Category Archives: Walks

Beyond the Walls: Chester circular river walk

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The dotted green line is the only way on to the footbridge avoiding steps.

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For those with unwilling legs please note that in [squared brackets, and highlighted in bold], are alternative routes that avoid steps and any other observed challenges.  On the above maps the dotted line in green, is the only way of getting on to the Queen’s Park footbridge avoiding steps.

As well as the numbered sites, turquoise stars show other sites nearby that may be of interest.  Each of the numbered and starred features deserves a post in its own right rather than the short burst of text allowed for each, but hopefully there is enough to make the walk informative as well as enjoyable, and in some cases I have hyperlinked to sites with more useful details.

You can download the text of the walk, including the maps, as a PDF here (but without the introduction, the list of sources and without ink-hogging images).

 

The dotted green line is the only way on to the footbridge avoiding steps

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Introduction

View through the chancel arch of St Mary’s Nunnery through to the Ship Gate. Grosvenor Park.

Together with the city walls, this is my favourite walk in Chester, incorporating some lovely riverside footpaths and green spaces beginning at the Little Roodee car park on Castle Drive.  The entire walk is on metalled surfaces, and is therefore very suitable for all seasons.  It starts with the Grosvenor Bridge, turning in to Overleigh Victorian Cemetery and taking it from there along the River Walk.

There is plenty to enjoy along the south bank of the Dee, with lovely and peaceful riverside walks separating points of interest such as Minerva’s shrine, Handbridge with the Old Dee Bridge and Weir, and the Queen’s Park footbridge. The Groves is the northern counterpart to the River Walk, with its Victorian grandstand and array of cafes, ice cream parlours and the southern stretches of the Roman-Medieval walls.  Back past the Old Dee Bridge, the walk takes in the former old Dee mills, the Gothic Revival hydroelectric station, the remains of the former prison’s outer wall, the Wheeler Building that houses the Riverside Museum and the Royal Infirmary stained glass, and then returns along the river bank to the Little Roodee.

Ice Cream parlour on The Groves

The walk takes in several periods of Chester’s architectural history, from the Roman, through medieval periods, skipping the early Stuart and Civil War years. The Bear and Billet public house on Lower Bridge Street represents the later 17th century, but most of the remaining architectural history on the walk resumes with the Georgian architecture of the 18th century, plunging headlong into ambitious Victorian expansion and alteration.  From a distance, seen from the Grosvenor Bridge, is the Art Deco water tower, which is a nice addition to the mix.  Two examples of the less fortunate periods of 1960s and 70s architecture that afflict Chester like a bad rash also appear, but although one of them is particularly bad (the “Salmon Leap” apartments on the Handbridge side of the Old Dee Bridge) the other is somewhat less objectionable (the ex-Cheshire County County building, now the University of Chester’s Wheeler Building).  A very modern building, nicely done on a budget, is the cafe in the Little Roodee car park with its environmentally friendly “green” roof.

 

The Walk

1) Roodee carpark, toilets and café

The Little Roodee Cafe

The walk starts from the Little Roodee car park on Castle Drive, which lies along the northern edge of the River Dee.  There are plenty of other places in Chester to park, and there is also the very reliable Park and Ride, but this is a useful place to start the walk, including a very nice café with excellent coffee and good snacks, with public toilets within the café (there are other public toilets on The Groves, opposite the bandstand, shown below).  The bottom of the car park provides a good viewing point for no.2, the Grosvenor Bridge.

For those wanting to explore the river walk to the east, circling the edge of the Roodee and over to the west of Chester, this is also an excellent starting point.

The postcode for the carpark is CH1 1SL or the exact location for the entrance to the car park is What3Words ///swung.statue.limp), which can be used in most SatNavs.  If you are coming in by Park and Ride, ask the driver tell you when the stop is approaching for Adobe (big black glass building) on the Grosvenor Road.  The return bus stop is opposite Adobe on the castle side of the road.

2) Grosvenor Bridge

The Grosvenor Bridge

For the best view of the bridge, head downhill in the car park towards the river and turn right towards the bridge, crossing under one of its vast arches.  Look back to see a great view of the the entire span.  For centuries the only bridge across the Dee at Chester was where the late Medieval Old Dee Bridge is now located, following the line established by the Roman bridge at the end of what is now Lower Bridge Street.  This was becoming seriously congested by the 18th century, when both the population and the economy were growing at a considerable pace, and a new bridge was an urgent requirement.  Local architect Thomas Harrison won the contract with his daring proposal for a 200ft (61m) single span that would not interrupt tall-masted river traffic.  It was not merely a new artery for Chester, but a statement of civic pride.  A plaque in the side of the bridge records that work began after an Act of Parliament was passed in 1825, and was paid for by a public loan of £50,000.  It was opened by Princess Victoria on 17th October 1832 (5 years before she became Queen), and was paid for by tolls on both the Grosvenor and Old Dee bridges until 1885, when the tolls were abolished.  The bridge remains a monumental and impressive sight today.

The Grosvenor Bridge shortly after construction. Source: Wikipedia

Retrace your steps and head back up the car park, passing in front of the cafe, and up the flight of steps to the Grosvenor Road, cross at the pedestrian lights, and turn left to walk over the bridge.  [If you want to avoid the steps, head to the other end where the car entrance is, turn left and walk up the road, Castle Drive, to the head of the steps on the corner, and cross at the pedestrian lights and turn left across the bridge].  

From the top of the bridge you can look right (or west) over the Roodee racecourse on the north bank of the river, and the impressive houses that formed the new middle class suburbs of Curzon Park which was developed in the 1840s to accommodate wealthy residents who wished to escape the narrower confines of the increasingly busy and commercial city. Some of the bigger of these buildings have been converted into apartments today.  Look left (east) and you can see the spire of St Mary’s Without The Walls, as well as the Handbridge water tower, a local landmark that is visible from various points in the Chester area, and was influenced by Art Deco designs.

Curzon Park

3) and 4) Three memorials in Overleigh Victorian Cemetery

After crossing the bridge, walk for perhaps 30 seconds and you will see a gateway on your left with wrought iron gates, one of which is open to provide access for pedestrians into the Victorian cemetery.  If you are on the opposite side of the road, there is a traffic island almost opposite to make it easier to cross.  Walk towards the information board and the bench, and pause.  The walk will continue downhill to the right, but we are briefly detouring to the left to see two of the most interesting of the memorials in the cemetery, one of which is a puzzle until you see it on the early 1850s engraving of the cemetery.

Entrance to Overleigh Cemetery

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Overleigh Cemetery in the early 1850s. Source: Wikipedia

Overleigh cemetery was given the go-ahead by the Chester Cemetery Act in 1848.  The land was acquired from the Marquis of Westminster, who exchanged it for a shareholding in the company.  Work was forced to stop for seven months when the money raised was spent, and was not completed until new shareholders could be found.  The cemetery opened in 1850.  Like the Grosvenor Bridge, Overleigh Cemetery, was not merely the result of a Victorian efficiency drive and the desire to return a profit, but also a matter of improving the city in ways that demonstrated a profound interest in the character and status of the expanding city.  Although the cemetery was a pragmatic response to the inability of churchyards to meet demand, the layout and planting of the cemetery reflect country house garden and leisure park designs, with curvilinear drives, gothic revival architecture, a lake, plenty of of trees of different types and a rustic bridge.  Sadly, the only survivors of the architectural features from the 1850 design shown on the above engraving are the tall thin monument at far left, discussed below, and the rustic bridge at far right.  You can read more about the cemetery and its fashionable and elegant design on the blog here.

Now head left past the bench and stop a few seconds away in front of a nicely executed faux Grade II listed Gothic shrine featuring an effigy beneath tan elaborate canopy. It puzzled me that there was no inscription on the shrine, but the actual grave ledger lies flat in front of the shrine over the top of the actual grave, complete with the elusive inscription.  The shrine belongs to the Reverend Henry Raikes, who died in 1854, aged 72. The shrine was designed by architect Thomas Penson, who was the landscape architect for the entire cemetery and who built several buildings in Chester.  It was erected in 1858, funded by public subscription, the progress of which was frequently reported in the local newspapers.  As well as the former Chancellor of the Chester, Diocese Raikes was a philanthropist, a trustee and governor of the Blue Coat Hospital and one of the founders of the Chester “Ragged Schools” that provided education for pauper children.

The ruins of the Robert Turner memorial

Immediately to the right of the Raikes shrines, the second monument of note is the grave marker for Robert Turner (1790-1852), a Chester brewer and wine merchant who, in 1848 was Sheriff of Chester, a largely administrative but important function with the responsibility of keeping the peace, closely linked in to the work of the courts and the prison.  The memorial as it stands today looks very peculiar, a bit like a three-tier cake on space-rocket jet nozzles.  The clues to its original appearance actually still lie at its feet.  Three stone columns lie horizontally, when not semi-concealed by undergrowth.  Look at the engraving above and find the building at top right that looks like a little Classical temple.  This is how the Turner grave marker originally looked. It collapsed at some time in the past, and the tiered roof and although it has been considerably tidied up, reconstruction is no longer possible, and this strangely truncated form is all that is left standing of the memorial monument.

Retrace your steps past the bench and head down the hill until you reach a tall monument (4) in a triangular intersection of the cemetery drives and pause to have a look at it. 

This is not a burial monument but a memorial to William Makepeace Thackeray, 1790-1849, (uncle of the famous novelist) who moved from Denbigh to Chester to practice, and became a great success as a physician, and was renowned for his philanthropic and charitable works. He was buried in Chester Cathedral, but this memorial and its inscriptions celebrate his achievements, including “His attention to their charitable institutions / His consideration for the sick and needy / His kindness to the schoolboy and the orphan.” The memorial also serves as a useful anchor for the cemetery, a suitably impressive focal point that helps to give this part of the cemetery a sense of cohesion.  This is also a very good position to pause and take in the wonderful selection of mature trees, most of which were planted when the cemetery was first laid out.  There is a variety of species, and they were an essential part of the parks-and gardens style layout that was very popular in the Victorian period.

Head to the left. You will see the gateway pillars straight ahead of you.  This opens on to River Lane.  Turn left on to River Lane and turn right when you reach the end, heading east along the lovely River Walk.  The walk from Overleigh to Edgar’s Field is a nice one, consisting of a metalled road flanked by trees and shrubs, with fields to the south and views of the river, depending on the time of year, to the north.

You will emerge from the path onto a short residential road, Greenway Street, and opposite is another gateway, this time into Edgar’s Field. 

5) Edgar’s Field

The entrance to Edgar’s Field

Go through the gate into Edgar’s Field

Edgar’s Field is an open green space given to Handbridge by the first Duke of Westminster in 1892.  The name Edgar, so the story goes, refers to the early medieval King Edgar, great-grandson of Alfred the Great, who was crowned King of England in both Bath and Chester.  His Chester coronation was said to have followed a meeting near the field in AD 973, with leaders (either six or eight) from other regions  after which he was rowed by members of the visiting delegation to St John’s Church, just a little further upriver.  How much of this is legend and how much reality is anyone’s guess.

6) The sandstone outcrop 

Straight ahead there is a choice of going uphill to the right or sticking to the river walk on the left.

You will go right, but pause to look at the amazing sandstone outcrop.  This is a particularly nice piece of bedrock, formed of sedimentary layers laid down, during the Triassic period, 252 to 201 million years ago, when the landscape consisted of Sahara-like desert and abraided rivers.  This is also the period when the dinosaurs Pseuduchium Archosaur (ancestral to modern crocodiles and alligators) and Chirotherium are found, survivors of the Permian extinction (in which 95%) of dinosaurs were wiped out, and of which fossilized footprints have been found in the Triassic sandstones on Hilbre Island at the top of the Wirral.

Sandstone formations on Edgar’s Field

The various lines and colours visible in the Edgar’s Field rock represent the different layers of sediment (bedding) that were laid down by rivers and floods that were laid down as muds and have built up over time.  Nice features include both cross-bedding and slumping, geological features exclusive to sedimentary rocks.  Differences in colour reflect differences in the chemical composition of the sediments as they were laid down, a dramatic example of which is shown in the above photograph of the outcrop.  See more about the Cheshire sandstone in this PDF on the Sandstone Ridge Trust website.

Walk along the path to the right of the outcrop.  A second outcrop appears on your right, and on the face that looks over the big open green is the Minerva shrine, so leave the path and walk up the green slope.

7) Edgar’s Field and the Minerva Shrine

When you are standing in front of the shrine, you will find it very water-eroded.  It is carved directly into outcrop, one of only two known to be still in situ in Britain, and is a Grade II listed Scheduled Monument (1.45m high and 0.73m wide).  The sandstone surround is Victorian in date, added in the hope of preventing further erosion.

The Roman 20th Legion, the Valeria Victrix, arrived in Chester (Deva) in AD76, and in one form or another the Romans remained in Deva until around 380.  Although outside the Roman city walls, Handbridge was an important location because it was the quarry for the Roman town and its walls, the source of its red sandstone building blocks.  Further along the path on an interpretation board is a reconstruction of what the shrine would have looked like, originally with an owl on Minerva’s left shoulder, possibly holding a shield in her left hand, and a spear in her right hand.  Minerva was an interesting choice.  Although better known goddess of wisdom and knowledge, she also served as a protector for those engaged in defensive war, a subtle distinction from aggressive war that might well be attractive to those building protective walls.  The little cave to the right of the shrine was probably carved out to hold votive offerings.  The area around the shrine was excavated in the early 1920s, revealing both that the quarry was in use at around AD100 and that subsequently soil was imported to cover the quarry floor in the late-second century. Roman occupation remains dating from that time on were found on the site. The site was again used as a quarry during the Middle Ages, when Historic England speculates that the Minerva carving may have been re-interpreted in Christian terms and re-used as a Christian shrine.

It is worth walking down to the edge of the river, through the line of magnificent lime trees, to enjoy the excellent views over the medieval Old Dee Bridge bridge.  From there, follow the path for a short distance to the gates out of the park.  You now have the Old Dee Bridge on your left and Handbridge on your right.

