holywell

Introduction

The Chuch is at left, the Chapter House opposite and the ground floor monks’ day parlour whcih once had their dormitory overhead. The line of the cloister, a covered walkway with arcades, and the central garth are marked out by the stone foundations

I have been to Basingwerk Abbey a couple of times, but never got around to writing it up.  It’s a super site, and although it is now a ruin, it retains enough of its original structures to ensure that its layout is easily understood.  St Winifred’s Well, with its lovely late gothic shrine, is only a mile and a bit away, and an important part of Basingwerk’s property for most of its life, will be covered on another post.

Basingwerk Abbey is only a  few miles away from Flint Castle.  The abbey preceded the castle by over a century but when Edward I founded Flint Castle and its accompanying town in 1277, the histories of abbey and castle became entwined. A visit to the abbey is easily combined with a look-in at the attractive riverside remains of Flint Castle.  I have written about the history of Flint Castle on an earlier post.

Digital Aerial Photograph of Basingwerk Abbey. AP_2009_2896 – s, Archive Number
6355272. Source: Coflein

Savignacs and Cistercian Basingwerk Abbey

Remains of the church

The first Basingwerk abbey, dedicated to St Mary, was founded as a Savignac monastery Ranulf II (Ranulf de Gernons) (1099–1153), fourth earl of Chester and later merged with the Cistercian order. It is not known why the Savignac order was chosen by Ranulf, but the monks who were sent to Basingwerk were provided directly by the founding monastery of Savigny in southwest Normandy itself. It became Cistercian in 1147.  Most of the monks who served there subsequently, up until the 15th century, were English, aliens in territory that was a bone of contention between England and Wales.

A monastic order is formed of a shared set of spiritual ideals, often spelled out in considerable detail in rules that covered everything from how many times a day a monk should pray, communally or individually, to where and when they could speak, eat and sleep, and what work they should engage in. All orders involved, at least in theory, a degree of renunciation and isolation by communities of monks, but these ideals were eroded as the influence of monastic houses grew.  The trajectory of monastic history in Europe changed in the late 11th century and early 12th century with the establishment of the so-called reforming orders, who wanted a purer, less self-indulgent and more hard-working approach to cloistered living than other contemporary monastic institutions offered.  The reforming orders believed that the Rule of St Benedict, as it had been originally conceived and set down in the 6th Century Italy, was the key to recovering a holier and more disciplined approach to a communal life of worship. The Carthusian order was established in 1084, the Cistercian order in 1098, the Savignac order between 1109 and 1112.

12th Century links between Cistercian monasteries.Although Citeaux, the node for all Cistercian abbeys, established early new bases in France, it was Clairvaux under the lead of St Bernard that was responsible for the earliest new abbeys in Wales. Of these Whitland was the most important for the northward spread of monasticism. The green lines emanating from Savigny reflect the Savignac order, which merged with the Cistercians after only 20 years, in 1147. So although Basingwerk in the north and Neath in the south were founded as Savignac orders, after 1147 they were brought under the rule of the Cistercians at Citeaux.  Source: Evans, D.H. Evans 2008, Valle Crucis Abbey (Cadw).

In Wales one of the most successful of these orders was the Cistercian order, which left remains in north, mid and south Wales.  Valle Crucis in Llangollen is the nearest of the Cistercian abbeys to the Chester-Wrexham areas, established in 1201, and is discussed in a series of earlier posts, which begins here with Part 1.  The Savignac order is much less well represented throughout Britain, and the reason for this is that in 1147 it was amalgamated with the Cistercian order.  Basingwerk Abbey, established as a Savignac monastery, became Cistercian in that year.

Because of their similarities the Savignacs and Cistercians were a good match, but there were differences too, largely in terms of the constitutional framework and systems of accountability.  To ensure that these were understood after the fusion, Savignac monasteries were put under the supervision of an appropriately located and senior Cistercian order.  Basingwerk was put under authority of Buildwas Abbey in Shropshire, which had also originally been Savignac.  This was perfectly in keeping with the Cistercian hierarchical approach to monastic management with every new monastery answerable and accountable to a mother house.  The mother house for the entire order was Cîteaux, and Clairvaux was the mother abbey for Whitland in south Wales, which was established by monks from Clairvaux itself. Whitland in turn established other abbeys including Strata Marcella near Welshpool, and this abbey in turn established Valle Crucis.   This system created a network of houses that all linked back to the ultimate mother house at Cîteaux (Cistercium in Latin) in France, the founding monastery of the Cistercian order.  Every Cistercian abbot had to return from his abbey to Cîteaux every year for what was known as the General Chapter, a great conference of the Cistercian abbots. 

A more detailed history of monasticism, and the Cistercians in particular, is included in Part 1 of the series on Valle Crucis.

Cadw guardianship monument drawing of Basingwerk Abbey. Survey-plan. Cadw Ref. No. 216/9a4. Scale 1:192. Source: Coflein

The foundation and economic basis of Basingwerk Abbey at Holywell

Exterior of the refectory

The first Basingwerk Abbey was probably in wood, and was located at a different but nearby site possibly somewhere in the vicinity of Hên Blas in Coleshill, near a now-lost castle.  There is a reference to a fortification in the Annales Cambriae describing how, when Henry II advanced into Wales from Chester,  Owain Gwynedd prepared for the upcoming battle by digging a large ditch associated with a hastily built camp at a site called Dinas Basing.  It is thought that this was the castle known to have been in the area of Hên Blas, which lies on a ridge between two streams and overlooks the Dee estuary.  Excavations in the 1950s demonstrated the existence of a 12th century motte-and-bailey castle , which was flattened by Llewelyn the Great in the early 13th century, and was replaced with a defended courtyard with timber-framed buildings.

