Category Archives: Days Out

A thoroughly enjoyable visit to a splendidly sunny Chester Zoo

I’ve been a member of Chester Zoo for years, although I cannot remember the last time I got around to visiting.  It is a super place to visit at this time of year, because although there are plenty of people around, and quite a few young kids, it is anything but crowded and there’s no queueing or having to wait in turn for a good view. I was supposed to be doing good works in my garden today, but looking at the sun, and considering my options, it suddenly seemed like a good idea to abandon the weeds and go and inspect the baby elephant in person.

Last time I was there I was really impressed with some of the innovative changes, not only to the animal houses and paddocks but to the walkways between enclosures, which included boardwalks and raised walkways, with a growing emphasis on flora as well as fauna.  All of the walkways are lined with what are now increasingly mature trees and shrubs, many of them specimen pieces, and lots of them labelled with their species name and additional information.  This lavish plant life extends into many of the animal enclosures.  There is a sense of everywhere being green and floral wherever you look, and this is really impressive.  The new zone based around a wending water feature is particular lavish in this respect, giving a real sense of being out of the busy world beyond the zoo.  All of the green and water areas support not only the official zoo residents but the local wildlife too, including water birds, garden birds and insect life, both of the crawling and flying varieties.  Plant species have been selected, for example, to encourage bees, and the lowly mallards looked very much at home.

As ever at Chester Zoo the emphasis is on conservation and their breeding programme, and there were plenty of babies around to demonstrate their successes, as well as multiple  information boards dotted around that explain not only the zoo’s residents and their habitats but also how the zoo itself is helping to promote their survival worldwide, with partnerships with other organizations.

It was far from hot today, although the spring sun was lovely, but it was terrific to see many of the animals enjoying their water features.  There were notable exceptions, including the giant otters who were having a marvellous time sunbathing, a seriously mellow lioness and a very lazy cheetah who seemed to melting into the sunshine.  There was a lot of very contented laziness on display!  At the same time, it is always superb to see various different monkey and apes enjoying their enclosures inside and out, with a lot of energy on display.

The new “pink zone” which has a southeast Asian theme and is organized around a winding circular waterway is excellent, with some great features and, should you be hungry, a southeast Asian-style fast food restaurant.  I had just stuffed myself with an enormous Mr Whippy or I would have gone for it, as that sort of cuisine is just up my street.

The monorail has been taken down, but this has lead to an expansion of the walkways.  At the moment the Heart of Africa section is being reconfigured, meaning that much of that area is not accessible, so the giraffe house is not available, and the zebras were not visible, but this should change by the summer.  At the moment some of the bird venues are closed due to bird flu, a very good precaution.

 

 

And it did!

Opening times and prices are on the Chester Zoo website here. You can download the map from the Zoo’s website here, or you can pay a £1.00 for a printed version at the ticket office.   All the Chester Zoo people, whether you are having your bag checked at the security desk, buying an ice cream or asking directions are super-friendly and really helpful.

A great day out. It is super to see how the zoo continues to innovate and to extend its offering.

 

Day Trip: The elegant Augustinian Haughmond Abbey near Shrewsbury

Interpretation board at Haughmond Abbey.  The “You Are Here” text at far right (the south end of the site) marks the location of the interpretation board. The church remains only as a few courses of stone at far left (north) but leaves a clear footprint of its layout.

One of the fascinating ruined monastic buildings that I visited during my October 2024 trip to Shropshire, was the sprawling Haughmond Abbey, just a few miles northeast of Shrewsbury, and very easy to reach.  The Romanesque survivors at the site are particularly delightful, giving the site a charm and subtle glamour that is largely missing from most of the somewhat repetitive gothic establishments that followed.