8) Handbridge

Handbridge

Handbridge has always has an extra-mural personality of its own.  From the mid 12th century there were mills and quays at Handbridge, when parts of the district were owned by St Mary’s Benedictine nunnery, which seems to have taken over the entire manor by the 13th century.  In the late 14th century industrial activity seems to have been represented by the production of glass, and by the 15th century it is thought to have been a popular area of Welsh migrant settlement.  Welsh residents in the 16th century included a high percentage of the city’s brewers and ale sellers. In the Victorian era it became known as one of the poorer areas, with a high proportion of industrial worker.  Today Handbridge has gone upmarket and is now an attractive residential location with a villagey-atmosphere, with some excellent cafés and pubs for those looking to take a break at this point.  Both Spoilt for Choice and Brown Sugar cafés are great brunch/lunch stops, and the Old Ship Inn is a very fine pub.

Nathaniel Buck’s view of Handbridge in 1928. Source: MutualArt

9) The Old Dee Bridge 

Do not cross the bridge, because the walk continues on the same side of the river, but if you want to stand in the middle and admire the weir, discussed next, it’s an excellent place for getting a good view. 

The Old Dee Bridge

The oldest known bridge to cross the river at this point was Roman, carrying the Via Praetoria from the south gate over the river to link up with the Roman road network, with roads leading directly from Chester to the southeast via Whitchurch to Wroxeter (Vicronium) and the south to London (Londinium) and Caerleon (Isca), and along the north Wales coast to Holyhead (Segontium).  It must have been rebuilt several times over the 300 years of Roman occupation.  The current late Medieval bridge replaces an early Norman bridge, but apparently fell down during the floods of 1227 and had to be replaced.  The construction is interesting.  It is built of the usual local red sandstone, but for reasons unknown, instead of being evenly distributed along the length of the bridge, the arches are each of a different width, giving it a splendidly individual appearance.

The Bridgegate on the opposite side of the river is discussed below.

10)  The Weir

Staying on the same side of the river, cross the road and follow the line of the river for a few steps until you get a good view of the weir.
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Very little is known about the weir itself.  It is generally agreed that it was at least Norman in date, but whether it was actually the elaboration of a Roman innovation is open to debate.  The Romans certainly built weirs, some of them very substantial, but at the moment there is insufficient information to determine the earliest date for it.  Walk a little further down by the side of the river and you will see that on the near side of the weir there are a series of very wide water steps, forming what looks a little like a stepped waterfall; this is a salmon leap, built to enable the fish to navigate their way upstream for spawning.  On an open day at the monitoring station last year I saw one of the salmon being caught for weighing and it looked huge!

The Salmon Leap

11) River monitoring station and ornamental water wheel

Probably the least attractive feature of the Chester riverside is a row of 1960s apartments that you will see from the north side of the river.  You now pass under the concrete overhang of these apartments. There are lovely views over Chester on your left, and you  will reach a small island with a building on it.  

River monitoring station

Water wheel reconstructed in 1988 by the Chester Civic Trust

This is the river monitoring station, where various tests are carried out on the water quality and the condition of the fish themselves.  I was lucky enough to be there on an open day last year when  an enormous salmon was pulled out for weighing before being returned to its journey upstream.  In front of it is a small water wheel, which was installed in the 1980s as a reminder of the former Dee mills that used to be a dominant feature of the medieval riverside and an all-important feature of Chester’s economy in the Middle Ages.  Beyond it is a small sluice that once regulated water into the narrow channel that forms the island.

Carry on walking along the Riverside Walk, enjoying the greenery, until you reach the footbridge, which passes above the path, but has a flight of shallow steps running up either side of it so that you can reach the bridge from the path. [The alternative approach to the bridge, avoiding the steps from the river walk up to the bridge, is a rather long way round and is shown on the above maps as a dotted green line that takes you along Queens Park Road and around Victoria Crescent].

 

12) The lovely Queen’s Park footbridge

In 1851 it was decided that Chester needed a second suburb, in addition to Curzon Park, to be named Queen’s Park, and this was developed throughout the 1850s.  This was also built on the south bank of the river, this time opposite The Groves.

In 1852 a suspension footbridge was built to connect Queen’s Park with Chester, becoming the Queen’s Park Bridge.  The predecessor of the current Queen’s Park footbridge was built in 1852. In 1922 this was taken down, and work began on a new suspension bridge that opened, with some ceremony, in April 1923.  For more information about the opening of the bridge and its contemporary conditions of use, see the entry on the Cheshire Archives and Local Studies blog.

Conceptually, the bridge is the polar opposite of the vast solidity and monumentality of the later 1832 stone Grosvenor Bridge. The 1923 bridge is superbly elegant with delicate lattice metalwork. This latticing and the suspension cables supply a light, airy feeling, which is something to do with the sense of it hanging freely rather than being solidly rooted in the riverbed.  It is a perfect partner for the light-hearted promenade known as The Groves, with its lovely buildings and the similarly elegant bandstand, which is still used today, and the little ice-cream turrets.  Pride in the achievement, common to so many Victorian enterprises, is declared in the panels at the top of the suspension towers, which give the name of the bridge and the date of its construction.  Just as on the Grosvenor Park Lodge, the bridge’s towers feature the shields of Chester’s Norman earls.

13) The Grosvenor Park

The understated river-side entrance to the Grosvenor Park at the end of the footbridge

Walking off the bridge on the Chester side you will see a flight of steps straight ahead of you.  Just before the steps, on your right, is the understated gateway into the Grosvenor Park. 

I have included the park partly because it surprises me how many residents and visitors seem to bypass it, and it is lovely on a sunny day.  The Grosvenor Park was the brainchild of Richard, the second the Marquis of Westminster, following the example of similar projects elsewhere.  Like many wealthy Victorians, he undertook a number of philanthropic projects, and in 1867 the park opened for the benefit of local Chester inhabitants.  Unlike many town and city parks this one was not paid for partly by subscription; it was, in its entirety, a gift to the city from the Marquis, who chose the designer of the successful Birkenhead Park, landscape architect Edward Kemp (1817-1891), to lay out his new public space.

Today it is a beautifully maintained space with a miniature railway operating in the summer, a rose garden, a couple of vantage points from which to inspect the views over the river and some lovely wide open spaces, together with the shade of trees for those who prefer a bit of cover, in which to relax.  Although this is not a formal park, in terms of the big municipal floral plantings that characterize some English parks, there are colourful beds dotted around and at the top left corner of the park there is a charming wheel-shaped rose garden that is lovely in the summer months, with a variety of colours, and some lovely scented species, with benches around its edges.  As in the cemetery, which had opened 17 years previously, the trees were seen as a major feature of park and there are some splendid specimens.  The pond may once have been ornamental, but is now surrounded by tall reeds, providing a splendid refuge for wildlife.  I have seen the rails for the miniature railway but not the train –  I really must find out when it runs!  There is plenty of seating throughout the park, and as well as permanent sculptural pieces, there are often temporary modern art installations dotted throughout, which may or may not be your cup of tea, but are always genuinely interesting, and usually reference the natural world.  Look out for information panels dotted throughout the park.  The lodge, discussed next, serves as a coffee shop during the summer.  It’s not on the map because it is closed in the winter.


Ferris wheel in the Grosvenor Park

 

14) Four Medieval monuments

The arch from St Michael’s Church

As you walk into the park along a metalled path, you will soon come to a set of three clearly medieval (as opposed to mock-gothic) monuments set back from the main path, with a little side path of its own.  These were all moved here from elsewhere in Chester, and serves as a miniature outdoor museum.  The first one that you encounter is a gothic arch from St Michael’s Church, which is still standing but was largely rebuilt in the 1840s by James Harrison, and it is possible that the gateway was removed at that time.

Next, following the side path is the little Jacob’s Well, originally installed on The Groves as a drinking fountain and at its base a water dish for dogs.  The keystone inscription is from the New Testament and reads “Whosoever drinketh of this water shall thirst again.”  Finally, and most impressive of the three, is the arch and flanking niches that once linked the nave of St Mary’s monastic church to its chancel, a sad reminder of the absolute total loss of St Mary’s medieval nunnery.  The photograph of it is below under no.27, where the nunnery is discussed.
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Keep walking across the intersection, bearing right, and you will immediately come across the Ship Gate, which once sat to the west of the Bridgegate at the end of Lower Bridge Street providing pedestrian access  from the riverside to the city.  This was moved three times, first in 1831 to a private garden in the Abbey Square, next in 1897  to the Groves and finally in 1923 to its present location in Grosvenor Park.

The Ship Gate, looking back towards the St Mary’s chancel arch

Between the St Mary’s arch and the Ship Gate there is a path going uphill to the main park, with handrails, shown in the photograph above.  Walk up the slope to the main drive towards the statue at the end.

15) Viewing platform over the Dee

If you follow the main drive to the statue of Richard, the second the Marquis of Westminster, you will see, slightly to your right, a large viewing platform with seating around its circuit.  The view over Chester meadows towards Boughton was probably a bit better in the late 1800s, but is still good today.

16) Grosvenor Park Lodge

When the park was opened in 1867, it had a lodge at the main gate and this remains today, used as a café in the summer months.  It was designed by successful local architect John Douglas who is best known for the Eastgate Clock, but who built a great many buildings in different styles in Chester.  It was built in the popular half-timbered revival style over red sandstone.  The brightly coloured statuettes on black timbers on the lodge show King William I, who appointed Hugh d’Avranches, better known as Hugh Lupus as the first Earl of Chester from 1071 until his death in 1101.  Hugh is shown, together with the successive Earls of Chester, ending with John de Scot (from 1232 to 1237), who died without heirs, after which the earldom reverted to the Crown.  Various family shields show locally relevant themes including the golden sheaf of the Grosvenor family, the portcullis of Westminster and the Chester city coat of arms.

17) The Grosvenor Park Archaeological Excavation

Grosvenor Park Excavations in 2024

Near to the rose garden, to its east, and for several weeks every year since 2007, an archaeological excavation takes place using students of the University of Chester to investigate the complex historical narrative of this area.  The project was initiated to provide information about the Church of St John the Baptist, and the later use of the area, including a house documented to have been built in the late 1500s by Sir Hugh Cholmondeley which was later destroyed in the English Civil War.  At the same time, given the proximity of the Roman amphitheatre on the other side of St John’s, it was hoped that some information pertaining to  extra-mural activities under the Romans might emerge, and how the position and ruins of the amphitheatre, as well as the influence of the church, impacted on the later use and development of the surrounding area.  In 2025 the excavation took place between during May.  Visitors can see the excavation taking place, and the site directors and supervisors are very happy to answer any questions from the public.  An excavation Open Day is always organized towards the end of the excavation too.

18) The ruins of the east end of St John’s Church

Ruins at the east end of St John the Baptist’s

Leaving the park at the west, where the exit puts you on the path that leads back down to the footbridge, you find yourself at the east end of St John the Baptist’s Church.

St John the Baptist’s Church, marked with a green star next to the number 18, has a long and fascinating history, which is far too complicated to deal with here.  The current church was established in the 11th century outside the city walls and was the original Chester Cathedral and a collegiate church.  Its architecture is splendidly dominated by the Romanesque, featuring vast columns and gloriously rounded arches, has a wonderful if faint painted fresco, and contains a fine collection of early medieval stone funerary memorials.  Its monumental sense of indestructibility is somewhat misleading, however, as its tower came down in its entirety on Good Friday in 1881.

Without going into the church, however, you can wander around the ruins at the east end of the church.  There are plenty of information boards to explain what is going on, but the short version is that in the mid-1500s the church was too large for the congregation and the decision was made to truncate it by sealing off the eastern end which, deprived of its roof, rapidly deteriorated into ruins.  These ruins contain a splendid Norman arch, which once gave access to the chancel, as well as the usual gothic lancet (pointed) arches, shown in George Cuitt’s engraving below.  One of the other of the many features is the puzzling inclusion of an oak coffin at the top of one of the gothic arches, facing outward, shown above left.

The ruins of St John’s in the first half of the 19th century, showing a splendid Norman Romanesque arch in the foreground, which still stands, and a gothic lancet arch in the background.  By George Cuitt

19) The Anchorite Cell / Hermitage

The Anchorite cell in the grounds of St John the Baptist’s Church

Just downhill from St John’s, at the base of the steps [or thread your way back through the east end of the park by taking left turns, back to the entrance at the bridge], look over the fence on your right to see the lovely so-called anchorite cell, Grade II listed.

The lovely little building sits on an outcrop of red sandstone bedrock.  An anchorite is a religious recluse, someone who decides to retreat from all form of society, even monastic, to pursue a life of prayer and devotion. The building seems to correspond to a number of  references to an anchorite chapel and cell dedicated to St James in the cemetery of St John the Baptist’s church, opposite the south door.

The earliest story, unsubstantiated (and generally discredited), comes from the priest-historian Gerald of Wales (d.1223), who records that King Harold II was not killed at the Battle of Hastings, but was wounded and fled to Chester, where he lived at the cell (or hermitage) for the rest of his life.  British History Online says that this was the only such building that seems to have had a degree of permanence: “In the mid 14th century it held monks of Vale Royal (1342) and Norton (1356) and a Dominican friar (1363), and in 1565 a lease of property formerly belonging to St. John’s College included the ‘anker’s chapel’.”  The Freemen and Guilds of The City of Chester website mentions that at some point the building was used by the cordwainer guild (shoemakers) as a weekly meeting place “until they sold it in due course to a Mr Orange, and spent the proceeds on a party,” but provides no date.  It was expanded in the late 19th century, when the porch of the recently demolished St Martin’s Church, which was being demolished, was moved to form a new north entrance.  It was renovated in the early 1970s, but I can find no mention of how it is being used today.

20) and 21) The Groves

The Groves are a Victorian invention. The earliest section is The Groves East, which has some very attractive residential buildings facing the river, including an Italianate terrace, a Georgian-style terrace built in the early Victorian period and the revival half-timber rowing club boathouse, as well as cafés and pubs.  There are some good views over the riverside buildings on the edge of Queen’s Park, opposite.  Between 1880 and 1881 the western section that is most obviously a promenade area was laid out by Alderman Charles Brown.

As well as the lovely Grade II listed bandstand and delightful little octagonal ice cream huts, the city walls are particularly impressive here, towering above the river with some big chunks of bedrock at their base.  From here you can also enter the Roman Gardens (shown on the map with a green star), by following the line of the wall into a corridor between the wall and a restaurant.  Just about where the no.21 is marked on the above map is a flight of steps leading up to the walls.  These are known as the Recorder’s Steps, built in around 1720, linking the walls and the fashionable promenade to provide ease of access.  If you want to continue your walk by doing a circuit of the walls, this is a very good place to start, particularly as there is a map of the walls at the bottom of the steps.  The walls either side of the stairs are an interesting mix of different periods of construction, with one or two puzzling features.