The central garth on a very moody day looking at the remains of the church. The tall upstanding ruin is the main remnant of the church at its east end. Photo taken from within the refectory

Basingwerk Abbey was later rebuilt in stone at the current site of the ruins, possibly in the 1150s, probably when Henry II granted a charter to the house and endowed it with the wealthy manor of Glossop in Derbyshire to assist with its financial future, 10 years after it became Cistercian.  The general location seems to have been strategic rather than purely spiritual.  The area of Tegeingl is located in the Four Cantrefs between the earldom of Chester and Welsh Gwynedd, always the subject of territorial dispute between England and Wales and a source of regional discontent until Edward I completed his invasion in the late 13th century.  The establishment of a large French monastery was probably part of this process of establishing a presence, and a holy one at that.  Although the monastery was later mainly populated by English monks, the Welsh too saw the benefit of patronizing a prestigious religious establishment and both Llywelyn ab Iorwerth (d. 1240) and his son, Dafydd ap Llywelyn (d. 1246) were benefactors. 

Detail of Map 12, page 91 in Williams 1990 showing Cistercian Lands in Wales, with those of Basingwerk marked in red. Click to enlarge.

When an abbey was founded, its endowment included a number of properties that included farmland or pasture that were intended to support it by the provision of produce to make it self sustaining and later by selling produce.  Some of these could be quite substantial manors, but others were smaller farms, which the Cistercians referred to as granges.  These could resemble mini monastic establishments and often had their own chapels. Later still, properties with their land could be rented out to tenants, but as late as the early 16th century, Abbot Nicholas Pennant was busy creating a new open enclosure in the mountains adjacent to the monastery apparently for agricultural development.

Gelli Chapel, from Thomas Pennant’s 18th Century Tour in Wales. Source: National Library of Wales, via Wikipedia

Based on the work of D.H. Williams in his 1990 Atlas, Silvester and Hankinson 2015 list all the known Basingwerk granges, shown on the above map produced by Williams. These were supplemented in 2001 by Williams in 2001.  Apart from two properties in Derbyshire these are all concentrated in northeast Wales and the Wirral and include, in alphabetical order:  Baggechurch /Beggesburch Grange, Bagillt; Calcot; Gelli Grange, either at Gelli or Gelli Fawr; lands in Whitford and the adjacent parish of Cwm; the Lordship of Greenfield, alias Fulbrook, including lands of Merton Abbot and party of Holywell town; and Over Grange, Holywell (all in Flintshire).  Lands with uncertain boundaries have also been identified elsewhere in the area, including Mostyn, Wake, Flint and Gwersylt as well as transhumant pasture close to property belonging to Valle Crucis Abbey at Moelfre-fawr in Denbighshire, at Boch-y-rhaiadr and Gwernhefin. They also owned Lake Tegid at Bala.

Beyond Wales, there were also three granges on the Wirral: Caldy Grange (West Kirby), Thornton Grange and Lache Grange (known as “La Lith”), as well as the granges in Charlesworth at Glossop, their mos profitable property, and leased land in Chapel le Frith. 

Over Grange, Holywell. Source: Williams 1990, plate 39, page 120. No indication of when the photograph was taken.

Of this list, only two buildings seem to have survived into relatively recent times, the remnants of two granges.  A chapel at Gelli Fawr in Whitford (Flints), apparently once belonging to Basingwerk Abbey was recorded in  a late 18th-century drawing which suggests that the chapel was part of a larger building complex. More can be found about the building and its possible function it in Silvester and Hankinson 2015.  Another grange, Over Grange, was listed by Cadw in 1991, according to Silverster and Hankinson, and was located located to the southwest of the modern farm house, and has been much-altered.  The photograph below shows it with small cross over the gable.

The Coflein website says that it is believed that Basingwerk Abbey originally constructed a windmill on this site, but the present structure probably dates to the late18 or early 19th century.  Now restored. Source: Coflein 804658 – NMR Site Files. Archive Number 6259181

To support its farming activities, the monastery built watermills, windmills and fulling mills.  Abbot Thomas Pennant (abbot from 1481 to 1522) appears to have been particularly active in the building of mills.  Records indicate that there were at least four windmills, at least three watermills, and at least two fulling mills, as well as a tithe barn in Coleshill.

The site of the Holywell windmill is thought to be preserved by the surviving windmill that can be seen today, shown right.  Two of the windmills were on the Wirral. Rowan Patel’s research has found that the Basingwerk windmill that stood at West Kirby area had been established at around 1152, and was probably upgraded and even replaced several times.  It stood on a high spot near the coast, an ideally windy location, and eventually featured on sea charts as a major landmark for coastal navigation.   It was mentioned in Henry VIII’s Valor Ecclesiasticus, the valuation of all monastic properties. Patel has found that after the Dissolution the mill became the property of the Crown and was rented to Thomas Coventree for an annual sum of 40s.  Rowan Patel’s research suggests that the second Basingwerk windmill was at Newbold, east of West Kirby, mentioned in the Taxatio of Pope Nicholas IV in 1291, where a Newbold windmill was referred to and valued at 40s a year.  Before the Dissolution it appears to have been rented out to Thomas Coyntre in 1525 on a 100 year lease at 40s a year.  By the time of the Dissolution, Thomas’s son Richard Coventry was apparently paying rent to the Crown, and in 1659 William Coventry, presumably a descendant of Richard’s, was still paying rent.  In 1664 it is next recorded having been sold to one Thomas Bennett in who donated it to the support of the poor.  Patel notes that in 1546 two men stole oats, barley and pease worth 10d, indicating the cereals proposed at the mill in the mid-16th century if not before.