Haughmond was the first Augustinian monastery that I have visited, and it is unusual in being so large for an Augustinian establishment.  The followers of St Augustine of Hippo, also known as Austins or Black Canons, followed a rather different set of guidelines from those of the Benedictines, Cluniacs and Cistercians and others who followed the Rule of St Benedict, of which more below.  Most Augustinian monasteries were priories, but Haughmond was raised from a priory to an abbey in the mid-12th century, one of only 9 in England to do so, and its ground plan is extensive.  Its design borrows extensively from its St Benedict-inspired predecessors, but there are notable differences too.

The visible remains of Haughmond relate to the buildings founded as an Augustinian abbey in the 1130s, dedicated to St John the Evangelist.  Some documentary evidence is supplied by what remains of its cartularies (collection of charters) assembled between 1478-1487 as well as records of leasing agreements from the 14th to the 16th century, both of which provide information about its economic activities from the 12 century onward.  Further information was provided by excavations. The first of these were carried out by William St John Hope and Harold Brakspear in 1907, and were interestingly financed mainly by public subscription, reflecting local interest in the site.  Part of this was clearance of debris but they found the remains of the 11th century church and  revealed many of the remains of the early church and priory.  When the Ministry of Works in 1933  took over the site they too undertook clearance works and further excavations, at the south end of the site, took place in 1958 . In the 1970s, Jeffrey West and Nicholas Palmer concentrated on the various phases of the abbey church and and surveyed the abbey’s surviving walls.  In 2002 a survey by English Heritage not only found the location of the original gatehouse but located the abbey precinct’s boundaries and many of the features that lay within those boundaries, including important aspects of the drainage system.
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The Augustinians

The earliest known representation of St Augustine from the 6th Century in the Lateran, Rome. Source: Wikipedia

The Augustinian order, like the traditional medieval monasticism that subscribed to the ideas of 6th century St Benedict, looked to an earlier time and an earlier authority on which to base their own approach to monastic living.  St Augustine (354–430) was born in Roman North Africa in 345. Before a visit to Milan he had been closely associated with the Manichean religion before meeting Christian intellectuals in Milan.  On his return to North Africa his own inclination as a Christian was to embrace the monastic life, but he was persuaded to take orders as an ordained priest, partly because Christianity was a minority religion in the area at that time, and although he accepted this role, he also received permission from the bishop of Hippo (now Annaba in Algeria) to create a community of Christian men and women who renounced wealth in favour of a communal life of religious service.  He later became the bishop of Hippo himself.

Augustine’s guidelines were not written down as a single set of rules like those of St Benedict, but were assembled from a letter to his sister a nun, which offered thoughts on how a monastic establishment should be run.  These had no influence on the development of monastic life until the 11th century and it is not known whether the rule itself was rediscovered or whether Augustine’s ideas were simply adopted from his other extensive writings to create a rule carrying the saint’s authority, applicable not only to monasteries but other religious communities, including hospitals.  

The Augustinian monastic organization was founded in the 11th century, with papal approval.  Its monks were popularly known as the Black Canons, canons being members of a monastic community of priests.  Unlike those monastic orders based on the Rule of St Benedict, the Augustinians, or Austins, were ordained priests and were able to leave their monastery to work in the community to carry out pastoral work. The foundation of hospitals was also an integral part of many of the Augustinian establishments.

The central ideas of the rule by the 12th century were that canons should emulate the apostles, abandoning their possessions, leading a celibate, contemplative life that included prayer, in which personal poverty, self-discipline, mutual responsibility and charitable generosity were more important than austerity and seclusion. Augustinian canons could spend time in the community and conduct services in churches.  The maximum number of canons permitted in a single establishment was 24, and at the time of the Dissolution there was half this number at Haughmond.  No two establishments necessarily operated in the same way, although many of the monasteries shared the basic Benedictine layout of the main buildings gathered around cloisters.  Many were very small, usually holding the status of priory, but Haughmond was promoted to an abbey early in its history.  It was unusually large, and was gathered around two cloisters, as well as an infirmary, now lost.
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Entering the site today – orienting yourself

Haughmond Site Plan. Source: Iain Ferris 2010 (see sources at end)

The site is entered from the south where the Abbot’s Hall, private rooms and reredorter (latrine block) are located (at the bottom of the plan at left).  In the medieval period all visitors would only have entered at the opposite end of the site, to the north, where the remains of the church and its two transepts are to be found.  The monastic complex is an integrated whole, incorporating both domestic and religious functions in a single unit, although it grew up over time, advancing from north to south, beginning with the church, in the opposite direction from which you enter.  Repairs and reinventions mean that there are many layers to understand within the abbey complex.