The most attractive of all the public toilet buildings in Chester! The Groves West, opposite the bandstand.

As you walk towards the Old Dee Bridge, look over the river to see the concrete apartments under which you you walked earlier.  These, in the so-called Brutalist style, are the “Salmon Leap” buildings and  were built starting in the late 1960s until the mid 1970s, which look rather like a bar code.  In the interests of naming and shaming, they were designed by Liverpool architects Gilling Dod and Partners from Liverpool.  I recall that when I was visiting my parents once, many years ago, they were painted pink (salmon pink??), which was indescribably bad.

22) The Bridgegate

Nathaniel Buck’s Old Dee Bridge, showing the Bridgegate with the massive 1600 water tower as it was in 1728. Source: MutualArt

Today’s Georgian gateway, carrying the walls over Lower Bridge Street, is the latest iteration of the first gate built here by the Romans to defend access to the Via Praetoria.  By the Middle Ages all the bridge’s predecessors had been replaced by a medieval gateway that had a central pointed arch, which carried the walkway, and was flanked by two round towers.  This was quite an understated affair, but became considerably more noticeable when a tall, slender water tower was added to the west tower in 1600 to pump water from the river into the city (shown on the above image).  It was destroyed during the Civil War, but is recorded in earlier engravings.  The medieval Ship Gate, one of the architectural features preserved in Grosvenor Park, was a pedestrian archway giving access to the city Just to the west of the Bridgegate (towards the car park), which has already been mentioned in connection with the Grosvenor Park, where it was moved in the 1830s.

The Bridgegate, with the Bear and Billet on the other side of the gate

On the city side of the Bridgegate, on your left as you look uphill, is the Bear and Billet public house, which looks like one of the original half-timbered buildings but is in fact part of the revival of timber-framed buildings after the Civil War, in which multiple buildings were destroyed, and was built in 1664 for the Earl of Shrewsbury. See the picture near the end of the post in Sources.

As Chester’s population expanded during the 1700s, the increasing size of vehicles and the need for two-way traffic to pass into and out of the area defined by the walls resulted in the destruction and replacement of the medieval bridge.  The yellow sandstone Georgian arch that survives today was built in 1782 to a design by Joseph Turner (c.1729–1807), a successful local architect.  It supports a walkway that connects the two parts of the city walls that flank Lower Bridge Street.  Although not particularly imaginative, it is elegant in a typically Georgian way.

23) The Dee Mills and the hydroelectric station 

The Old Dee Mills in the 19th Century, with the Bridge Gate to its right and the Old Dee Bridge at its side. Source: Chesterwiki

The area around the Old Dee Bridge was busy from the Roman period onwards.  In the Middle Ages this part of the river was the site of several water mills, and mills continued to be built here until the last one burned down in 1895 and was knocked down in 1910.  In 1913 the site was used to establish a hydroelectric station, part of which survives in the form of the gothic-style building that sits below the bridge in the corner with the north bank, but this went out of use in 1951 and is currently vacant.  You can still see the hydroelectric station in situ on the walk, and the Ship Gate is still visible in the Grosvenor park (photograph further up the page at no.14), but the mill is only preserved in pictures.

The former hydroelectric station

24)  Prison wall

The remains of the west side of the river wall of the former prison, with its distinctive arches, next to the Wheeler Building.

Although it is captured in paintings and engravings, there’s almost nothing left of the former prison, although it was a very substantial building in its day.  Both the prison and the river wall with its inset arches can be seen on this painting below by prolific local artist Louise Rayner (1832-1934).  All that remains is the former river wall with its inset arches, and even this is a matter of noticing that it is there, rather than actually seeing it, even from the opposite side of the river, as it is hidden by extensive tree growth.  It is marked by the fact that it projects slightly into the river.  There are two places where the inset arches are visible, first by the railings opposite the Wheeler Building, where you can lean over and look back, and rather more accessibly there is small a section to the side of the Wheeler Building, which carries the path back up on to the walls, shown here.  Up until 1785 the prison was based in the Chester Castle dungeons, but by the mid-18th century it was very clear that this was no longer fit for purpose, and when it was decided to build a new prison, architects were invited to submit designs to a competition.  Thomas Harrison, who is mentioned below in connection with the revitalization of the castle, won the contract, and new riverside prison opened in 1793.  Less than a century later, in 1865, it was unable to cope with demand, and it was rebuilt, opening again in 1869.  It was demolished in 1902.

The Chester prison by Louise Rayner, showing the river wall along which we still walk today

 

25) The Wheeler Building, housing Royal Infirmary Stained Glass and the Riverside Museum

Objects from the collection of the Riverside Museum in the Wheeler Building

The University of Chester’s Wheeler Building, a vast block of a thing on your right as you head towards the Little Roodee car park, was built in 1857 as the former Cheshire County Council headquarters.  Although there is not much to say about it as a piece of architectural heritage, it does contain two really valuable items of local heritage interest.  On the first floor of Wheeler Building you can find the stained glass that was once installed in the Victorian Royal Infirmary (opened in 1761, closed in 1994 was converted for residential use in 1998), and about which you can read more on the Chester Archaeological Society blog here.  The Riverside Museum, which usually opens only once a month, is a permanent collection of curiosities from the world of medicine, nursing, midwifery and social work, in addition to an original letter written by Florence Nightingale from Balaclava.

Just past the Wheeler Building, you can walk up the path that follows a slope up the old prison walls onto the city walls for the last stretch of the walk. If you take the opportunity, you get some views over the river, and the best angle to see this side of the castle. [There are no steps upto and off this stretch of the walls, but if you have a wheelchair or buggy, there is a dogleg turn that may be difficult to negotiate]

26) The Castle

The Agricola tower

Chester Castle today is a bizarre and not terribly attractive mixture of Neoclassical and medieval when seen from the front.  The original castle following the Conquest of 1066 was a timber-built motte-and-bailey castle, but this was replaced by the medieval stone castle in the late 12th century.  The Neoclassical bolt-on was architect Thomas Harrison’s solution to the dilapidated state of the building in the Georgian period.

From the walkway along the walls you can see the square Agricola Tower, which dates from around 1190-1200, and this and the Flag Tower are the only survivors of this early stone-built castle.  The tower is opened at least once a year for visitors to see around the vaulted chapel and 13th century wall paintings that are thought to have been ordered by Edward I for his use of the castle as a base during his negotiations with the Welsh princes.  That’s high on my to-do list.

Leaving the walls, you can walk up to the entrance to the castle if you want to see the view from the entrance.  Otherwise, cross the road at the pedestrian lights, taking note of the big black modern building squatting on your right as you cross the road and go a short distance to the covered viewing point, where there are interpretation boards, and have a look over the Roodee.

Nathaniel Buck’s 1728 engraving of the castle. Source: chesterwalls.info

 

27) The Roodee and the site of St Mary’s Nunnery

The race course on the Roodee

Nathaniel Buck’s Prospect of the City of Chester 1728 showing The Roodee. Source: chesterwalls.info

The Roodee is now home to the Chester racecourse, with the earliest race here held in 1539, but it also formed the edge of a river port second in size to Bristol on the western coast of Britain, supporting a successful trade along the coast and across to Ireland, as well as a thriving shipbuilding industry.  The commercial value of the river began to decline at the end of the 18th century as the river began to silt up, and did not survive the 19th century.  However, the archaeology of the river at the Roodee dates back to at least the Roman period when there was a harbour at the river and excavations in 1885 revealed the remains of a jetty near the railway viaduct.  The above engraving by Nathaniel Buck shows the medieval tower, connected to the walls by a fortified walkway, which was once at the water’s edge, demonstrating how silting was impacting the port of Chester even at this stage.

Turn so that your back is to the Roodee.  Over the road was the site of St Mary’s Benedictine Nunnery. 

St Mary’s Convent was founded in 1140 and survived until the Dissolution in 1535,on the north side of today’s Nun’s Lane, which is the small road that runs along the top of the Roodee and the race course.  It was built just inside the city walls, a little to the west of the castle. This became quite a large monastic establishment with a relatively compact cloister around which were the usual domestic and administrative buildings along three sides, with the monastic church on the fourth side, and a larger separate courtyard with more buildings arranged around it. A double-cloister arrangement was not at all unusual in wealthy monastic establishments, but the nunnery was notable for its financial difficulties even though it owned and rented out several properties in Chester, and from the 13th century owned the manor of Handbridge.  The last surviving piece of architecture from the nunnery survives in Grosvenor Park, which preserves the red sandstone arch and flanking niches that once separated the church’s nave from its chancel.

Archway and flanking niches from the former St Mary’s Nunnery, looking through to the Ship Gate

The black glass and red sandstone building on the other side of Nun’s Lane, Abode (built in 2010), replaces the former police headquarters, which was an eyesore of a very different type, and between the police building being knocked down and Adobe being built, an archaeological excavation took place.  As well as what are thought to have been significant Roman discoveries, the remains of the nunnery were excavated, producing both architectural and funerary remains, as well as discarded objects.  Quite who was responsible for seeing that the excavation records were published I don’t know, but one of the great tragedies of Chester heritage was that the small company responsible for the excavations never did publish, and no-one seems to know where the excavation reports and any preserved materials might be located.

The remains of St Mary’s Nunnery in 1727. Source: British History Online

After the 1536 Dissolution, when the nuns dispersed, the land and buildings were granted to a member of the Brereton family, in whose hands it remained until the 17th century.  Its best known resident was Sir William Brereton, who was the Cheshire commander of the Parliamentary forces during the Civil War, when the buildings came under fire, were badly damaged and were never repaired.  As ruins on valuable land within the city walls they were soon replaced.  At the west end of the former site, architect Thomas Harrison, who has been mentioned several times above, built St Martin’s Lodge for his own use, now sympathetically converted into the gastro pub The Architect.

The walk is over!  Retrace your steps back over the Grosvenor Road into the car park, either via the steps on the corner, or down Castle Drive and into the main entrance, which avoids steps.
xxx

Final comments

I particularly like this walk because of the sheer amount of diversity that it introduces to the experience of Chester, beyond what you can find on a walk around the walls or a stroll around the main streets and the rows.  This is a slightly different slant on Chester, one that takes place nearly entirely beyond the walls, where there is space for promenades, open green spaces, a massive race course, a Victorian cemetery, river walks and of course some marvellous bridges and views over the surrounding area.  Neither urban nor suburban, this walk focuses on the in-between borderland of the riverside.

The shortlink for this post is: https://wp.me/pcZwQK-7BG

Braun’s Map of Chester, 1571 showing the RooDee with a grazing cow at left,  Handrbidge at the bottom, and the Old Dee Bridge connecting Handbridge with the Bridgegate. Source: chesterwalls.info

 

Sources

Books and Papers

The Bear and Billet

Boughton, Peter 1997. Picturesque Chester.  Phillimore

Carrington, Peter 1994. Chester. English Heritage

Cheshire West and Chester Council 2012.  Explore the Walls. A circular walk around Chester’s historic City Walls.  Cheshire West and Chester Council

Clarke, Catherine A.M. 2011. Mapping the Medieval City. Space, Place and Identity in Chester c.1200-1600.  University of Wales

Herson, John 1996. Victorian History: A City of Change and Ambiguity. In (ed.) Roger Swift. Victorian Chester.  Liverpool University Press

King, Michael J. and David B. Thompson 2000.  Triassic vertebrate footprints from the Sherwood Sandstone Group, Hilbre, Wirral, northwest England. Proceedings of the Geologists’ Association,
Volume 111, Issue 2, 2000, p.111-132

Langtree, Stephen and Alan Comyns (eds.) 2001. 2000 Years of Building: Chester’s Architectural LegacyChester Civic Trust

Laughton, Jane 2008.  Life in a Late Medieval City. Chester 1275-1520. Oxbow

Martin, Richard 2018. Ships of the Chester River. Bridge Books

Mason, D.J.P. 2001, 2007. Roman Chester. City of the Eagles. Tempus

Mason, D.J.P. 2007. Chester AD 400-1066. From Roman Fortress to English Town. Tempus.

Ward, Simon 2009, 2013. Chester. A History. The History Press


Websites

Based in Churton
Overleigh Cemetery in Chester, Parts 1 and 2 by Andie Byrnes
https://basedinchurton.co.uk/category/overleigh-cemetery/

British History Online
Religious houses: Introduction
https://www.british-history.ac.uk/vch/ches/vol3/pp124-127

The Cheshire Sandstone Ridge
The geology of the mid Cheshire Sandstone Ridge: Our landscape story
https://www.sandstoneridge.org.uk/lib/F715451.pdf

Chester Characterisation Study
St John’s Character Area Assessment
https://www.cheshirewestandchester.gov.uk/asset-library/planning-policy/chester-characterisation-study/e-chestercharacterisationstudystjohns.pdf

Chester Heritage Festival YouTube Channel
Four Minute Wonder:  The Sandstone Outcrop by Paul Hyde, 2024
https://www.youtube.com/watch?v=fxgoKh_4FXk
Four Minute Wonder: The Grosvenor Park Lodge by Paul Hyde, 2024
https://www.youtube.com/watch?v=Td67domdAWQ

Chesterwiki
River Dee Geology
https://chester.shoutwiki.com/wiki/River_Dee_Geology

Curiouser and Curioser: Tales from Cheshire Archives and Local Studies
A Grand Day Out in Chester: celebrating 100 years of the new Queens Park Suspension Bridge
https://cheshirero.blogspot.com/2023/04/a-grand-day-out-in-chester-celebrating.html

The Freemen and Guilds of the City of Chester
Cordwainers
https://chesterfreemenandguilds.org.uk/about/

Heritage Gateway
Post Dissolution Use of Former Benedictine Nunnery
https://www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=MCH18993&resourceID=1004

Historic England
Roman quarry including Edgar’s Cave and the rock-cut figure of Minerva on Edgar’s Field, 150m south west of Dee Bridge
https://historicengland.org.uk/listing/the-list/list-entry/1014718
The Hermitage, The Groves
https://historicengland.org.uk/listing/the-list/list-entry/1375947

The Spoonster Sprouts
Brutalist Architecture in Chester: A Guide. By Tom Spooner, 15th July 2024
https://thespoonsterspouts.com/brutalism/chester-brutalist-architecture/

A Virtual Stroll Around the Walls of Chester
Old Maps and Aerial Photographs of Chester – Nathaniel Buck
https://chesterwalls.info/gallery/oldmaps/prospect.html

Wikipedia
Henry Raikes
https://en.wikipedia.org/wiki/Henry_Raikes


Upcoming

The Historic Towns Trust map for Chester should be a great aid to anyone planning their own heritage walk.  Although I have one on order it hasn’t arrived yet. You can find details on the Trust’s website where you can also order a copy:
https://www.historictownstrust.uk/maps/an-historical-map-of-chester

 

View of the City of Chester by an unknown artist, mid 1700s. Source: Victoria and Albert Museum, accession number 29635:57

 

Nathaniel Buck’s South West Prospect of the City of Chester, 1728. Source: Mutual Art

View from the East Groves to Queen’s Park

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 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/

 

Ewloe Castle in Wepre Park, near Connah’s Quay

Artist’s reconstruction of Ewloe Castle. Source: Renn and Avent 2001

The ruins of the 13th century Ewloe Castle, one of Llywelyn ap Gruffudd’s more puzzling constructions, is located in the public Wepre Park, near Connah’s Quay and not far from Chester.