Watermills continued to have a value well into the 20th century, and medieval mills will have been replaced over time, removing the visible remains of them, particularly along the valley that ran down the hill behind St Winifred’s Well and past Basingwerk before emptying into the Dee.

Economic Values excerpted from Williams 1990, map 21, p.105, showing the dominance of the agricultural contribution to the abbey’s income

Basingwerk had a large amount of livestock.  The hills and newly cleared meadows around Basingwerk were ideal for sheep in the uplands and cattle in river valleys and pastures.  The Welsh princes are also recorded as expecting two horses annually from Basingwerk which may indicate that the monks, like those of Cymer Abbey, were breeding horses.

As well as agriculture, which made up most of its income, Basingwerk was also involved in industrial activities, owning or leased industrial properties, Williams lists silver mining as a component of Basingwerk’s economic activities, and this is supported by Gerald of Wales whose trip through Wales in 1188 records leaving Conwy and heading east through Tegeingl through “a country rich in minerals of silver, where money is sought in the bowels of the earth” before spending the night at Basingwerk.  The abbey was also involved in the salt trade, with salt extraction enterprises in Northwich and possibly Middlewich.   Williams notes a coal mine leased from the Crown in Coleshill.  Lead was also mined at Basingwerk, probably making use of the same resources that had been exploited by the Romans in the area.

Economic resources excerpted from Williams 1990, map 22, p.105

Timber was taken from woodlands in Penllyn in Merionydd for housing, hedges, fuel and other requirements, as well as for sale.  Tenants were permitted to take a reasonable amount of firewood.  Assarting, the removal of woodland for conversion to agricultural land and other uses was a common activity in the middle ages.

Fishing probably made up a significant part of the diet, as it did at most Cistercian monasteries.  Basingwerk held the fishing rights for Lake Tegid at Bala, which it owned, and had a weir at West Kirby.  Prince Dafydd granted them one fifth of the catch at Rhuddlan in the 13th century.  They may also have purchased fish caught in the nearby coastal waters.

Basingwerk had a number of urban properties too, in Holywell, Flint, Chester, and Shrewsbury, which served as bases in town for the abbot and his representatives, which were probably loaned to friends of the monastery, but could also be leased out for additional income if required.  The Shrewsbury house was probably a legacy of the abbey’s connection with Buildwas Abbey after the amalgamation of the Cistercian and Savignac orders.

The fan vaulting in St Winifred’s Well at Holywell

A major feather in the financial cap of Basingwerk was St Winifred’s shrine with its beautiful natural spring.  The Holywell shrine of St Winifred was also another source of travelers requiring somewhere to stay and something to eat.  St Winifred’s shrine was granted in 1093 to St Werburgh’s Abbey in Chester, but was passed to Basingwerk in 1240, together with the living of Holywell church.  An abbey with a pilgrim shrine had a whole world of opportunities for income generation, and St Winifred’s was not only famous in its own right for its powers of healing and provision of miraculous cures, but was on the pilgrim trail to Bardsey Island at the end of the Llŷn peninsula and Ireland, via Anglesey.  In 1427 it was given a considerable boost when Pope Martin V granted indulgences for those visiting the shrine and giving alms to the chapel.  Indulgences rewarded certain behaviours, like pilgrimages, with a remission of sins, meaning less time in purgatory.  Royal visitors included King Henry V in around 1416 and Edward IV in 1461, helping to raise the profile of the shrine, which continues to welcome pilgrims today.  It became even more attractive from the late 15th – early 15th century when the shrine was provided with a spectacular gothic building that surrounded the spring.  I will cover Holywell in a separate post.

A traditional method of income acquisition for monasteries was appropriating a church and its income, sometimes to cover a particular expense, such as a major building project, and sometimes just to supplement income.  The Cistercians officially frowned on this practice, but the ban on appropriating church incomes did not survive very long.  Even so, Basingwerk had appropriated surprisingly few, just parish churches at Holywell, Glossop and a third at an unknown location, possibly to be identified with Abergele.

The fairs and markets granted to Basingwerk during Edward I’s reign in the 1290s are discussed below, and this must have been a considerable aid to their income.

Behind the monks’ day room and the dormitory above it was a block of buildings the function of which remains unclear. Suggestions include an extension of the abbot’s personal quarters, with rooms for special visitors, or a dedicated guest wing.

In spite of these various forms of income, Basingwerk sometimes found itself in financial stress. The monastery had been unable to provide a required payment to Edward III in 1346, and by way of explanation complained of the burdens of hospitality that came partly with being a Cistercian abbey, which put a great deal of emphasis on providing free hospitality, and partly from being near a major road, which had become increasingly busy after Edward I had moved forward into Wales, establishing market towns whose merchants moved between Wales and Chester for trade.  Even later in its history, in the late 15th/early 1gth century, it was reported that guests were so numerous that they had to take their meals in two sittings. Smith paints an evocative picture of other travelers in Wales who “cautiously flitted from one English settlement to the next, seeking safe overnight bases where food and shelter could be found “in a land in which rumors of insurrection abounded.” Basingwerk was by no means the only abbey to complain of this burden, which was a particular problem for Cistercian abbeys, but was shared by any monastic community that sat at a busy location.  Birkenhead Priory, which ran the ferry that allowed crossings between the Wirral and Lancashire for access to Chester and beyond (and later Liverpool), found itself in real difficulties due to the requirement to supply hospitality for ferry users who might be stuck at the monastery for several nights in bad weather.

A rather more specific problem was the expectation by the Welsh princes to use the abbey’s Boch-y-rhaiadr range for its annual hunting expeditions, during which the abbey was expected to provide bread, butter, cheese and fish for a hunting party of 300, expanding to 500, with money due in lieu when hunting did not take place.  This was abolished by Edward I after his conquest of Wales.