Sandwiched between the Abbot’s Hall at the south end of the monastery and the church at the north end are two cloisters (square arrangements of buildings, each around a central green area).  The two cloisters are separated by the frater (refectory) that makes up the north wall of the southern cloister and the south wall of the northern one.

The official guidebook has a recommended circular route either straight ahead from the entrance, via the Abbot’s Hall, or via the reredorter (latrine block) to the right.  It does help to have a site plan to walk with, either in the guide book or printed out, particularly given that even with experience of previous monasteries, it’s a complex site with some features only surviving to the height of a few courses of stone.
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The development of Haughmond Abbey

A splendid reconstruction of Haughmond Abbey by Josep Casals for English Heritage / Historic England. Source: English Heritage. My annotations based on the plan shown in the Haughmond Abbey guidebook. North is to the left, where the church is located. Click to enlarge

Like most high-status buildings, Haughmond changed considerably over time.  It began in the 11th century as an isolated community. The reasons for the location have not been recorded but the English Heritage survey of the site suggests the following:

[T]he comparative remoteness of the area on the woodland fringe, the shelter provided by the slope and the ready availability of building stone are all valid explanations. However, these conditions apply widely along the foot of Haughmond Hill and so it was probably the occurrence of a number of springs along this particular section of the escarpment which was the determining factor. The need for a reliable water supply for drinking, washing and carrying away waste hardly needs stating but there is also the possibility that the first community chose to settle here because the springs already had an established spiritual significance. (Pearson et al 2003)

Small entrance to Haughmond Abbey from the south, now the entrance for visitors.  The main gateway was at the north.

One of the important achievements of the combined excavations was to establish that an earlier abbey had preceded the 12th century Augustinian priory.  The remains of a  small cruciform stone church were found beneath the south transept and the northeast cloister and it is suggested that it may have been built by an eremetical community, either in the late Saxon or early Norman period. A small cemetery of 24 graves that was found immediately to the west of that church included child burials, suggesting that it was serving the community at large, not merely the monastery.

The monastery was later re-established by the FitzAlan family under William FitzAlan I in the 1130s as a priory using the Rule St Augustine to guide its activities.  This included rebuilding of the church and cloister that provided the Augustinian priory an integral part of its later identity.  It was so richly endowed that it was soon given abbey status.  The FitzAlan family continued to be patrons of the abbey and were buried at the site until the mid-14th century.  They eventually transferred their loyalties to another establishment when the Lestrange family took over as primary patrons, their endowments allowing further expansion.  During the 13th and 14th centuries further elaborations were made, and in the early 16th century it underwent remodeling, just in time for the Dissolution in 1535.

Information panel at Haughmond showing the daily liturgy followed by the Black Canons. Click to enlarge

As a wealthy abbey, Haughmond was not amongst the first to be closed down, and lasted until 1539, at which time the remaining community members were pensioned off.  After it had been plundered for its treasures for Henry VIII’s coffers the abbot’s quarters were converted to a country home for Sir Edward Littleton, with some of the other buildings remaining in use.  It continued to be a home until the Civil War when a fire put an end to its residential use. It was eventually handed over to the Office of Works in 1933.  The 2002 survey by English Heritage established the extent of the abbey precinct and identified its water management systems, neither of which had been fully understood before.  The excavations found numerous objects, Romanesque architectural stonework, human remains, animal bones, pottery and metalwork all dating to the abbey’s occupation.
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The Abbey Layout

The preservation of the buildings is very variable, with the abbot’s residence and hall and chapter house being the main and very impressive survivors.  The inner wall of the west range survives, and there are some fascinating architectural details dotted around, but most of the site is represented by low courses of stone that reach only a few feet high.  This does not undermine the visit, because these lower courses preserve the layout of a complex site, which offers a great many insights into life at Haughmond.