Visiting details are at the end of the post, including information about car parking, the visitor centre, an excellent downloadable guide to the routes through the park and its key features, as well as where to find out more information about the castle.
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Wepre Park

Wepre Park map in the Explore Wepre Park PDF by Denbigh County Council online.  The Main Trail leads from the car park all the way to the foot of Eweloe Castle.  The Boardwalk is also reached from the car park, and is shown at bottom left.

Wepre Park is a woodland valley, largely deciduous, that flanks the Wepre Brook, and is very popular with dog walkers, joggers, and families. According to the park’s literature, it is a remnant of the great hunting forest of Ewloe.  More recently it was the site of Wepre Hall.  On a sunny day in the autumn, with the light filtering through the trees, this should be a wonderful display of illuminated colour.  The autumnal display was very fine, with the light filtering through the multi-coloured leaves and the woodland floors carpeted with bright yellows and oranges.  The woodland contains a wide mixture of different trees, shrubs and vegetation and is home to varied wildlife, including aquatic species, insects, birds, bats, badgers and a lot of very busy squirrels.  There is also a small wildlife meadow, although there is not much to see at this time of year.
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The valley was owned in the 11th century by St Werburgh’s Abbey in Chester.  In the mid 12th century it was the site of a major confrontation between Henry II and the forces of Owain ap Gruffydd, ruler of Gwynedd in west Wales, during Owain’s campaign to extend his territories to the east. In 1157 Henry II took an army into northeast Wales to subdue Owain, but was ambushed by Owain in the Ewloe valley.  Although Henry escaped, and defeated Owain at Rhuddlan, Owain later regained much of the lost territory.

Wepre Hall, first built in 1788. Source: RCHAMW

A house is recorded at the site from at least the late Middle Ages.  During the Civil War a house at Wepre belonged to Royalist supporters who, in 1645, supposedly hid in the cellars a Royalist sympathiser who was a participant in the the Battle of Rowton Moor.  It was rebuilt as a 2-storey Georgian house in 1788 by Edward Jones, the owner of a local lead mine, with outbuildings and later extensions.  It was demolished in 1960.  There is nothing remaining of Wepre Hall except for the cellars.  The visitor centre sits on part of the Wepre Hall site, and the gardens here and nearby are designed to echo the formal gardens of the Hall.

There are a number of routes through the park.  From the car park, the Main Trail is a wide metalled track that leads from the car park past the visitor centre nearly as far as the castle (after which there are wooden steps leading up to the castle).  It follows the line of the brook, which drifts in and out of sight and is constantly audible.  The most notable feature on the Main Trail, apart from the lovely woodland, are the outcrops of Hollin Rock, a 320 million year old red sandstone, popular as a building material.  Towards the end of the trail is a small and attractive bridge, Pont Aber, that was once located further upstream but was moved here in 1800 to improve access to Wepre Hall.  There is a delightful small waterfall on the other side, which used to be the location of the Castle Hill Brewery that used the water from a natural spring.
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The second significant route is a boardwalk, which leads from the car park along the brook and connects to the Main Trail about half way way along.  The main feature of the Boardwalk route is the waterfall, actually built as a weir to power a small hydroelectric plant, but it is a very attractive feature.  The plant used to provide electricity to the Hall before mains electricity arrived in the area in 1925.  There is a variety of aquatic vegetation flanking the boardwalk, and information boards indicate the different wildlife, including birds, that can be spotted on a walk.  The boardwalk follows the brook closely until it slopes up slightly to meet the Main Trail, and the “bubbling brook” phrase never seemed more apt.  This is a very audio-visual walk.
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Some of the other footpaths are just well-worn tracks, very muddy at this time of year, but follow lovely winding routes through the woodland.  I tried the track from the bridge to the Devil’s Basin, supposed to be a short set of very pretty falls, but after five minutes or so the deeply churned mud made it completely impassable in ordinary hiking boots. It would have required wellies.

Near the visitor centre there is a small lake called the Rosie Pool that was created in the late 19th century for fishing and is now managed by the local angling club.  Immediately behind the visitor centre is a small but very attractive formal garden with a small pond, a nod to the former hall.  Even at this time of year, fuchsia, hydrangea and sedum still have some flowers.  There is a small pet cemetery located at its edge.  For more about the park download the Explore Wepre Park guide (in Sources at the end of this post).

Ewloe Castle

Ewloe Castle from the air. RCHAMW 6463845. Source: RCHAMW

There is some discussion about who built the castle. It was certainly either built or rebuilt in c.1257 by Llywelyn ap Gruffudd (also known as Llywelyn the Last), but he may have been restoring a castle originally built by Llywelyn ap Iorwerth (Llywelyn the Great).  The D-shaped keep has been seen as characteristic of Llywelyn the Great, and differences in the stonework of the upper and lower wards have been used to argue for a two-phase construction.  If this was indeed the case, it is argued that the upper ward would have been contemporary with the keep built by Llywelyn the Great and the lower ward built by his grandson Llywelyn the Last.  On the other hand, there is an early 14th century document that states that the entire was built by Llywelyn the Last.  The question remains unresolved, but it is not doubted that whoever built the castle, Llywelyn the Last certainly carried out extensive building work here.

Plan of the castle. Source: Lloyd 1928

Although it is built to a fairly standard Welsh plan, it is something of an oddity in strategic terms, not being built high on a hill but on the edge of a small valley.  Although the sides slope steeply away from the castle on three sides, it was actually overlooked from the south, so required quite extensive outer defences on that side, consisting of a ditch, the digging out of which would have provided a bank.
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The keep sits within a small upper ward.  A larger lower ward was added, possibly at a later date, with a tower at its furthest extent from the upper ward and both were provided with curtain walls, some of which remain.  The D-shaped (or apsidal) keep has a small footprint with its semi-circular end overlooking the defences, whilst the tower in the lower keep overlooks both the southern aspect and the valley below.  The lower ward would have been provided with timber buildings for domestic functions and storage.

On the former ground floor of the keep, to which the steps at the back of the upper ward lead, the former hearth is still visible, and there are windows set in the thick walls.  Looking at the keep today, the lowest layer was a basement with no lighting.  The keep had an outer stone staircase at its south, and this is still in use for accessing the inner staircase that leads up inside the walls of the keep to a viewing platform at the top of what remains of the keep’s walls.

Two entrances, one into the upper ward and one into the lower ward would have been approached by bridges over the defences.  The lower ward’s tower was probably accessed from the curtain walls of the lower ward.

In 1257, when the castle was either built or rebuilt, Llywelyn ap Gruffudd was on the offensive, attempting to retake Perfeddwlad, otherwise known as the “Four Cantrefs,” which incorporated the cantrefs of Rhos, Rhufoniog, Dyffryn Clwyd and Tegeingl, a constant bone of contention between the Welsh princes and the English crown.

The problem of the poor strategic location could be explained by suggesting a different intention for the castle as more of a political statement than a fully functional military outpost.  Its location on the edges of disputed territory, not far from older English castles and the site of Owain Gwynedd’s defeat of Henry II may simply have been a statement of a Welsh return to land that they claimed as their own, and a useful staging point for any future negotiations, given its proximity to the Anglo-Welsh border.  This is supported by its probable use first in November 1259 and again in December 1260 when English ambassadors were sent to meet with Llywelyn at a place identified as Wepre, which must have been the castle.  There is no record of the castle’s involvement in 1276 and 1277, when war between England and Wales reignited, which may give added weight to this castle being a political gesture rather than a strictly military base, but could also reflect the necessity of Welsh retreat to safer ground.

Ewloe Castle by Moses Griffith (1747-1819) NMW A13529. Source: National Museum of Wales

Edward I does not appear to have felt that Ewloe Castle was worthy of his interest.  Although he restored other castles for his own use, this was probably too small, too badly sited and too difficult to defend.  Instead, in 1277 Edward began to build at Flint (posted about on the blog here), Rhuddlan (posted about here) and Denbigh (posted about here).  Owain Glyndwr’s rebellion in 1400 found no use for it either.
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Visiting

Access to the castle, managed by Cadw, is free of charge and open all year round, as is the entire park, but you will need to be confident with stairs, as they are the only way in and out of the castle.  There are new metal stair cases with handrails, and original stone ones, including a small flight in a stairwell in the keep leading up to a viewing platform at the top.  None of the stone staircases have handrails.

Parking is straight forward for both castle and park.  If you only want to see the castle there is a lay-by on the side of the B5125 that looks as though it will take about 8 cars, maybe a couple more.  I didn’t try the route from there to the castle so have no idea what the footpath is like underfoot, but the What3Words address for the lay-by parking is ///follow.beauty.mistaking.  The official car park is a large one near the visitor centre on Wepre Drive. Ewloe Castle is about a mile away from this car park along a very easy and attractive trail. The What3Words address is for the main car park is  ///contrived.writing.mailers

A circular walk taking in the boardwalk and returning to the car park via the Main Trail would be suitable for unwilling legs, as would a walk along the boardwalk to the bridge and then back along the main route.  The castle is not suitable for those who cannot manage steps and stairs, as this is the only way of getting into the castle, from whatever direction you approach.

The visitor centre is closed at this time of year (November) but its cafe was open on my visit.  The public toilets are also open nearby.  There’s a substantial play area on the edge of the car park.  There are a small number of good information boards throughout the park, including one at the castle, but the Cadw official guide to Flint Castle also has a section on Ewloe Castle.  Other sources are listed below, including castle information and an excellent guide to the park, together with a footpath map.


Sources:

Wepre Park

Flintshire County Council
Parks and Countryside
https://www.flintshire.gov.uk/en/LeisureAndTourism/Countryside-and-Coast/Parks-and-countryside.aspx
Discover Wepre Park Booklet
https://www.flintshire.gov.uk/en/PDFFiles/Countryside–Coast/Discover-Wepre-EnglishWEB.pdf

A different map that may be slightly easier to follow is on the following link:
Potty Adventures
Wepre Park
https://pottyadventures.wordpress.com/2016/07/16/wepre-park-our-local-8th-wonder-of-world/

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Ewloe Castle

Books and papers

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

Lloyd, J.E. 1928.  Ewloe.  Y Cymmrodor, vol.39 (unnumbered)

Renn, D.F. and Avent, R. 2001 (2nd edition). Flint Castle – Ewloe Castle. Cadw

Websites

BBC News
13th century castle to be sold (18th November 2009)
http://news.bbc.co.uk/1/hi/wales/north_east/8364611.stm

Cadw
Castell Ewloe
https://cadw.gov.wales/visit/places-to-visit/castell-ewloe

Coflein
Ewloe Castle
https://coflein.gov.uk/en/site/94447/
Wepre Hall
https://coflein.gov.uk/en/site/36307/

Wales Online
Ewloe Castle has sold to farmer at auction (9th December 2009)
https://www.dailypost.co.uk/news/local-news/ewloe-castle-sold-farmer-auction-2770922
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An autumnal stroll from Churton to Aldford, pausing for lunch at The Grosvenor

Autumn sun and brightly coloured leaves are always a joy at this time of year, right up until the point that they drop in huge numbers and need clearing off the garden lawn 🙂

Because it was so warm, my destination was The Grosvenor pub, a self-indulgent extension to my terrific short break in the Ironbridge area of Shropshire last week.  It is always such a treat to be able to sit outdoors at this time of year.

The map of this walk is at the end of the post, and is a very simple one.  It takes around 40 – 45 minutes to walk through the fields to Aldford from Churton, so it is a short walk, and always a good fall-back when I don’t want to be bothered with the car.  The harvested fields, mainly used for growing corn, can be very soggy at this time of year with nothing but wet earth under foot, but it is always an easy and attractive option on a sunny day when the leaves are changing colour.  It was fine on the field edges, although distinctly squelchy underfoot crossing diagonally from footpath FP7 to FP6.  Half of the route is the metalled B-road Lower Lane, which gave the hiking boots a bit of a break from the sludge.

Irritatingly, I did not have my camera with me, so these were taken on my iPhone and many don’t bear close scrutiny.
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After a very enjoyable lunch in the sun at the Grosvenor Arms, I had a wander around the village and returned back to Churton using the same route.  Normally I go back via the well-signposted FP8 footpath, but having investigated on my way to Aldford, deemed it far too muddy and waterlogged to make the attempt in anything other than wellies.  In the dry, this is a nice return route and takes in a chunk of the Roman road that once ran east of Churton (about which I posted here).

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Cheshire West and Chester Public Map Viewer, annotated

 

A walk from Waverton along the Shropshire Union Canal

I have driven over the canal bridge on Eggbridge Lane in Waverton so many times thinking that I really must take advantage of the little car park just before the bridge to go and take a stroll down the towpath.  Having woken up early on a sunny morning I decided to investigate. Waverton is just off the A41, so very easy to reach. The car park is quite small, but it was not full even on a bright and warm morning.  The What3Words address for the car park is ///fingertip.snored.deals

Victoria Mill, Waverton

Immediately opposite the car park, as you walk to the towpath, is a very attractive canal building, the Grade 2 listed, a mid-19th century Victoria Mill, a former steam-powered canal-side corn mill, with bays for loading and unloading narrowboats, and now converted for modern use. The Historic England description is here.  This is part of the heritage of the Shropshire Union Canal, which if you keep walking north eventually ends up at Ellesmere Port.  To the south, it eventually connects up with the rest of the main canal network at Hurleston Junction.  The Shropshire Union has quite a complicated history, as does Chester’s canal heritage as a whole, and was not completed until 1835.