The Cistercian monasteries in Wales were not exempt from all taxes, or subsidies, and some of the abbots and their community were employed as tax collectors.  Other occasional charges were made on the abbey, such as a demand for financial contributions towards the marriage of Edward III’s sister.  Basingwerk provided £5 in 1333.

The abbey, being so active in economic production in the Holywell-Flint areas, was responsible for the management of its lands and the personnel who managed and worked the land, but was also required to function in a judicial role, its courts administering justice and meting out punishments.  Lekai says that the monastery had “a pillory, tumbrel and other instruments of punishment, although the penalty most often inflicted was a fine.”

The church is on the left and the two arches of the chapter house at right,.  All the buildings were arranged around the central green area, the garth. The stone foundations for the covered and arcaded walkway survive.

Most of the Cistercian abbeys in Wales, at one time or another, had a diplomatic role acting as intermediaries between the Welsh princes and the Crown, acting for either side, a role that was in their political interests to accept.  For example In 1241 Henry III used the Lache grange for a conference between himself and Prince Dafydd’s clerk.  In 1246 Henry III chose the abbot of Basingwerk to escort Prince Dafydd’s wife Isabella from Dyserth Castle to Godstow nunnery near Oxford.  A decade later, Prince Llywelyn ap Gruffyd used an abbot of Basingwerk to carry a letter to Henry III.

In 1291 the Taxatio Ecclesiastica of Pope Nicholas IV valued Basingwerk at £68 8s 0d, gross value (compared with Valle Crucis at £91 8s 0d, and Margam  at £255 27s 4½d).  In 1346 it claimed that its lands were sterile, and it went through some bad years, but in spite of the rebellion of Owain Glyn Dŵr in the early 1400s and a very troublesome period when a monk took the abbacy without being legally elected in the first half of the 15th century, with a similar problem in the later 15th century, the appointment of Thomas Pennant in the early 16th century seems to have turned things around.  In 1535, Henry VIII’s Valor Ecclesiasticus valued the monastery at £157 15s 2d.  Margam by this time was valued at £188 14s 0d, and Valle Crucis £214 3s 5d.
——

The layout of the monastery

Plan of Basingwerk Abbey. Source: Robinson, D. M., 2006. Basingwerk Abbey (Cadw).

The remains of the monastery conform to a standardized layout favoured by all the orders that followed the rule of St Benedict, clearly shown on the Cadw plan to the right, which helpfully colour-codes the dates for each part of the building. Few parts of the 12th century abbey are left.  Most date to the early 13th century, but the monk’s refectory was built in the mid-13th century.  Much of the abbey was rebuilt in the 13th century, which was not unusual when, for example, a new abbot might want to make a mark, but in this case it is possible that much of not most of it was done due to damage inflicted during the wars between the English and the Welsh, when Edward paid compensation to the abbey to enable it to carry out repairs, about which more below.

The cloister arcade was apparently remodelled in the late 14th century.  In the late 15th century Abbot Thomas Pennant carried out building work not only at the abbey but also at the shrine of St Winifred just up the road in Holywell.  There are various aspects of the site where both date and function remain unclear.  The western range, opposite the chapter house, would have been part of the original layout, used to house the lay brethren, discussed below, but may have gone out of use if a new use for them could be found when the lay brethren were no long featured in the community.  Although the above plan shows that the possible guest accommodation is undated, timbers from fire damage Basingwerk were saved for future analysis and tree-ring dating shows that the felling-date of the crown-post truss was c. 1385.  This is one of the earliest Welsh tree-ring dated.  The dating was commissioned by Cadw.

The church is at left, the chapter house to its right, the day room and the windows of the first floor dormitory next, and set to the far right is the refectory

Although every monastery differed in some aspects, the basic template of buildings surrounding a central square area, a garth (green area) with surrounding walkway (the cloisters) with the monastic church making up one side, was a universal arrangement.  The church was usually on the north side, as it was here, and often included two chapels in the transepts that flanked the crossing area where the choir was located.  Some churches featured towers either above the crossing or at one end.  The other buildings usually included a chapter house (the important monastic meeting room), day room with a dormitory on its first floor, a refectory, and sometimes an undercroft for storage. with an external door leading into the cloister on one side and the monastic precinct beyond. A sacristy was usually attached to the church, sandwiched between the church and the chapter house, which is how matters were arranged at both Basingwerk and Valle Crucis.  The cloisters were usually supplied with desks (called carrels) along the exterior wall of the church  where the monks could study and write.

The precinct, in which this arrangement of buildings sat, could include other structures like farm buildings, and visitor accommodation and often included a gatehouse, the whole surrounded by some form of boundary.  A key feature of Cistercian monasteries was good drainage, which supplied the kitchens and fish ponds, where present, and took away toilet waste, and various parts of the Basingwerk drainage system can be traced at the site.

Part of the abbey’s drainage system

Part of the abbey’s drainage system

The church, with its entrance at far left and the south transept at right

Many of these features can be found at Basingwerk.  The church is largely in ruins, but the layout is still visible in the very masonry walls that sit on the grass, including the columns that supported the roof and divided the church into a central nave with three aisles and seven bays, two side transepts each with a small transept and an eastern presbytery where the high altar would be located.  At around 50 metres in length the church would have been one of the smallest Cistercian churches in Wales. Only Cymer near Dolgellau is shorter, at just over 30m in length.  At the entrance to the presbytery a stone set into the floor may have supported a lectern.