The monastic precinct

Plan of the abbey in the 2002 survey. Source: Pearson et al survey report 2003, English Heritage (see Sources at end).

The site is large, but only represents the core buildings.  The monastic precinct was much bigger.  Access to the monastic precinct would have been via the main gatehouse.  The remains of this was found in the 2002 survey, to the west of the church.  The boundaries of the monastic precinct were not found in 1907, but were revealed by the 2002 English Heritage survey.  This provided a good idea of the full extent of the site, making it easier to visualize it beyond its current footprint, and at the same time offered an entirely new interpretation of the site’s drainage management, always an important aspect of monastic establishments which, as well as requiring fresh water, had waste management and other drainage requirements.

The church

Haughmond Abbey Church interpretation panel. The sacred east end with the presbytery/chancel is on the left, with the nave to the west on the right, and a dividing screen between them. Click to enlarge.

Although there is nothing left to give an idea of how the interior would have looked, the very lowest courses of the church retain its footprint, and excavations have provided some more information, derived from the masonry of the site.  The church had the usual cruciform plan of a long nave, short chancel,  two side transepts, 60m (200ft) long in total, with a short tower over the crossing.   Visitors would have entered into the nave of the church via the north porch, penetrating no further than the church nave.  The nave was divided from the sacred east end of the church by a stone screen.  The cloister and the rest of the monastic establishment would have been completely out of bounds for ordinary visitors.  The canons would enter from the cloister side.  Interestingly, the site is terraced beneath the line of the church, meaning that the altar would have been physically higher than the transepts, involving a great many steps to reach the high altar, which would have been higher than the nave, emphasizing the hierarchy of the church from sacred east to secular west.  The transepts would have contained chapels where the ordained priests could say masses to the dead.  There were also altars, other than the main altar, to St Andrew and St Anne.  An aisle was added to the north side of the nave, the pier bases of which were found during the 1907 excavations.

Looking down the terraced profile of what remains of the church

The main cloister

The processional doorway

The church makes up the north side of the cloister, offering it some protection from the elements and allowing in the sun, which helped to light both the church and the cloister buildings.  The main cloister was rectangular and the other three sides were made up of three ranges of buildings with a green, the garth, at its centre. Nothing remains of the walkway that would have connected these four ranges of buildings.

Connecting the cloister or the nave was the processional doorway, a magnificent 12th century feature through which the monks could carry reliquaries, saint images and portable shrines on days of particular religious significance.  Like the chapter house, it has elaborate patterning on the out of the recessed arches and is flanked by two statues representing St Peter (left) and St Paul (right).

The facade of the Chapter House

The most important building in the east range, which is partly made up by the north transept of the church, is the chapter house, where the daily business of the monastery was discussed. Its  lovely facade includes the entrance flanked by two windows, all with receding layers of arching featuring decorative patterns, and featuring eight statues showing saints between the slender columns.  Although the arches belong to the 12th century, the statues were added in the 14th.  Some are in rather better condition than others, but include St Augustine, a female saint who perhaps represents St Winifred of Shrewsbury Abbey, St Thomas Becket, St Catherine of Alexandria, St John the Evangelist, St John the Baptist, and St Margaret of Antioch.  The building underwent further changes at the beginning of the 16th century, probably including the addition of a wooden ceiling.  The tombstones and the font were probably moved here from the church after the monastery went out of use.

Interpretation board discussing the chapter house saints

 

Interior of the chapter house

Detail of one of the interpretation panels

The remains of the west range.