As with most canal walks, there’s always a choice to turn right or left, and as I had no idea what to expect from either direction I decided to head north, leaving the walk south for another occasion. Out of the car park I turned left under the unprepossessing bridge no.119 and headed up the towpath.  This section is metalled, so it avoided the mud and sludge that I had been half expecting.

If you take this route you find yourself walking along a short row of houses with canal gardens along a metalled pathway.  Canal-side gardens are always fascinating.  I used to live on a narrow boat many years ago, and it is always a lot of fun to see how different minds have dealt with a garden that opens directly on to a canal.  These are always hugely individualistic and personal.  There is always much to see in the way of garden furniture, garden ornaments (someone will always have gnomes, and there is usually at least one example of traditional canal painting), sheds in various states of repair, a wide range of summer houses, varieties of approaches to terracing, often some very interesting specimen trees and shrubs, and different attitudes to garden seclusion, along a spectrum from solid barriers of hedging or fencing to a complete lack of interest in any form of privacy.  A real cultural treat.

After just a minute or so the towpath enters a more rural section, and in the late season sun it was a real pleasure to take in all the autumnal colours on trees and shrubs that flank the canal.  I’ve posted some of the photos below. It’s a well-used section of towpath, with joggers, cyclists and plenty of dog walkers, but everyone is very civilized about moving over to make passing easy.  There was not much in the way of canal traffic, with just two narrowboats on the move, but I expect that it is much busier in summer.

Keep an eye out on your left as you leave the housing on your right and reach the more rural section.  Partly concealed by the grass next to the towpath, there is a short inscribed red sandstone Parish Boundary Marker. This section of the canal passes through the parish of Rowton, famous for the Civil War Battle of Rowton Heath (see the Wikipedia entry on the subject and a more detailed analysis by Historic England).  King Charles I is said to have watched his army lose that battle from the Phoenix Tower that still stands on Chester’s city walls. The stone marks the boundary between the parishes of Christleton (CP on the stone) and Rowton (RT).  The date commemorates the date of the battle in 1645 and, below the level of the grass, 1995, the 250th anniversary of the battle.
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After this more countrified section there are more houses, all interesting, with some lovely weeping willows and other water-loving species, and a very attractive hump-backed bridge, that I have since discovered carries Rowton Bridge Road into Christleton.  I walked up as far as The Cheshire Cat, which sensibly has a gate onto the towpath, and carried on just a short way beyond it, but at that point the canal converges closely with the A41 (Whitchurch Road) and it becomes quite a noisy experience with the unremitting traffic, especially during the week.

Checking the map later (for example see the plotaroute.com website), I note that by coming off the towpath at Rowton Bridge it is possible to walk into the attractive village of Christleton, with its marvellous pond, and I would have done this had I realized.  Another time.  had to be somewhere else in the afternoon, so it was a short walk, probably an hour and a bit there and back at strolling pace, with pauses to let bicycles pass, and to take photographs.

For those with unwilling legs (see the blog’s Introduction for details about what this refers to), the towpath heading north from Waverton is metalled, but quite uneven.  No problem for most people, I would have thought but do keep an eye on it.  There are places where the edges of the surface are particularly uneven, but this just means that if you are with someone else you need to go in single file for short sections.  Otherwise, it’s on the flat and very enjoyable.

On the way back I followed the towpath beyond the car park for a few minutes to see how far the housing that backs onto the canal extended.  This part of the towpath is not metalled, was muddy and is single-track.  These houses and gardens are another interesting mixture – each of the sections of housing and gardens has its own personality, presumably reflecting both when it was built and the pricing.  These look as though the garden-canal margins were all designed with narrowboats or other canal vessels in mind. There was indeed one narrowboat moored up at a garden.  The housing stops after a couple of minutes and the towpath reverts to a far more rural appearance.  I’ll investigate further on another day.

Overleigh Cemetery Self-Guided Geodiversity Tour

Many, many thanks to Paul Woods (Chester Green Badge Guide who leads the cemetery tour Stories in Stone) for sending me the scans of this leaflet by Cheshire RIGS and the Northwest Geodiversity Partnership, apparently published in 2012.  It looks at the most common types of stone used, gives some geological details about it, and discusses how some of it responds to environmental conditions.  I’ve shared the JPEGs below but I have also turned it into a PDF that you can download by clicking here.  I cannot wait to take it for a test drive!

Overleigh Cemetery, Chester #2 – The living, the dead and the visitor

In part 1 of this series on Overleigh Cemetery the economic background to Overleigh Old Cemetery was introduced briefly, and details of the reasons and execution of the foundation of Overleigh Old and New Cemeteries were discussed.  Here, in part 2, both Overleigh Old and New Cemeteries are explored in a little more depth.  There are a great many components that contribute to how a gravestone looks, what it says, and what it meant to the bereaved.  Between the sculptural forms, the symbols used on headstones and the inscriptions, as well as the design of the the cemetery itself and the ways in which it evolved and was used and perceived at different times in the past, Overleigh has a lot to contribute to how we think about Chester and its occupants.

Eliza Margaret Wall, died 1899, aged 30. Other family members were added in future years up to 1936

As a starting point, it is useful to look at who the main users of the cemetery were and are, both living and deceased, before moving on to a general guide to what to look out for if you are a visitor interested in learning about what the cemetery has to offer.

As in part 1, where I have included a photograph of a grave and there is information about it on the Find A Grave website, I have added a link.  For anyone using the database for their own investigations, note that Find A Grave treats Overleigh Old and New cemeteries as two different entities and you have to search under the correct one.

I have stuffed this full of photographs to help explain some of my points, so Part 2 looks bigger than it actually is.  You can click on any of the images to see a bigger version.

With many thanks again to Christine Kemp (Friends of Overleigh Cemetery) for her much-appreciated ongoing help.
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People

Graves represent people, the living and the dead, both entangled in the complexities of funerary rites.

The bereaved

A funeral at Overleigh Old Cemetery. Detail of 19th century engraving of Overleigh Cemetery. Source: Wikipedia

Although this post is about a burial ground and its graves, funerary traditions and practices are all as much, if not infinitely more, about the living.  The need to recognize and commemorate loss, not merely at the funeral but prior to it and after it are essential to people, even today when the traumas associated with death tend to be handled in more internalized ways than in the pre-war periods.

Gravestone of Geoffrey Mascie Taylor, died 1879. If anyone has any idea what the symbol represents at the top of the gravestone, please let me know.

During the Victorian period there was an elaborate process of marking a death, a tradition of precise convention and ritual, expressed both within the family and communally.  When someone dies the living are left behind to handle a loss as best they can, and cemeteries and memorials are only one one part of that process.   The end to end process from death to mourning is all a part of the Victorian experience of bereavement.  Visiting and tending the grave, bringing flowers for the deceased, was part of this process, in which women had a key role, and demonstrating bereavement in public essentially brought the grave into the domestic sphere.  Several of the books listed in the references, go into some detail about the Victorian expressions of mourning, and books by James Stevens Curl in 1972 and Judith Flanders in her recent overview provide great insights, but if you want a much shorter book with a still very comprehensive and well written overview, Helen Frisby’s Traditions of Death and Burial offers an excellent overview of Victorian and later bereavement ceremonies.

John Owens JP, died 1853, age 72.  “A Merciful Man Whose /
Righteousness Shall / Not Be Forgotten.” There are no additional inscriptions on this impressive headstone

In the Victorian period it has been argued that the lead-up to a funeral, the funeral itself and its aftermath were all components of an intention to promote social status, wealth and the knowledge of and participation in deeply embedded social conventions that specified in detail how death should be handled and how mourning should take place.  The Industrial Revolution had created a new type of middle class, many of whom were making livings based on manufacturing and commerce, as well as roles in the growing legal, medical, administrative, banking, and similar sectors. Even though there were more opportunities for social mobility, and the ability for individuals to define themselves in new terms, the aristocracy still provided a model for those with social ambitions.  Conspicuous displays of personal and family identity and wealth had become fundamentally important in this need to establish a dignified and self-important identity at a location between the upper and working classes. It was also important for the lower middle classes to distinguish themselves from those who were less financially robust, doing what was perceived as more menial work, defining themselves as socially distinct from the working class. Hierarchy, with all its subtleties during the Victorian period, was important, deeply-felt, and complex, and much of this is reflected in funerary rituals.

More recently it has also been recognized that elaborate Victorian and early Edwardian funerary ceremonies were not merely social devices but reflected the great trauma associated with loss in a world where medicine was in its infancy and where where the middle class was defining itself within often smaller families than previously.  Sickness and death could be both frequent by comparison to today, and was often profoundly distressing.  At the same time, sanitation and health were slowly improving in the second half of the century, meaning that once childbirth and infancy had been survived, people physically lasted longer than they had done in the past, building relationships but more frequently succumbing to old-age problems, becoming invalids who were cared for within the home.  National and community diseases were frequent, some of them long-lasting, and the role of women in nursing their relatives became increasingly important where professional standards of nursing were, just as much as the professionalization of medicine, in their earliest incarnation.  Middle class family ties, and the Victorian and Edwardian sense of moral responsibility to relatives, ensured that sickness was a very frequent component of family life.

TThe monumental grave shrine of Henry Raikes, died 1854, aged 72, Chancellor of the Chester Diocese and one of the founders of the Chester “Ragged Schools.” Overleigh Old Cemetery..

Relatively recent research has also suggested that working class people felt no less strongly about the loss of their partners, siblings and children.  Many working class families were crowded into insanitary areas all over in Britain, and notable areas have been identified in Chester, forcing people into much closer proximity, and this promoted the transmission of sickness and disease with a consequent cost in terms of poor health. Sickness was handled within families, which caused many problems in household management, where women frequently worked for a living, often in domestic capacities.  This resulted in the occasional recourse to a new breed of hospitals as well as a frequently dubious type of pre-professional paid nursing care. The ease of disease transmission meant that those living so close together and in such insanitary conditions were most at risk of epidemics, and the mortality rate was much higher than in middle class households. There were clubs into which people could pay a subscription to save up for funerals, just as there were clubs to save up for Christmas, and there are several pauper graves at Overleigh. But for some the costs were too high, so many graves were unmarked, and the grief of some families was never recorded meaning that these losses are not captured.

The monument for Joseph Randles, died 1917, aged 65-66. Note the partially veiled urn, which will be mentioned later.

It is easy to forget that until the NHS was established in 1948, most people still died at home rather than in hospitals, hospices or nursing homes, and that families housed the deceased, until burial, within their homes, and those deceased, laid out in front parlours in their coffins, were visited by friends and families.  The introduction of the funerary Chapel of Rest in the later Victorian period helped to reduce the time when the deceased remained in the house, but it was still a common part of a death that the dead remained amongst the living until the funeral well into the 20th century.

The focus on ceremony and ritual altered over time, with a considerable change of direction from the elaborate ceremonies of the Victorians to the minimalist approaches taken today. This does not mean a growth of indifference to death, but it does indicate changes within society. The beginnings of this are to be found in the Edwardian period, particularly during and after the First World War, when the nation’s horses that traditionally pulled hearses were required for the war effort. Funerals became even less demonstrative after World War 2.  This will be discussed a little more in Part 3.

On this Armstrong family cenotaph and headstone in the Overleigh New Cemetery, three sons predeceased their parents aged 32 in 1917, 22 in 1918, and 39 in 1927, the first two of them at war, all of which must have been a shocking loss.  Their parents are commemorated here too.

In the cemetery itself, the most obvious incorporation of gravestones into the world of the living is the highly visible custom of flowers and other gifts having been left in front of a headstone.  Fresh flowers in particular give the sense of a grave being regularly tended but artificial flowers and other items also serve to mark the continued attention to a grave by those who wish to indicate their recognition and care.  My father, who was born in 1936 and grew up on the Wirral, says that when he was a small boy he was taken regularly to the graves of his relatives in Liverpool, where there was a flower shop outside the gates, and flowers were purchased, a visit was made to family graves, and a picnic was enjoyed nearby.  It was a visit of celebration, continuity and memory, a positive occasion.

The other most obvious indication of a gravestone continuing to have a role is the presence of multiple inscriptions on many memorials, as individual family members are lost and the living are compelled to update the inscriptions.  Many of these gravestones capture this passage of time and accumulated loss very effectively, telling long narratives of family loss, sometimes covering several decades, and suggesting multi-generational involvement with funerary activities and commemoration, the sense of a continuum between the past, the present and the potential future.

The Deceased

The deceased may seem to be passive and inanimate, but they have voices in at least three ways.  First, they may have had input into their own graves, including its location, its design and its use as a single plot or a family plot.   In this sense they are very much agents of their own burials.  Second, the very process of memorialization, whether by family or friends, gives the departed an enduring presence that lasts into the modern world, a very material presence.  Some of those who died may also have obituaries to be found in newspaper archives, and accounts of inquests into their deaths, filling out a much richer picture of former lives, and those who were in positions of influence will have had much more information captured in official documents and even preserved journals.  In this way they can contribute very significantly to modern research projects, as much as that may have surprised them.  Third, they occupy the living landscape of cemeteries, spaces that occupy often new places in modern life and that are valued today.  At Overleigh I have seen people walking from one end to the other pause to read an inscription, and dog walkers wandering around, pausing to take note of a particular grave.  The dead area still amongst the living, even when they are not even slightly connected today with their ancestors.  Those who care for their graves, and tours that bring visitors, all do their essential bit to keep the deceased amongst the living.

Art Deco style headstone of Ralph Esplin, died 1935, aged 67

It has been the experience of cemeteries since the beginning of the 17th century in Britain that graves are tended for perhaps three generations after which they fall out of use, as families move away or simply move on.  Genealogy makes some of them  briefly relevant, but the funerary landscape is a strange mixture of the abandoned and the perpetuated.  Local authorities and Friends societies contribute to the task of caring for abandoned graves, but this is a very different relationship from those that are still visited by family members.  In Victorian cemeteries, there is always a rather strange dynamic between the historical sections and those that are still the essence of loss, bereavement and and ongoing engagement.