What remains of the south transept, with the presbytery beyond

Basingwerk Abbey refectory wall

Opposite the former church, and one of the best preserved parts of the abbey, is south range with the refectory, which was built perpendicular to the cloister rather than lying along it on a north-south axis.  The refectory in Chester Cathedral, the former St Werburgh Abbey, was built along the length of the cloister, limiting its size, but the the refectory at Basingwerk as limited only by the size of the precinct.  This was probably a change introduced in the 13th century remodelling of much of the abbey, replacing a 12th century refectory that lay along the side of the cloister on an east-west axis.  It is a substantial building with many features preserved in its walls.  This includes the former entrance and stairway to the pulpit, now blocked off, from which religious texts would have been read during meals.  S series of tall windows would have let in a lot of light, and there was a hatch between the refectory and the kitchen for the convenient handing over of food, as well as a cupboard, which was apparently shelved, opposite.

The monks’ day parlour at ground floor level, with the dormitory on the first floor, the windows suggesting the original height of this building

The east range of buildings, again along the edge of the cloister, extends between the east range and the church.  As you face this range, running from right to left are the monks’ day parlour, over which was the dormitory, the length of which over-ran the cloister and ran parallel for a short distance with the refectory;  a long thin parlour is next, and then most importantly is the chapter house, where the monks met daily to discuss the business of the order.  To its left is the sacristy, which adjoined the south transept of the church.

The Chapter House

The sacristy to the left of the chapter house, with doorway leading into the church to the left.

Looking towards where the western range would have been located. The building beyond is now the café.

Opposite this range was the western range, of which there is almost nothing left.  In a Cistercian monastery this was usually used, at least in the early decades, for the lay brethren.  These were members of the monastic community who worked the land, and were not required either to be as educated as the monks, or to dedicate a similar amount of time to worship.  They worked the land and were maintained by the monastery.  As properties were leased out, the lay brethren were increasingly redundant and the western range was usually put to different uses.  It is not known how it would have been used at Basingwerk.


Edward I and Basingwerk Abbey

Plan of Flint Castle. Source: Coflein

When Edward I settled on his location for his new castle at Flint, Basingwerk Abbey was just a few miles west of the new site.  The monks of Basingwerk Abbey, which was established over 100 years earlier in 1132, must have wondered about the impact of the castle on their own security and their livelihood.  During the first few months of the castle construction process in the summer of 1277 Edward stayed near Basingwerk.  Edward saw himself as a religious man.  He had been on crusade, and had made a vow to establish a monastic house of his own, under the Cistercian order, and had selected a site for it in Cheshire.  Vale Royal Abbey was already underway in 1277 near Northwich, Edward having laid the first stone in early August.  It seems unlikely that Edward was not often a guest of the Basingwerk Cistercian Abbey during the building of Flint, which apart from being obliged under Cistercian rules to provide hospitality, was unlikely to reject a royal visitor.  Although Basingwerk had been founded by an English patron, Ranulf II it was probably more in tune with Welsh interests by the arrival of Edward.  Indeed, earlier in 1277 seven Cistercian abbots had written a letter to Pope Gregory X supporting Prince Llewellyn ap Gruffud against charges placed by the Bishop of St Asaph, although the abbot of Basingwerk was not amongst them.

Drainage at Basingwerk, from the refectory

Whatever their personal leanings, it would have been very much in the interests of the order for good relations to be maintained.  They may have offered advice about his plans for Vale Royal, and it is clear that some of the abbots in the Welsh-based monasteries, including Basingwerk, played an invaluable role as intermediaries between the Welsh and the English.  Fortunately for the monks at Basingwerk, Edward I chose the Cistercian abbey at Aberconwy for his headquarters, forcing that monastic community to eventually shift further south along the Conwy valley to a new home.

The monks of Basingwerk would have been less than astute, however, if they had not regarded the new castle with misgivings, and if they had concerns about being caught in the middle of a fight between Edward and Llywelyn, their worries would later be justified.  In the 1270s and 1280s the abbey suffered damage during the wars of Edward I, in spite of letters of protection issued to it in 1276,1278, and 1282 and in 1284 Edward granted £100 compensation to the monks after the army stole corn and cattle and the loss of workers who were abducted, presumably for labour.  An additional 132 4d was paid in damages to churches in Holywell.  Basingwerk was not the only abbey in the area to suffer and receive compensation.  Valle Crucis near Llangollen received a sum of £160.00, and nearby Aberconwy was occupied by Edward I’s forces and its monastic community was forced to move to a new home to the south, at Maenan.  Relations between the abbey and castle obviously continued to remain good, because when the castle was completed in 1280 a monk of Basingwerk was engaged as the chaplain to the royal garrison.

One of John Speed’s maps showing Flint Castle and town. The castle and town of Flint as mapped by John Speed in 1610, showing the original road layout and market place. Source: National Library of Wales

At Flint, Edward had established a Norman-style new town as part of his vision for colonizing various parts of Wales.  This was an English settlement, and any new burgesses prepared to live there was given numerous incentives.  In 1278 Edward granted it permission to hold weekly markets and an annual fair.  In 1292 he granted Basingwerk the same permissions for Holywell, having granted them permission to hold an annual fair at their Glossop manor in 1290.  The monks could charge market stall holders rent for the duration of the market, a nice source of income, as well as selling their own products.  Basingwerk, with its water mills, windmills and fulling mills and land under both grazing and grain, was certainly in a position to sell a number of products, including grain, livestock and livestock products including meat, skins and wool. Welsh wool was recognized as being of very high quality, sometimes superior to even that of the better known wool produced by the Yorkshire monastic producers.  The Taxatio ecclesiastica of Pope Nicholas IV in 1291 recorded that Basingwerk had 2000 sheep producing 10 sacks of wool, 53 cows (at a ratio of 37.1:1), and no goats. Even if it found itself in competition with Flint, Basingwerk’s fairs probably represented the opportunity to raise the abbey’s income.  Its industrial products, as well as some of its wool, may have been sold for export.