Opposite the chapter house is what remains of the western range.  The inner wall survives, with two tall arched recesses, which  probably contained a laver, a basin that the monks used for washing before eating.  Further along at the northern end adjacent to the processional doorway an entrance lead into the western range, with decorated capitals at the top of the columns.  The outer walls have been lost.  The western range was used differently from one establishment to another, and it is not known how this example was used.

Gateway into the western cloister, showing multiple levels of structural change

The southern range was made up of the refectory (dining hall) with an undercroft (storage area) below.  The floor of the dining hall is long gone, but some decorative features remain in the walls, and it once had a great window over a central pointed arch.  The undercroft opened out into the monastic precinct via an arched entrance and and two flanking windows.  The remains of the pillars that supported the refectory wall remain, together with a drain running towards the north.  The full length of the refectory was 30ft 6ins (c.9m) wide by c.81ft (c.25m) long.

The refectory undercroft with pillars and drain

Interpretation panel showing the refectory and its undercroft

Behind the chapter house and overlapping with half of the dormitory is what is known as the Longnor’s Garden, now an empty space with a wall behind it, established in the mid-15th century for Abbot Longor.  As well as a dovecote it was presumably used to grow herbs, for both cooking and medicinal use.

The little cloister

Kitchen ovens

A narrow gap at the east end of the refectory allowed access from the main cloister into the little cloister.  A low line of stone marks the line of the former walkway that surrounded the little cloister. This contained another four ranges, the northernmost of which was made up by the refectory.  The entrance to the refectory was probably originally from the main cloister, but once the little cloister was established, the entrance was on this side, which makes sense as the early 14th century western range consists of a surprisingly large kitchen area with two giant ovens and chimneys.  The 1332 document by Abbot Longnor that permitted this survives, stating that the prior and monastic community “may have from henceforth a new kitchen assigned for the frater, which we will cause to be built with all speed ; in which they may cause to be prepared by their special cook such food as pertains to the kitchen of that which shall be served to them, every day, by the canons and ministers appointed to that end by them by leave of the abbot.”

The kitchen and refectory, side by side. To the left of the refectory wall, and in front of the ovens is the line of little cloister’s walkway.

Opposite the kitchens were the two-storey dormitory and its undercroft, set at an angle to the little cloister and terminating at the south side with an entrance into the reredorter (latrine block), which was set at an angle to the dormitory. The undercroft survives, but the upper levels that made up the dormitory are now lost. The building is 125 ft long by 27 ft wide, with a row of columns along the centre, dividing it into eleven bays.  The remaining stonework preserves indications of doorways, windows and fireplaces.  In the mid-15th century the north end of the dormitory was divided off to provide private space for the quarter’s of the abbot’s second in command, the prior.

View part-way along the dormitory, looking towards the chapter house

The drain of the reredorter

At the southern end of the little cloister were the abbot’s apartments, consisting of a hall and private rooms.  The remains of an earlier and much smaller set of13th century apartments survives at the east, but was replaced by the much more ambitious, decorated 14th century buildings that partly survive today.  The main feature of the hall is an enormous pointed window, with fragments of stone tracery remaining, set over twin pointed arches, and flanked by two small towers.  Three sets of windows, with tracery, let light in on either side, and again provide the rooms with gothic flair. The Abbot’s private rooms feature a distinctive 5-sided oriel window with distinctive decorative elements.