The deceased in the early periods of the cemetery capture something of Chester’s evolving social, economic and cultural endeavors, as it attempted to secure its future and create a stable and prosperous community.  Those who are represented in the cemetery are largely those who were either already successful in establishing themselves within this community or were making the attempt to improve themselves and gain status; the unmarked pauper and cholera graves are amongst the hidden histories of Overleigh and of Chester itself.  There is time-depth here too, as we can track changes from 1848, when the Old cemetery was established, through the Edwardian period and both World Wars, and the changes during the post-war period up until the present day.  I have been learning how much work it takes to see beyond the sea of graves and to read history captured in the cemetery landscape and monuments, and it is all there to be found, the world of the dead contributing to an understanding of the transforming past and how society’s views on death and commemoration changed.  Parts 3 and 4 will go into this in more detail.
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Visiting Overleigh for the first time – what to look out for

The central monument, in rose granite, is a truncated obelisk, indicating a life cut short and usually associated with the loss of younger people, although not invariably. In this case, Harry MacCabe who died aged 26.

I have started here with the most obvious way of getting to grips with a cemetery – how things look when you walk through for the first time.  This is about shapes, materials and the visual cues that you can pick up at first glance to give an indication of what the casual visitor may want to focus on during a first visit.

The majority of monuments at Overleigh are vertical, unlike the variety seen in local churchyards that include a variety of other horizontal and chest-type forms, as discussed in connection with the churchyard at Gresford, some 10 miles south of Chester.  The example below shows one of the  horizontal representations, which are less numerous, although of course by being less visible are more likely to be overlooked.

Although I discuss Overleigh as a site that helps us to connect with history, it is important to remember that both Old and New parts of Overleigh are still in use for new interments and cremation memorials, and that families and friends are still regular visitors to visit their departed and tend their plots.  All visits by those of us who are not connected with family or friends interred in the cemetery need to explore with respect and care for those other visitors who are at the cemetery for the purpose of connecting with the departed.

The horizontal gravestone of Major Richard Cecil Davies is one of the relatively few gravestones that are not vertical. Some, of course, have fallen over and are now just as horizontal as this one, but this was always intended to lie over the grave and face upwards.  These are always vulnerable to being taken over by grass and weeds, and need an eye kept on them.

Themes and symbols

Author James Curl (1975) found this advert in an 1860s guide to Highgate Cemetery in London, showing a range of grave monuments available for purchase. Most of these have equivalents at Overleigh.

How were headstones and monuments chosen?  From the 1830s onward stonemasons had catalogues from which headstones could be chosen, just as there are today.  Today there are also catalogues from which to choose, many of them online and offering a wide range of alternatives.  At the same time, some families might prefer a grave that is similar to that of other family members, and some might want to emulate styles admired in a local cemetery.  The imagery on the graves during the Victorian and Edwardian periods formed a rich language of meaning that is understood by all, including the illiterate.  Sometimes the imagery used on a gravestone may say as much if not more about the emotional relationship between the living and the deceased than the text inscription, including the hopes that the living had for their dearly departed.

Headstone of George Henry, with a lily, the symbol of mourning, purity and peace

When you are walking around, you will notice that certain themes are recurring in the designs of the gravestones in both halves of the cemetery.  These represent specific choices that people have made and the ideas that they wish to communicate.  These can either be sculptural memorials or more modest headstones that incorporate carved imagery.  Sometimes headstones just include text, and sometimes there is just a kerb with no headstone which usually lacks imagery, but the symbolic medium is often an important part of the message that a gravestone communicates, imparting a different type of information from the text, often rather more subtle and conceptual than what is written, sometimes capturing emotions and ideas rather more effectively than words.  There is a usually a minimalist formality in what is written, but this does not extend to imagery and symbols, which can be far more expressive.  The themes and symbols mentioned below are just examples that I have found in Overleigh Cemetery.

The memorial to Private Arthur Walton, died 1918 aged 27.

In the memorial to Private Arthur Walton shown left, the overall language of the iconography, seems to reflect the concepts of Christianity and the life of Jesus in response to the loss of a much-loved son in the First World War.  The crown can symbolize victory but is also the emblem of Jesus and Christian immortality. Beneath it, the Biblical quote “He died that we might live” refers to Jesus, but might also refer to the sacrifice of Arthur Walton himself.  The heart is a symbol of everlasting love of Christ and also of the charity espoused by St Paul, but also captures personal love. The grapes and vine-leaves are usually related to themes connected with Jesus including the blood of Christ, the Last Supper and the Holy Sacrament. Overall the iconography of the grave is probably one of personal sacrifice and its association with Christian values and the sacrifice of Christ himself, whilst at the same time demonstrating very deep personal loss.  As well as being very moving, this is a good example of how the imagery can contribute to the overall narrative of a headstone or memorial.

Hester Ann Clemence, died 1914, aged 62, with other members of the family commemorated on the pedestal  steps beneath the floral Celtic style cross. The steps often represent the steps representing Christ’s climb to Calvary.  All of the creativity and suggestion of emotion in the monument is in the design; the inscription is minimalist.  Although the encircled cross was originally associated with Irish graves, it became popular throughout Britain during the 19th century.

Of the overtly Christian-themed grave markers the dominant shapes are the crosses that re-appear for the first time since the Reformation during the 19th century, symbols both of Christ’s sacrifice and of resurrection, and proliferate at Overleigh, from the very simple to the seriously elaborate.  Crosses carved with decorated themes are widespread through the cemetery.  Although there had been very few crosses before the Victorian period, due to fear of association with papism.  A popular choice at Overleigh was the so-called Celtic cross, with Celtic-style designs covering the surface.  A popular variant has the top of the cross contained within a stone circle.  Although originally associated with Irish and Scottish graves, after 1890s in particular, when a Celtic cross was chosen by the celebrated art critic John Ruskin for his own memorial in Coniston, it became popular for burials of all religious persuasion.   A cross on a set of steps is often intended to represent the steps the Christ climbed to Calvary, but they might also simply be chosen for their monumental impact.  Flowers on a cross are indicative of immortality.  There are quite a few angels, messengers of God and the guardians of the dead who also transport the soul to heaven. The letters IHS often occur on graves in both urban and rural cemeteries and represent a Christogram, the three letters of the name of Jesus in Greek (iota, eta, sigma).

The truncated obelisk erected in memory of Francis Aylmer Frost. This photograph was taken by Christine Kemp when this area was not the overgrown jungle that it is now (you can see another photograph of this column, as it is today just below. Copyright Christine Kemp.

Many emblems are appropriated from earlier periods.  Pagan themes include the many Egyptian-style obelisks (more about which you can read on my post about the Barnston memorial in Farndon).  A splendid fluted truncated Doric column, a not uncommon cemetery icon but in this particular case perhaps a nod to Chester’s Roman past, is located just inside the River Lane gate to the Old Cemetery, its truncation indicating a life cut short, and generally indicating someone who died young, although in this case Francis Aylmer Frost was 68; another truncated column was dedicated to Harry MacCabe who was 26.  It is not the only one in the Old and New cemeteries, but it is by far the most impressive, shown at far left in the image below.  Its base is so badly overgrown with viciously thorny brambles that I couldn’t begin to find an engraving without losing half my hands and arms, and so remain ignorant as to who it commemorated.  I need some garden shears next time!

Truncated column; weeping woman; angel; Celtic crosses, temple-style gravestone. Click to enlarge

 

Floral themes on the grave of Thomas George Crocombe, died 1913 aged 20, the eldest of 9 children. Overleigh Old Cemetery.

Flowers are a popular carved theme on headstones.  Some have specific associations, such as the lily, standing for purity and a return to innocence; the rose, which indicates love (different coloured roses mean slightly different things), lilies of the valley, with connotations of innocence and renewal; daffodils that, flowering in spring, represent rebirth; and daisies, which symbolize innocence and were a popular choice for child graves.  A sprig of wheat often indicated someone who had lived to a good age.  Ivy, ironically, is representative of life everlasting and due to its enduring character. It is often show winding its way around cross headstones; today rampant ivy is one of the greatest causes of damage to graves in cemeteries and churchyards.  The most popular of birds shown on graves were doves, symbolizing either the Holy Spirit guiding the deceased to heaven, or general values of spirituality, hope and peace.  There are several at Overleigh.

Detail of the headstone of Harriett Garner and other family members with clasped hand motif. in this case it perhaps suggests father and daughter.  Harriett’s father, who gave evidence at the inquest into her suicide, was certainly very distressed by the loss of his daughter.  They are usually quite common in cemeteries, I have noticed only a few at Overleigh.

An urn is a very well represented motif, quite often topping a headstone as a sculptural component, and indicating the soul of the deceased; when draped with a veil they may indicate the soul departing or represent grief of mourners.  Angels are popular sculptural elements at Overleigh, indicating the soul of the deceased being accompanied to heaven.  Much less frequently shown than angels, but popular in many cemeteries, are images is that of a weeping woman, representing the loss of a person and the mourning of the bereaved.  Small statues of children often indicate the grave of a young child.  Clasped hands, common at some cemeteries but apparently not as well represented at Overleigh, indicate unity and may suggest the bonds of husband and wife, or of friendship or the hope to be reunited with loved ones; some have been carved to show the clothing and character of the hands as distinctly male or female.  An anchor may show that the deceased was professionally connected with the sea, but may also represent hope; a variation is the anchor with a woman, the embodiment of hope, although I have not seen an example of the latter at Overleigh.  Books may have many meanings – sometimes they are associated with the Bible of the clergy or the work of scholars, whilst others may mean knowledge or wisdom, or may simply represent chapters in life.

On the left, the headstone of Arthur Davies. The text wrapped around the anchor reads “Hope is the Anchor of the Soul.” The inscription contains other commemorations.  The headstone of Florence Taylor Battersby and other family members in the middle, topped with a dove.  The grave at far right shows the Christogram IHS, an abbreviation of the name of Jesus in Greek and Latin.  Click to enlarge

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The child grave of Violet Patterson, died 1929, as well as other members of her family, one of whom, Edward Andrew Patterson, who died and was cremated in 2007, is inscribed on one page of the book. This is one of the longer enduring of the graves at Overleigh, in use for 78 years.

A book included on a gravestone may indicate any of a number of ideas.  Prosaically, the grave’s owner might be  involved in the printing, publishing or book-selling trades.  Alternatively they might be a scholar or, if the book is intended to be a Bible, a cleric or someone particularly devout.  In cemeteries one side of an open book often has the name of the husband or wife, whilst the other side remains blank until the other partner has also died, when the blank page can be completed. Sometimes the blank page is left incomplete, possibly because the former partner has remarried or moved out of the area, or has left no provision for the disposal of his or her remains.

There are also more modern emblems and themes that people have incorporated into grave carvings. In the Overleigh New Cemetery in particular there are Art Deco, Arts and Crafts and Art Nouveau themes.  Although often contained within crosses, the Art Nouveau decorations seem otherwise celebratory of life.  The combination of Christian crosses with modern themes perhaps positions religion within a modern context where there is no need to refer back to much older historical values in order legitimize Christian beliefs.  One of them, dedicated to Anna Maria Meredith, has a Biblical quote on it (fourth from the left, a most unusual headstone, although there is a second example in the cemetery).  The memorial to Frederick Coplestone, third from left, shows St Francis of Assisi.  It will be discussed further in Part 4.

Click to enlarge

 

Memorial in the cremation Garden of Reflection showing a locomotive. Roy Douggie, died 2010 aged 77, and his wife Beryl, died 2016, aged 79. That sycamore is going to need weeding out if it is not going to do permanent damage!

As can be seen on more modern gravestones and memorials, most of which can be seen in the Garden of Reflection in Overleigh Old Cemetery and at the very far end of Overleigh New Cemetery and even more dramatically at the post-war cemetery at Blacon, gravestone types and materials have become standardized, and the rich visual language of symbols and icons employed became much less varied over time, and are now often eliminated entirely, although secular themes are sometimes chosen instead.  In modern cemeteries, regulations about the nature of grave markers limit potential for developing new monumental statements, but the decline in religious involvement in everyday life is also a part of this trend.  The language of religious imagery to convey complex values (semiotics) now takes a back seat, even where commemoration is required, with modern secular images often chosen instead of Christian ones.  There are exceptions, and Roman Catholic memorials can still be quite elaborate.  Today modern gravestones and memorials can be less about choosing the perfect message for eternity than creating an appropriate personal message and style for the here and now, which is an attractive feature of many modern memorials.
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There are many more symbols and themes on gravestones than those covered in my brief overview above, some quite common at cemeteries, some unique, and it is worth looking out for some interesting examples.
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Inscriptions

Alice Maud Gwynne, died 1921 at the age of 42 which bears the inscription “There’s no pain in the homeland,” the monument topped with an urn

Inscriptions can be presented using various different fonts, sizes and colours all on the same monument, which creates a sense of texture.  Inscriptions are often filled with colour to make the text stand out from the background stone and make it easier to read.  Lead lettering was occasionally inset into stone to achieve the same impact.  The different styles of text create a great deal of variety in the visual impact of the cemetery.

Headstones in Overleigh tend to be fairly minimalist in terms of the information they provide, many simply naming family members and providing a date of birth and death, perhaps a note about the role of the deceased, particularly where this was a high status position. Most contain some sort of affectionate phrase or such as “In loving memory of,” “in affectionate remembrance of,” “beloved wife,” “dear husband,” etc. Others may contain a little more information.  Some may state the town or village name of the village, or even the property, where the deceased was resident.

The commemoration to 9 year old Walter Crocombe, his mother Sarah, 68, her husband George, 88, and their 4 year old grandson Eric.

Multiple dedications following the initial interment help to give a sense of the family context of both the first and and subsequent family members, and the longer they were in use, the more resonance they had for the family as successive generations interacted with the monument not merely to a single person but to a family commitment and tradition.  The child grave of Violet Patterson, died 1929, includes dedications to other members of her family, and was in use for 78 years, with the latest  inscription dedicated to a family member who died and was cremated in 2007.

Only war graves tend to give details of how death happened, such as “killed in action” or “killed in flying accident,” although there are never any details.  A great many refer to the deceased having fallen asleep, a euphemism for having died that skirts around and sometimes deliberately disguises how the death occurred.  Occasionally a grave will refer to the suffering of an individual, although I have seen fewer at Overleigh than in churchyards.  The commemoration of Sarah Crocombe at Overleigh reads “Her pain was great / She murmured not / But hung on to / Our Saviour’s cross.”  The monument to Alice Maud Gwynne comments “There’s no pain in the homeland,” which implies that she may have experienced some suffering towards the end of her life.