The 14th – 16th century

Burton and Stöber describe how by the mid 14th century there were reports that the abbey was in debt, and in the fifteenth century some of its abbots were a distinct liability:

in 1430 the house was seized by Henry Wirral, who made himself abbot, and the following year he was engaged in a legal dispute for the office with Richard Lee. Despite the court ruling in favour of Lee, Henry continued in power at Basingwerk until 1454 when he was arrested for various misdemeanours and deposed. Matters did not improve, for in the following decade Richard Kirby, monk of Aberconwy, disputed the abbacy with Edmund Thornbar. Although the General Chapter ordered that Edmund be recognized as abbot, Richard was still in office in 1476.

Manuscript by Gutan Owain, National Library of Wales, MS3026C. Source: The National Library of Wales

Fortunately the abbey’s fortunes improved under Welsh Abbot Thomas Pennant, who ruled the house for about forty years from around 1481 to 1523, although this was very much a last hurrah before Henry VIII dissolved the monasteries beginning in 1535. By the early 16th century Welsh bard Tudur Aled (died 1526) makes it clear that there was lead roofing and stained glass at the abbey.   Tudur Aled praised Abbot Thomas , commending his his learning but also his generosity, generally an indication that they were being sponsored by a given abbot, as at Valle Crucis.  Gutun Owain seems to have benefited from Basingwerk Abbey’s patronage.  Owain is notable for having addressed over fifteen poems to Cistercian abbots, and is known to have stayed as a guest at Valle Crucis and Strata Florida as well as Basingwerk.  Although the late fifteenth century manuscript known as the Black Book of Basingwerk (Llyfr Du Basing, now NLW MS 7006D, which was the mainly the work of Gutun Owain copied into a single volume) was probably held by Basingwerk at the time of the dissolution in around 1536, it is thought in fact to have been the work of copyist monks at Valle Crucis.

Thomas Pennant was not a man of undiluted virtue.  In an order where celibacy was required and monks were not permitted to marry, Pennant not only fathered a family, but his son Nicholas, became the last abbot of Basingwerk, which in theory was an act of simony banned by the order.  When the abbey closed, probably in 1536, with just three monks, Nicholas was the abbot.

St Mary on the Hill, Chester. Source: GENUKI

After the Dissolution every valuable object and piece of structural material was stripped for Henry VIII’s treasury.  James says that part of the timber ceiling is at Cilcain, and that stained glass can be found at Llanasa.  Burton and Stöber add that the choir stalls from the abbey were transferred to the church of St Mary on the Hill in Chester.  Lead from the roof was removed, and may have been used for the repair of Holt Castle on the Dee and Dublin Castle. Williams adds that it may have been employed also in other crown buildings in Dublin, and that it is possible that the wooden sedilia in the parish church of St Mary, Nercwys, was from Basingwerk.  There is a tradition that the Jesse window was reinstalled in the parish church of St Dyfriog (Llanrhaeadr-yng-Nghinmeirch) but this remains unconfirmed.

I have been unable to get access to St Mary on the Hill, a comprehensive history of which is on the Chesterwiki. It was decomissioned in 1972 and now describes itself as a Creative Space and venue for a range of activities.  However, the Chesterwiki site says that the fittings, presumably including the Basinwerk choir stalls, were removed after the church was decomissioned, although it does not say where these fittings went.

From the 18th century the site attracted artists who recorded features that are now lost.  In the early 20th century a large section of the south transept collapsed.  In 1923 the site was put in State guardianship and in 1984 it was put into the car of Cadw.

Basingwerk Abbey miniature by Moses Griffiths, c.1778. Source: National Library of Wales, via Wikipedia

Final comments

The building that may be a guesthouse, has had burned timbers dendro-dated, which give the roof a date of c.1385. Source: RCAHMW Exhibitions: Dendrochronology Partnerships

Information about Basingwerk Abbey is fragmented and partial, but researchers have pieced together a history of the abbey that tells a story about abbey’s past, beginning as a Savignac establishment before being absorbed into the Cistercian network of monasteries.  The disputes between the Welsh princes and Henry III and Edward I caused grief for the north Wales monasteries, but they survived to rebuild and move forward.  Like other abbeys in Wales, the abbots of the abbey had a diplomatic role, often acting as intermediaries between Wales and England.  As members of the wider community with an important economic role, the abbey was often involved in local judicial matters. Financial difficulties in the 14th and 15th centuries are recorded and but again the monastery survived these difficulties.  In the early 16th century the abbey became a haven for Welsh bards, supporting their work. Throughout its history, its location on the main route through north Wales meant that it was obliged to provide more hospitality than more secluded monastic houses, whilst the shrine of St Winifred, whilst contributing to the prestige and financial value of the abbey, also required some management to prevent it becoming a drain on the abbey’s obligation to provide shelter and food.  After the Dissolution in 1536, the abbey was decommissioned, its valuables removed and its properties either sold off our leased out.  Today it is managed by Cadw and offers an excellent visitor experience.


Visitor Information

Find the captions and see the full-sized map at https://greenfieldvalley.com/greenfield-valley-zones/. There is an interactive version of the map at https://greenfieldvalley.com/explore/interactive-map/.

The site is free to visit.  There is no visitor information centre but a small modern shop sells guide books, postcards and souvenirs relating to Basingwerk, St Winifred’s Shrine and the Greenfield Valley Park. The abbey’s postcode is CH8 7GH and the car park is on Bagillt road, just to the west of the enormous railway bridge, opposite a small trade/industrial estate.

There is a big car park at the foot of the abbey, shown to the right left on the A548, just west of the enormous railway bridge, which has a fairly gentle metalled incline up to the abbey, with a bench and information map half way up.