The abbot’s private rooms on the right, and his hall to the left

The abbot’s hall

The fireplace in the abbot’s hall

 

Interpretation panel for the abbot’s hall

The oriel window in the abbot’s private rooms

Some of the decorative features in the abbot’s private rooms

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Records mention an infirmary at Haughmond, as well as a library.  The library would usually be closely associated with the chapter house, but there is no sign of one today.  In early 20th century plans the infirmary is marked where the abbot’s hall is now located, and the infirmary has not actually been located.  The consensus is that the local topography means that it could not have been to the east of the site.  Two fishponds were not far away, and others were associated with mills.
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Economic activities

View of the western side of the monastery from the outside

Although patrons were important for establishing monastic establishments and continuing to support them, many of the endowments took the form of land, and the success of a monastery was largely dependent on how well that land and other assets were managed.  There were two main models for making an income from these assets – either by the owners working it themselves or by leasing it out.  In the case of Haughmond the assets included considerable amounts of farmed land, as well as fulling (wool processing) and corn mills.  Although lying within a royal forest, the abbey was given limited permission to assart land (clear woodland and shrubs for farming), and also acquired newly assarted lands in the area.  It owned land under cultivation but also established cattle farming on higher ground.  Lands were not only in Shropshire but from the late 12th century it also owned land in Cheshire, Worcestershire, Wales, Sussex and Norfolk.  Fishing rights were also important, and the abbey had its own fishponds, as well as fishing rights both nearby and from the river Dee at Chester, the latter doubtlessly annoying the Benedictine monks of St Werburgh’s in Chester.  It also received income from six churches that had been passed to its control, including Hanmer in Flintshire, the only one outside Shropshire; it had properties in Shrewsbury that it rented out; and was granted the rights to and a one half salt-pan in Nantwich.

Many small bequests were made to secure prayers, to assist the infirmary and to provide for the poor who came to the monastery gate for alms.  The monastery also sold corrodies, which were substantial gifts made to the monastery in return for food and housing, a form of pension. On the other hand, corrodies were also provided to loyal servants, in which case they represented an outlay rather than an income.

Farming land just beyond Haughmond Abbey

It is thought that between the 13th and early 14th centuries the abbey restructured in order to consolidate the dispersed properties to make them easier to manage, something that happened at a lot of other monastic establishments that found themselves in this situation, causing real management difficulties.  By selling some lands and acquiring others in more suitable locations, consolidation made management much easier and less costly.  At least some of the land was leased out, but other lands were worked directly,  However the surviving records are insufficient to allow a clear view of how well the abbey managed its assets, how all of its lands were used and what sort of activity provided the most income.

In spite of the recorded assets, in the early 16th century the abbey clearly experienced difficulties, both in the management of its estates and in the internal discipline of the monastery itself.  This is put down to poor management by two of its abbots.  Under its final abbot, Thomas Corveser, it began to recover and it was still sufficiently wealthy to avoid immediate closure in 1535, surviving another four years, and the surviving personnel were provided with generous pensions.
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Final Comments

This is a very quiet site, and because it feels so peaceful and retains some lovely features of its 12th century Romanesque origins, has a particular charm to it.  I particularly like that some of the domestic buildings that rarely survive at other sites, including the vast hearths in the former kitchen, and the reredorters connected to the dormitory, can be clearly made out.  I was expecting the Augustinian arrangement to have significant differences from Benedictine prototypes, but there was nothing much on the ground to differentiate them.  The decorative features certainly mark them out as less austere than, for example, the Cistercians, but otherwise the architectural concept of a monastery in the medieval period is impressively uniform.
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Visiting

Haughmond Abbey is an English Heritage site.  It was open free of charge when I was there in October 2024, but its opening times and ticket prices may vary with the season.  See details on the English Heritage website here.  The postcode for those of you with SatNav is SY4 4RW.  The guide book, published in 2000, claims that the little building on the left as you enter is a museum, but this was very firmly closed when I visited. Perhaps it is open during the summer, or it may have shut down for good by now.  Please let me know if you find out!

There are interpretation boards throughout the site, which help to explain it.  The helpful guide booklet by Iain Ferris is available from online retailers, but may also be available from English Heritage sites with gift shops in the area.  It combines Haughmond, Lilleshall and Moreton Corbet Castle in the same 24-page booklet, with 14 pages dedicated to Haughmond and the Augustinians, 8 pages to Lilleshall and 2 to Moreton Corbet Castle.  It includes the ever-essential site layouts of Haughmond and Lilleshall.  There are also very useful details about the history of the site on the English Heritage’s Haughmond Abbey History page here.  If you are interested in following a trail of some of the Shropshire abbeys including Haughmond, Mike Salter’s booklet “A Shropshire Abbeys Trail” is a good place to start, available to purchase online.