The memorial to Josephine Enid Whitlow in Overleigh New Cemetery (thanks Chris!) who died in 1938.

For obvious reasons, child graves can be more expressive than others about personal feelings of grief and loss.  The grave of 2-3 year old Josephine Enid Whitlow in Overleigh New Cemetery, for example, shown towards the top of this post, has a statue of a small child labled “JOSIE” (Josephine Enid Whitlow) accompanied by the the inscription “Jesus Walked Down The Path One Day / And Glanced At Josie On His Way / Come With Me He Softly Said / And On His Bosom Laid Her Head.”  She died in an isolation hospital in 1938.  The grave of the Crocombe family shown above records the loss of 9 year old Walter: “Little Walter was our darling / Pride of all the hearts at home / But the breezes floating lightly / Came and whispered Walter come.”

A few graves have Latin inscriptions. Latin is often used on Roman Catholic graves, and the letters RIP often indicate a Catholic grave, standing for the words “requiescat in pace,” meaning “rest in peace”, part of a prayer for the dead.  A nice little gravestone commemorating Thomas Hutchins, near the entrance on Overleigh Road has the legend “stabat mater dolorosa” inscribed along the line of the arch, meaning “the sorrowful mother was standing,” a reference to the Virgin Mary’s vigil during the crucifixion.  It is one of a number that ask the reader to pray for the soul of the deceased.

The small, relatively isolated gravestone of Thomas Hutchins, died 1879, aged 39–40

Perhaps the most minimalist of all the inscriptions, in terms of information imparted, is this curious woodland-style headstone topped with a downward-facing dove, shown below: “With Sweet Thoughts of Phyllis from Mother and Father and Aubrey.”  Given the lack of any useful information it is not surprising that there is no information on the entry for it on the Find A Grave website, but the headstone has charm, and the lack of data is really intriguing, because this was not an inexpensive monument.  Chris tells me that her last name was Elias.  There must have been a story here, but how to find it would need some extensive research that would require access to the original stonemason’s records.

“With Sweet Thoughts of Phyllis from Mother and Father and Aubrey,” Overleigh New Cemetery

Although it might be expected that headstones would give a wealth of information, this is rarely the case at Overleigh, although names, dates of birth and death and place names are a good place to begin with additional research.

There are several books and websites that list some of the most common cemetery themes and symbols, which are very helpful for decoding some gravestones and memorials.
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Visually personalized headstones

Memorial to Richard Price, Dee salmon fisher, who died in 1960 aged 59. Overleigh Old Cemetery

Personally commissioned scenes, where they are shown, are very specific.  One of the most evocative is the gravestone that has a white marble section showing the Grosvenor Bridge, flanking trees on the river banks and a solitary, empty rowing boat moored in the middle of the river. It is dedicated to Richard Price, salmon fisherman, who died in 1960 aged 59.  Salmon fishing on the Dee has its own history, well worth exploring, and Richard Price was one of the last to make a living from it.  With Art Deco style wings either side, and an urn within the kerb, which could have been added at any time but appears to be in the same stone as the rest of the monument, it is an attractive and very personal dedication, becoming a little overgrown.  Richard’s wife Rose, who died in 1987 aged 81, is also commemorated on the stone.

One of the more startling graves when seen from a distance, but completely charming and evocative when seen up close, is the full-colour section of a headstone to Vincent John Hedley, with a scene showing a fly-fisherman in a river or estuary with a rural scene, a rustic bridge, flying geese, an evergreen woodland, a bare hillside and a sunset or sunrise. It seems probable that Vincent John Hedley was a keen fly fisherman.

Vincent John Hedley, died 1997, aged 70. Overleigh Old Cemetery

Small section of an elaborate grave to Annie Myfanwy Roberts, died 1986, aged 73-74, showing photographs of family members.

A very well-tended grave in Overleigh New Cemetery is extremely monumental in its scope and intention, and includes photographs of the deceased, far more elaborate than the Anglican tradition but in keeping with the idea of the personalized scenes above that include visual as well as textual references to the personal.  Whereas the two headstones above show evocative and nuanced scenes that suggest how lives were lived, the photographs of lost people show nothing of the lives that the people lived but are instant reminders of the faces of the departed, instantly emotive for the living, indicating a different way of thinking about and representing those who have been lost and are grieved for.

Materials

Although the most obvious thing about a grave is its shape, together with its ornamental elements, the choice of materials is also an essential part of the design of a monument, and helps to determine its appearance.  As Historic England pointed out in their report Paradise Preserved, “the rich variety of stone within cemeteries represents a valued resource for the understanding and appreciation of geology.”  The good news is that in 2012 Cheshire RIGS and the Northwest Geodiversity Partnership produced a five-page leaflet, Walking Through the Past: Overleigh Cemetery Geodiversity that describes some of the geological background to stone types used on gravestones at Overleigh Old Cemetery, which you can download as a PDF by clicking here.

Some of the many different stone types at Overleigh

Local red sandstone was a popular choice, the same material used to build Chester Cathedral.  Yellow sandstone, presumably much of which came from the Cefn quarries in northeast Wales, is finer-grained and often easier to sculpt, but is very vulnerable to pollution and, as a result, de-lamination.  Pale limestone and granite are available from British sources, and are scattered throughout the cemetery.  Limestone is a sedimentary stone like the sandstones, and relatively soft and easy to sculpt, whereas granite is an igneous rock, very hard and enduring, often with a very attractive flecked texture, but far more difficult to shape.  Imports from overseas include marble and various exotic granites, which are higher-status materials with smooth surfaces that lend themselves well to sculptural memorials.  Rose granite, so beloved of the ancient Egyptians, is well represented, usually polished to a high gloss.  The majority of modern headstones are in highly polished black granite.  Local schools would probably welcome a geology trail through the cemetery.

Cross made of a composite of two different materials, with pieces of stone inserted rather coarsely into what looks like concrete and was probably a low-cost solution to a burial memorial.

As the 19th century rolled into the 20th century and transportation costs declined, imported stones became more common, particularly marbles and coloured granites.  Closer to home,  reconstituted (powdered and reformed) stone became a lower cost alternative to real stone, a common type of which was called coade stone.  At first this resulted in an increased diversity of materials, forms and styles, but as the 20th century advanced, the whole business of burials became far more standardized.  This is not a reflection of falling standards, but it is an indication of cultural change in general, where Anglican Christianity in particular is of less importance in Britain and where society tends to internalize loss rather than expressing it.

The only grave marker that I have spotted so far that is neither stone nor pseudo-stone is a single metal cross in Overleigh New Cemetery, shown just below, although I am sure that there must be others.

Lead lettering on the fallen headstone of Harriet Benson, died 1909 aged 63

Some graves have inscriptions formed of lead letters, which makes them stand out to ensure that they are easy to read, but they have a very poor survival rate, with letters falling out, and only the pin-holes where they were affixed surviving.  This can be sufficient to work out the original inscription, but makes some of the the headstones look rather derelict.  In the example shown left, the lettering under the missing lead can still be made out, but this is rarely the case.

Combined, these different materials, with their very contrasting textures and colours, offer a far more diverse visual fare than the modern cemetery areas in both Overleigh and elsewhere, which are usually glossy black granite.  They help to contribute to the sense of individuality and personal expression in the cemetery.

Black-painted metal memorial to Frederick, aged 66-77, and Alice Wynne, John Meacock and Robert and Alice Taylor.

Memorabilia and gifts

Bird on a plinth at the foot of Harriett Garner‘s grave

A gravestone was a fixed point, although not invulnerable, whilst gift of flowers, immortelles and other objects are the ore transient but personal markers of ongoing memories or the establishment of new connections between people and graves.  As well as demonstrating a personal connection between the living and the dead, the offerings of all types help to keep the sense that the cemetery is still a place of relevance, where narratives continue to be written and rewritten, sometimes only in people’s individual minds, and sometimes shared amongst families and even amongst sections of specific communities.

In the next section, below, is a photograph of Mabel Francis Ireland-Blackburn, showing a three year old child lying in a bed.  It is surrounded by modern memorabilia, including flowers (fresh and everlasting) and a variety of toys and other items.

Although it does not attract the same devotion as Mabel, the grave of the suicide Harriett Garner features a charming little bird, probably a robin, on a thoughtful makeshift stand accompanying the grave.  It gives the grave a personal touch, something more intimate than the headstone itself, suggesting a sense of ongoing empathy and regret.

War grave of Marjorie Anne Tucker, Women’s Royal Air Force, died 1918 aged 32, with a textile  wreath placed by the members of Handbridge Women’s Institute

In the baby cemetery area and the cremation Garden of Reflection in Overleigh Old Cemetery and in the area of recent graves in Overleigh New Cemetery there are many graves with personal memorabilia and gifts from the living to the departed, and these speak to the realities of grief and the importance of reinforcing memory through small gifts and commemorations.

 

Examples that are cared for by today’s cemetery regulars

Not all graves are appreciated exclusively by their families and descendants.  Others have become interesting or even important to people who otherwise have no connections to the deceased. Some graves have attained something of a celebrity status, either because of their visual appeal or because of the reputation or story of their owners, and are particularly cared for by local people as well as by the Friends of Overleigh Cemetery.  These graves form a sense of how modern minds can connect on a personal and private level with graves with which they have no familial connection.

Grimsby News, September 11th 1908, reporting the coffin of William Biddulph Cross (The British Newspaper Archive)

The nicely shaped but otherwise unremarkable headstone of electrical engineer William Biddulph Cross, who died in 1908, conceals an amusing story of a coffin made entirely of matchboxes, thousands of them, by William himself over a ten year period, a fact mentioned on the gravestone: “WILLIAM BIDDULPH CROSS / Who Passed Away September 5th 1908 / Aged 85 Years / Known By His Galvanic Cures / And The Maker Of His Own Coffin.”  The “galvanic cures” refer to a somewhat scary electrical therapy device thought to be a cure-all for numerous ailments.  You can read more about the device and the theory behind it on the National Archives website. The coffin became something of a local tourist attraction in its own right before William was laid to rest, and was widely reported in newspapers all over Britain.  The newspaper paragraph to the right, for example, was reported in the Grimsby News.  It has been suggested that the electrical fittings were for lighting, but interment before death was a fear throughout the entire Victorian period, and there are some examples of coffins being fitted with devices to allow those who had been mistakenly certified dead to be given a means of raising the alarm, and perhaps this is an alternative explanation. The grave also commemorates six other members of the family who died between 1870 and 1904.  It is something of a puzzle to me as to why William BIddulph Cross was the first of these to be named but the last to die. 

Mabel Francis Ireland-Blackburn, died 1869. Overleigh Old Cemetery

A particularly notable example is “chewing-gum girl,” which is a rather frightful name for a clearly much-loved grave, explained in Part 4. The grave is a very good example of a modern phenomenon where people feel a strong connection to a grave in the past and demonstrate their sense of affinity and empathy by visiting the grave and leaving items to keep the deceased company.  The three year old girl, Mabel Francis Ireland-Blackburn, is represented in stone as a child lying in a bed, and is today surrounded by flowers (cut and artificial), small stone statuettes, toys, a teddy bear by her head, and other small gifts.  She died of whooping cough, but was reputed to have suffocated on chewing-gum, becoming a warning anecdote told by parents to their children, in the form of a poem, of the dangers of following in her footsteps.  Child grave memorials are discussed more in Part 4.  The visual impact of this grave, with the sleeping or dead girl lying in her small bed, propped up on a pillow, is clearly the impetus for the gifts, demonstrating the power of the sculptural funerary image, but also the connection that adults feel for deceased children.

Whilst some graves attract particular attention and are well cared for, The Friends of Overleigh Cemetery are trying to look after the cemetery as a whole, tackling individual problems as they identify them and attempting to rescue stones that can be freed from vegetation without doing them damage.


Cemeteries and the bereaved today

The only new interments in the Old Cemetery are baby burials, segregated with respect and sorrow in a separate garden of their own, or where rights are retained to be interred in a family plot.  The attractive cremation Garden of Reflection, with its hedges emulating ripples on the former lake, is also still in use, and it is possible that it will be extended.  Both are clearly distinguished from the majority of graves of the previous two centuries by virtue of the fresh flowers and other gifts that are regularly provided.  In the New Cemetery, the buildings are no longer in use for funerary activities, and the older part of the cemetery to a great extent resembles many parts of the Old Cemetery, but walk beyond these features and you will find yourself in a far more modern cemetery area, which is clearly frequently visited by family and friends.  This is the newer style lawn cemetery where a compromise has been sought between the needs of relatives and the problems of maintenance.  This will be discussed in Part 3.

Modern cemeteries issue rules and guidelines about the size and type of grave and grave marking permitted, in order to ensure that cemeteries are as easy to maintain as possible, whilst at the same time providing the bereaved with a place to visit and connect with their lost loved ones.  This is a very difficult balance to strike, and local authorities who find themselves with the costly task of maintaining old cemeteries as well as modern ones, have the unenviable task of finding cost-effective ways of caring for these important sites of both past and present commemoration and memorialization.  This is discussed further in Part 5.

 

Part 2 Final Thoughts

Yellow sandstone headstone of George Hamilton, son of Alexander and Mary, suffering from rather surrealistic de-lamination that looks like melting ice-cream, as well as a colonization of lichen. (Overleigh New Cemetery)

A graveyard is less about a place of the dead than a place of commemoration, the formation of individual, family and collective memories and the ongoing reinvention of ideas about how to deal with death. Those who have gone before us are still part of our lives, still form part of our physical landscape and can contribute to our inner ideas about mortality and the future. It is possible to get to know the dead than it is the living via their gravestones, their epitaphs and their stories.  Individually these are interesting but collectively they combine with other buildings and institutions to contribute to our understanding of the Victorian period and changing funerary traditions thereafter.  These changing fashions in funerary practice from the mid-19th century to the present day will be discussed in part 3.

Cemeteries have visitors who come to see particular graves, either due to regular tending of the grave and communion with the deceased, or to find a grave as part of genealogical research, or as for general or more formal interest into social history, art history and archaeological interest in death and memory.