There is also a café just outside the main gates, which in October 2022 was doing a good coffee and a splendid lunch.

Basingwerk Abbey is a component part of Greenfield Valley Park, and is popular with dog walkers and children, so if you want a quiet visit it is probably best to go on a weekday outside the holidays. The rest of Greenfield Valley Park is an excellent visit in its own right, with a remarkable amount of industrial archaeology within its borders, and plenty of interpretation boards.  I have posted about the industrial archaeology of the Green Valley Park here.

If you want to stay in the medieval period, St Winifred’s Well is about 1.5 miles through the park (shown as No.9 at the very top of the map right), or if you prefer to drive it has its own car park.  Flint Castle is only 4 or so miles down the A548 towards Chester, and makes for a great visit.  I wrote about the history of Flint Castle on an earlier post, Together, the three sites make a very fine medieval day.

Sources

Books and papers:

Burton, J. and Stöber, K. 2015.  Abbeys and Priories of Medieval Wales.  University of Wales Press.  https://www.jstor.org/stable/j.ctt9qhdvn.13

Davies, Paul R. 2021. Towers of Defiance. YLolfa

Elfyn Hughes, R., J. Dale, I. Ellis Williams and D. I. Rees. Studies in Sheep Population and Environment in the Mountains of North-West Wales I. The Status of the Sheep in the Mountains of North Wales Since Mediaeval Times. Journal of Applied Ecology , Apr., 1973, Vol. 10, No. 1 (Apr., 1973), p.113-132
https://www.jstor.org/stable/2404720

Evans D.H. 2008, Valle Crucis Abbey, Cadw

Knight, L. Stanley 1920. The Welsh monasteries and their claims for doing the education of later Medieval Wales. Archaeologia Cambrensis, 6th series, volume 2, 1920, p.257-276
https://journals.library.wales/view/4718179/4728984/314#?xywh=-63%2C345%2C2942%2C1730

Rhys, Ernest (ed.) 1908.  The Itinerary and Description of Wales with an introduction by W. Llewelyn Williams. Everyman’s Library. J.M. Dent and Co, London. and E.P. Dutton and Co (NY)
https://archive.org/details/itinerarythroug00girauoft

Huws, D. 2000.  Medieval welsh Manuscripts. University of Wales Press

James, M.R. 1925.  Abbeys. The Great Western Railway
https://archive.org/details/abbeys-great-western-railway

Jones, Owain, 2013. Historical writing in medieval Wales. PhD Thesis, University of Bangor.
https://research.bangor.ac.uk/portal/files/20577287/null&ved=2ahUKEwjxssbb0tvtAhWmxIsKHQgvBW0QFjAOegQICBAI&usg=AOvVaw2GbJiGy6Sl3SPiTX4K8RqZ

Lekai, Louis L. 1977. The Cistercians. Ideals and Reality. The Kent State University Press

Patel, Rowan 2016. The Windmills and Watermills of Wirral. A Historical Survey. Countyvise Ltd.

Robinson, D. M., 2006. Basingwerk Abbey. Cadw

Silvester, R.J., and Hankinson, R., 2015. The Monastic Granges of East Wales. The Scheduling Enhancement Programme: Welshpool. Clwyd-Powys Archaeological Trust (CPAT)
coflein.gov.uk/media/241/979/652240.pdf

Smith, Joshua Byron 2016. “Til þat he neӡed ful neghe into þe Norþe Walez”: Gawain’s Postcolonial Turn. The Chaucer Review, Vol.51, No.3 (2016), p.295-309
https://www.jstor.org/stable/10.5325/chaucerrev.51.3.0295

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

Williams, David H., 1990. Atlas of Cistercian Lands. University of Wales Press

Websites:

Coflein
Basingwerk Abbey
https://coflein.gov.uk/en/site/35649?term=basingwerk%20abbey%20holywell

Monastic Wales
Basingwerk Abbey
https://www.monasticwales.org/browsedb.php?func=showsite&siteID=24
Gutun Owain
https://www.monasticwales.org/person/72
The Black Book of Basingwerk
https://www.monasticwales.org/archive/24
Valle Crucis (Abbey)
https://www.monasticwales.org/browsedb.php?func=showsite&siteID=35

RCAHMW Exhibitions: Dendrochronology Partnerships
Bilingual exhibition panel entitled Partneriaethau Dendrocronoleg; Dendrochronolgy Partnerships, produced by RCAHMW 2013
https://coflein.gov.uk/media/200/524/rcex_026_01.pdf

RCAHMW List of Historic Placenames (searchable database)
https://historicplacenames.rcahmw.gov.uk/

University of Notre Dame
A Knight in St. Patrick’s Purgatory, by Haley Stewart. March 15, 2019
https://churchlifejournal.nd.edu/articles/a-knight-in-st-patricks-purgatory/

An Essay on Cistercian Liturgy by Dr Julie Kerr
Cistercians in Yorkshire, University of Sheffield
www.dhi.ac.uk/cistercians/cistercian_life/spirituality/Liturgy/Cistercian_liturgy.pdf 

 

The chapter house propped up during excavations when M.R. James visited in 1925.

Basingwerk Abbey from the South. 1929 postcard. Source: People’s Collection Wales

Gop Cave and Cairn near Prestatyn #3 – The vast cairn

Introduction

The cairn rising above the tree tops on Gop hill, with the cave visible as a dark line in the light limestone ridge below. Source: Coflein

Gop Cairn is at an elevation of 250m (c.820ft) above sea level  on the prow of a hill overlooking the Vale of Clwyd, just outside the village of Trelawnyd (formerly known as Newmarket).  It is oval rather than round, and measures roughly 101m x 78m (331 x 255ft).  It is the biggest man-made prehistoric mound in Wales, and in Britain as a whole it is second only to Silbury Hill in Wiltshire.