Other sites in the area, a selection of which would help to make up a good day out include Wroxeter Roman City (about which I have posted here), the Cluniac Order’s Wenlock Priory at Much Wenlock (posted about here), another Augustinian abbey at Lilleshall, Moreton Corbet Castle, and of course the town of Shrewsbury itself, with its lovely architecture, terrific abbey church (within the outskirts of the town) and the excellent Shrewsbury Museum and Art Gallery. with its modern displays connecting different periods of the history of both town and area.

The abbot’s hall, with the remains of its predecessor in the foreground

 

Sources

Books and Papers

Angold, M.J. Angold, George C. Baugh, Marjorie M. Chibnall, D.C. Cox, D.T.W. Price, Margaret Tomlinson, B.S. Trinder 1973.  Houses of Augustinian canons: Abbey of Haughmond, in (eds.) A.T. Gaydon, and R.B. Pugh.  A History of the County of Shropshire: Volume 2. London.
British History Online: https://www.british-history.ac.uk/vch/salop/vol2/pp62-70 

Burton, Janet 1994. Monastic and Religious Orders in Britain. Cambridge University Press

Chadwick, Peter 1986. Augustine. A Very Short Introduction. Oxford University Press

Levitan, Bruce 1989.  Ancient Monuments Laboratory Report 118/89. Vertebrate Remains from Haughmond Abbey, Shropshire. English Heritage
https://historicengland.org.uk/research/results/reports/3917/VERTEBRATEREMAINSFROMHAUGHMONDABBEYSHROPSHIRE

Pearson, Trevor, Stuart Ainsworth and Graham Brown 2003.  Haughmond Abbey, Shropshire: Survey Report Archaeological Investigation Report Series AI/10/2003. English Heritage
https://archaeologydataservice.ac.uk/archiveDS/archiveDownload?t=arch-1893-1/dissemination/pdf/englishh2-349481_1.pdf

Salter, Mike 2009.  A Shropshire Abbeys Trail. Folly Publications

St John Hope, William H. and Harold Brakspear 1909. Haughmond Abbey, Shropshire Archaeological Journal, 66 (1909), p.281–310
https://archaeologydataservice.ac.uk/archiveDS/archiveDownload?t=arch-1132-1/dissemination/pdf/066/066_281_310.pdf

White, Carolinne 2008. The Rule of St Benedict. Penguin

Ferris, Iain 2000. Haughmond Abbey, Lilleshall Abbey, Moreton Corbet Castle. English Heritage

West, Jeffrey J. and Nicholas Palmer 2014. Haughmond Abbey. Excavation of a 12th-century cloister in its historical and landscape context. English Heritage


Websites

ArchaeoDeath
Identities in Stone: Haughmond Abbey’s Saints and Spolia. By Prof. Howard M. R. Williams,
October 17th 2016
https://howardwilliamsblog.wordpress.com/2016/10/17/identities-in-stone-haughmond-abbeys-saints-and-spolia/

English Heritage
Haughmond Abbey
https://www.english-heritage.org.uk/visit/places/haughmond-abbey/
History of Haughmond Abbey
https://www.english-heritage.org.uk/visit/places/haughmond-abbey/history/
Medieval Women and Haughmond Abbey
https://www.english-heritage.org.uk/visit/places/haughmond-abbey/history/women-at-haughmond/

Historic England
Haughmond Abbey: an Augustinian monastery on the site of an earlier religious foundation, a post-Dissolution residence and garden remains
https://historicengland.org.uk/listing/the-list/list-entry/1021364?section=official-list-entry

 

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