The cave has already been discussed in part 1 (Pleistocene and Mesolithic) and part 2 (Neolithic burials).

The Excavation

The plan of the cairn and excavations by Boyd Dawkins. Source: Boyd Dawkins 1901

Sir William Boyd Dawkins was hired by the landowner to excavate the cairn.  Boyd Dawkins had a simple, though labour-intensive strategy.  The plan that Boyd Dawkins made of the cairn shows the dip in the top that remains today.  Boyd Dawkins speculates that this could have been caused when the cairn was later used as a source of raw materials for local drystone walling, or alternatively by subsidence due to the collapse of an underlying chamber.

Although there is a thin covering of vegetation today, the cairn was found to be built of chunks of limestone.  Around the base of the cairn there seems to have been a more organized and well presented kerb of drystone walling.  Ian Brown suggests that when first built, and during the period when it still retained importance, it may have “shown a dramatic whiteness set against a blue or darkening site.”  The limestone ridge below, in which the cave is located and shown at the top of this post, certainly seems almost white in the sunshine, and the cairn may have had a similarly noticeable appearance, particularly given its great size.

Boyd Dawkins sunk a shaft (6ft 6 ins by 4ft / c.2m x 1.22m) vertically from the top of the cairn, which had to be shored up with timber to allow work to proceed safely.  The shaft reached the former ground surface, which was formed of bedrock.  A main “drift” (a mining term for a horizontal subterranean tunnel) was then tunnelled running 30ft (c.9m) to the northeast from the bottom of the vertical shaft towards the edge, followed by two shorter drifts.  The hope was to find a burial chamber at the centre.  It was not unreasonable to assume that there would be a burial chamber of some description.  Although Neolithic chambered cairns are not common in northeast Wales (examples are Tyddyn Bleiddyn near St Asaph and Tan y Coed in the Dee valley), there are many Early Bronze Age round barrows with cists, and there are several stone-built burial sites and a stone row on the Great Orme to the west.

Unfortunately, in spite of all the hard work, all that Boyd Dawkins and his team found were fragmented animal bones, which in spite of his considerable experience identifying animal remains, Boyd Dawkins was unable to identify with certainty: “hog, sheep or goat, and ox or horse, too fragmentary to be accurately determined.”  Overall, the suggestion is that these were domesticated species that could have been herded or penned in the area.

No artefacts were found.

Conditions were obviously very difficult, as Boyd Dawkins states: “The timbering necessary for our work was not only very costly, but rendered it very difficult to observe the condition of the interior even in the small space which was excavated.”  It is possible that the chamber, if there is one, is off-centre, and that any passage leading to it is in a different direction.  Until further survey or excavation work is carried out, there is no means of telling what lies beneath the surface.

Dating the Cairn

Neolithic arrowheads found on Gop Hill. Source: Glenn 1935

Data for the dating of the cairn is circumstantial.  Although domesticated animal species were found within the cairn, these could have been deposited at an any time from the Neolithic onwards.  On the other hand, arrowheads and other Neolithic stone tools have been found on Gop Hill. According to T. Allen Glenn in 1935, Gop Hill was known locally as Bryn-y-Saethau, the Hill of Arrows, due to the large number of Neolithic arrowheads found there over the decades.  Just below the cairn, just 43m (141ft) away, shown in the above photograph, is a shallow cave in the limestone ridge  that contained Neolithic burials.  There are ephemeral Neolithic sites nearby, identified by T. Allen Glenn during field walking during the 1920s, and there are other Neolithic cave sites in northeast Wales.  At the same time, nothing significant relating to the Bronze Age has been found in the immediate area.  Although Iron Age and Roman sites have been found in the area, Gop Cairn is not an Iron Age or Roman form of site, and there is no record of a medieval motte and bailey castle up on the hill.  On balance, accepting that it remains speculative, it seems probable that it will turn out to be a Neolithic site if it is ever properly investigated.

Myth: “Baseless Theories”

A local writer named Edward Parry, author of Royal Visits and Progresses into Wales, written in 1851, propagated the idea that Gop Hill and its cairn were connected with the battle between Boudicca and Suetonius Pauluins in A.D. 61.  It is a bizarre theory, that Ellis Davies, under the subheading “Baseless Theories” says in 1949 was a “false derivation” based on one of the names of the Gop, Cop Paulini.  It is otherwise incomprehensible why Parry should have come up with the theory, but it found its way into other pamphlets and local accounts.  As Davies points out in a rather aggrieved tone, “It would not be necessary to refer to these absurd stories about the association of Boudicca with Gop and neighbourhood were it not for the fact that locally they still persist!”

The Beacon

In his 1949 book “The Prehistoric and Roman Remains of Flintshire,” Ellis Davies notes that in the 17th century there was a beacon on Gop Hill, the purpose of which was to send up an alarm, when necessary, should pirates be spotted off the coast.  A small hut was built at the bottom of the cairn to store the combustible materials with which the fire would be lit.

Final Comments

It is a little ironic that there is such a lot to say about a rather small cave, and not a great deal to say about an absolutely enormous cairn on the prow of a hill that dominates the surrounding landscape.  It seems clear from the burials in the cave beneath the cairn, dated by association with distinctive artefacts, and supported by stone tools found on the hill, that this was an important location during the Neolithic. It seems likely that the cairn could have belonged to the same period, but it is also possible that it could belong to the following earlier Bronze Age.  Further investigation will be required to nail down the date of the site, and to establish if there are any additional structures, such as burial chambers, contained within.

 

Suggestions for the derivation of the name Gop. Source: Ellis Davies 1949, p.159

Sources and visiting details are shown in part 1