Many of these graves, suffering from de-laminating or eroded inscriptions, and the invasion of ivy, as well as fallen headstones, highlight the importance not only of maintenance activities but of recording as many of the details on gravestones as possible in online, freely available databases.

Gothic style memorial to Thomas Ernest Hales, died 1906 aged 69. In the background are obelisks in rose granite, made popular when the antiquities of Egypt were first published

Cemeteries are fascinating places, and although modern sections are certainly rather understated and somber because of the signs of recent loss and sadness, older sections are very positive keepers of social history and human endeavor, reflecting choices and decisions by both the living and the deceased, in a wonderful arboretum of multiple tree species.  These grave monuments lend themselves to close inspection and appreciation not just of the materials, shapes and symbols, but of the stories that they capture about past lives and how we learn about a city’s past through both the material and conceptual cues that cemeteries retain.  The information on headstones can be a good place to start with an investigation in archives.  This type of information gives a sense both of the communal identity of a provincial town, and the individual identities that make up that community.  Of course, those who could not afford graves or were buried in communal graves that were the result of epidemics, are lost from this commemoration of the individual.

As before, my many thanks to Christine Kemp (Friends of Overleigh Cemetery) for all her practical help, her encyclopedic knowledge, and for checking over my facts.  Any/all mistakes are my own.  Do give me a yell if you find any.

I have quadruple-checked for typos etc, but some always get past me, for which my apologies.

References for all five parts are on a separate page on the blog here.

Overleigh Cemetery, Chester #1 – Introduction to its background and establishment

The Celtic cross style headstone of Robert Walter Russell (d.1909) and his wife Louisa Alma (d.1936) is on the left; the grave of Jane Whitley (d.1912), with its elaborate angel, topped with a cross and provided with a kerb and footstone (which is where the dedication is to be found), is on the right, erected by her husband Captain W.T Whitley, late Royal Artillery, who joined her there in 1936.

I have been to dozens of archaeological and historical burial sites, from prehistory onward, including famous monumental 19th century cemeteries in London, Paris and Havana, but the easiest by far to visit for someone based near Chester are local parish churchyards and the later dedicated Overleigh Old and New Cemeteries built during the Victorian period.  Ironically, I know much more about the burial traditions of ancient Egypt than I do about those on my own doorstep.  Up until now I have been repairing the gaps in my knowledge by visiting parish churchyards, but Overleigh Cemetery represents a different type of experience altogether, part graveyard and part public green space.  Overleigh reflects the growth of urban populations in towns and cities “which massed people on a hitherto unimaginable scale” (Julie Rugg, 2008) and put unmanageable pressure on urban parish churchyards.  It also demonstrates both a new idealism in the 19th century, the belief in the development of civic resources for the benefit of the general public, as well as the growing awareness of how disease was spread, the dangers of insanitary conditions, and the need for new approaches to public health.  The Victorian cemetery introduced into suburban environments the down-scaled aesthetics of 18th century estate parkland, often with their associated Classical architectural features, made popular by landscape designers like Capability Brown.  This touches on the complexities of the Victorian cemetery of which Overleigh was a smaller provincial form albeit clearly influenced by more elaborate examples.

Before I go any further, many thanks are due to Christine Kemp for her marvellous help when I started this mini-project.  It would have taken me at least twice as long without her, probably a lot longer, and I would have made errors that she has put right, so I am in her debt.  Chris has contributed 1000s of grave descriptions from this and other local cemeteries to findagrave.com, and is a founder member of the Friends of Overleigh Cemetery.

Where the findagrave.com website has an entry for a grave owner, I have added the hyperlink to the photographs used on this page for anyone who wants to read the inscriptions or find out more.

Overleigh Old Cemetery with its wonderful tree life, part cemetery and part arboretum

There will be five parts to this piece about Overleigh. Part 1 starts with a very brisk and short overview of Chester in the 19th Century and goes on to look at the establishment, in that context, of Overleigh Old Cemetery and Overleigh New Cemetery, followed by a short introduction to the objectives of research activities that can be carried out using cemetery material (discussed more in other parts) and some final comments.  At the end it also lists the sources for the entire five-part series, which will be added to as the series is posted.

  • Part 1:  Introduction to the background and the establishment of Overleigh Cemetery
  • Part 2:  The living, the dead and the visitor at Overleigh,
  • Part 3:  Shifting ideas – the move away from monumental cemeteries towards cremations and lawn cemeteries
  • Part 4:  The research potential of cemeteries; and Overleigh case studies
  • Part 5:  The Overleigh Old and New Cemetery today and in the future
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Chester in the 19th century

Overleigh Old Cemetery opened in 1850, and the New Cemetery opened in 1879. To put this into some sort of context, here’s a very short gallop through Chester in the mid-19th century.

Chester Tramways Company Horsecar no.4 at Saltney. Source: Tramway Systems of the British Isles

Chester had been connected to the greater canal network in 1736, linking Chester with the Mersey, and was connected to the rail network by 1840, with today’s station opening in 1848.  The Grosvenor Bridge opened in 1832, taking the pressure off the Old Dee Bridge.  A horse-drawn tram was introduced in 1879 to link the railway station to Chester Castle and the racecourse.  This was replaced by an electric service in 1903 after Chester built an electricity plant in 1896, which also allowed the 1817 gas lighting to be replaced.  Improved communications brought more prosperity, and from the 1830s to the beginning of the 20th century, Chester had become an affluent town with a growing population.  To accommodate this rapidly growing population the city suburbs expanded to the south of the river, with Middle Class suburbs developing at Curzon Park and Queen’s Park, with  a new suspension bridge built  in 1852 (the current one replaced it in 1923) to connect the latter to the town.

Chester Town Hall of 1869. Photograph by Jeff Buck, CC BY-SA 2.0

Signs of prosperity were everywhere.  Commerce in the markets, shops and local trades thrived in the mid 19th century, and the sense of confidence and ambition was reflected in the expansion of the 18th century Bluecoat Hospital School, the building of the new Town Hall of 1869, the restoration of old buildings, and the establishment of new buildings, many in the style of earlier medieval half-timbering, as well as churches, including those for Dissenters.  With its extensive retail, its race course, its regatta and its medley of fascinating architecture, Chester was becoming a popular destination for visitors, and a series of hotels were built to support the growing tourist industry.

Although the Industrial Revolution did not revolutionize Chester in the same way that it did in other towns and cities, it left its mark, although in a rather piecemeal fashion.  As with most towns of the period it had light industry concentrated around the canal basin, as well as over the river in Saltney, and a declining shipbuilding industry.  Industries included new steam mills, a lead works, an anchor and chain works, three oil refineries and a chemical works amongst other enterprises.  Craft trades included tailoring, shoe-making, milliners, dressmaking, bookbinders, cabinet makers, jewelers and goldsmiths, amongst others.  In both town and suburban houses domestic service was an important source of employment for the less well off, as was gardening.  In line with the Victorian interest in civic works and promoting education and health, the Grosvenor Park opened in 1867 and the Grosvenor Museum in 1885.

Louise Rayner’s (1832–1924) painting of Eastgate Street and The Cross looking towards Watergate Street. Source: Wikipedia

Although the face of Chester seen by most people was a gracious attractive and prosperous one, there was also a lot of poverty. For those who were not quite on the breadline, but could not afford expensive accommodation a solution was provided by lodging houses of variable quality and pricing, which were growing in number to cater for both temporary visitors and more long-term residents.  Far more troubling, there were also slum areas known as “the courts,” which housed the city’s poor.  The St John’s parish became particularly notorious but these too were expanding, extending into the Boughton, Newtown and Hoole areas.  As agriculture made increasing use of labour-saving techniques, former agricultural labourers and their families moved to urban centres to find work.  At the same time, the appalling Irish Famine of 1845-52 drove starving people out of Ireland, and a large influx of impoverished Irish refugees, including entire families, expanded the poorest quarters of Chester and were a source of considerable concern to the authorities.  Although charity and church schools took in some of the poorer children, the most impoverished and vulnerable, sometimes the children of criminals and certainly in danger of becoming criminals themselves, were not at first provided for but the problem was acknowledged and three free schools for impoverished children known as “ragged schools” were built, of which more in Part 4.

According to John Herson there was an economic decline after 1870, during which population numbers fell, and Chester became more focused on its retail and service industries and the development of its tourism.  I recommend his chapter in Roger Swift’s Victorian Chester for more information about his discussion of the three phases of Chester’s Victorian past (see Sources at the end).


A solution to overflowing churchyards

Population in Chester and suburbs by year in 19th Century Chester. Source of data: John Herson 1996, Table 1.1, p.14

Polymath and diarist John Evelyn and architect Christopher Wren had both proposed out-of-town cemeteries in the 17th century, but their suggestions had fallen on deaf ears.  An exception was the famous Dissenter cemetery at Bunhill Fields, established from a sense of spiritual necessity.

The rising population that lead the living to move to new areas around Chester, was also a problem for churchyards.   The condition of Chester’s city churchyards was very poor, in common with other cities and towns throughout the country, and as the population expanded the situation in churchyards became somewhat desperate, and the new cemeteries were a necessity.  John Herson’s chapter in Roger Swift’s Victorian England provides a table of population figures for Chester and its suburbs from 1821 to 1911, and this shows that the population was rising rapidly.  Rising populations and the concentration of people in towns had lead to parish church cemeteries becoming problematic all over Britain.  This was infinitely worse in big-city urban environments where manufacturing industries had become major employers, where the lack of churchyard capacity led to some truly dreadful, squalid scenes representing appalling health risks, but even in a county town like Chester the problem was very real and churchyards there too were struggling to meet demand.

George Alfred Walker’s “Gatherings from Graveyards

Complaints were growing about the unsanitary condition of full intramural graveyards, and the risks that this represented.  Typhoid, typhus, scarlet fever, tuberculosis, measles, influenza and cholera, were all infectious diseases that were common in Victorian England, and the establishment of new graveyards for minimizing risk was becoming increasingly important as the links between health and sanitation were established.  Jacqueline Perry says that between 1841 and 1847 the annual average was 700 burials in Chester alone.

Those arguing for a new cemetery in Chester as a response to this problem were able to point to other specialized graveyards in Britain and overseas.  Bigger city cemeteries had been established earlier in the 19th century in Paris (in 1804 Père La Chaise was the first municipal cemetery in western Europe), Liverpool (Liverpool Low Hill opened in 1825 and St James’s Cemetery opened in 1829). In 1830 George Carden, after years of campaigning, organized a meeting to discuss how to improve the burial situation in London and Kensal Green opened in 1833, which initiated “The Magnificent Seven” ring of London cemeteries. Glasgow’s remarkable Necropolis followed in 1833.

In 1839 surgeon George Alfred Walker published his Gatherings from Graveyards (including the subtitle And a detail of dangerous and fatal results produced by the unwise and revolting custom of inhuming the dead in midst of the living), which drew uncompromising attention to some of the horrors of churchyards, encouraging burial reform and the wider adoption of the out-of-town cemetery.  I have provided a link to an online copy of this book in the Sources, but it is absolutely not for the faint-hearted. Although this trend was challenged by the Church of England, which derived an income from burial fees, the need was acute, and parish churches were compensated for their loss of income.  Most of these new cemeteries were commercial, charging for burials and paying dividends to investors from their profits.

Mourning clothes were a major investment in the Victorian funeral ceremonies. Source: Wikipedia

There was also clearly a psychological need for new cemeteries with neatly defined and delineated plots for individuals and families, and the space to commemorate and mourn loved ones.  As James Stevens Curl explains:  “It could never be said that the Victorians buried their dead without ceremony.  Apart from the immediate family, all the distant relatives would be present . . . Friends, business associated, acquaintances would all appear . . . A dozen or sometimes more coaches therefore followed the hearse.”  The acts of observance and the rituals associated with death in the Victorian period, and the traditions associated with the bereavement that followed interment were elaborate, encoded and important to Victorian religious beliefs and social conventions.  These beliefs and conventions were part of a deeply felt attitude to death and how it should be handled.  They were also opportunities to display wealth and status for those who had it.  The new landscape-style cemeteries offered the opportunity to carry out these various rituals at each stage of bereavement after loss with dignity and ceremony.

Following the new cemeteries and the success of the concept, cemetery design became a recognized field of endeavor for landscape designers and architects, and the best known cemetery designer, although by no means the first or even the best, was probably John Claudius Loudon, who consulted on a number of projects before publishing his 1843 On the Laying Out, Planting and Managing of Cemeteries, which became an important source of practical advice and creative ideas for many private enterprises. Loudon’s intentions are captured in these two statements from the beginning of his book:

Cemetery design for a hilly location by Thomas Loudon, 1834, showing a similarly sinuous arrangement as Overleigh, but with the building centred at the heart of the cemetery. Source: Loudon 1843

The main object of a burial-ground is, the disposal of the remains of the dead in such a manner as that their decomposition, and return to the earth from which they sprung, shall not prove injurious to the living; either by affecting their health, or shocking their feelings, opinions, or prejudices.

A secondary object is, or ought to be, the improvement of the moral sentiments and general taste of all classes, and more especially of the great masses of society.

The means by which Loudon proposed to address his “secondary object” was by introducing a sense of serenity, providing fresh air and a sense of nature, and encouraging contemplation.  At the time disease was thought to be conveyed by “miasmas” or vapours, not entirely unsurprising given how bad cesspits, uncovered drains and overfilled graveyards smelled, and trees were thought to assist with the absorption of miasmas, helping to promote good health and prevent the spread of disease.  Often his designs were based on a grid, like the 1879 Overleigh New Cemetery, but his above design for cemeteries on hills and slopes, like the Overleigh Old Cemetery was more forgiving.

Sculptural monument on a plinth dedicated to land agent and surveyor Henry Shaw Whalley, d.1904

After the 1850s commercial cemeteries were not the standard way of establishing new cemeteries.  The Metropolitan Interments Act allowed for burial grounds to be purchased by a civic authorities, which was itself replaced by a new Act of Parliament in 1852 when Burial Boards were established, after which publicly funded cemeteries became the norm.

One of the results of the new cemeteries, with individual plots dedicated to single individuals or to families, was that graves became part of the domestic sphere of families, part of their personal real estate.  In an elaborate cemetery this might include personal family mausolea and vaults, but at a more modest provincial cemetery like Overleigh, it usually consisted of a sculptural element or a headstone with a kerb and sometimes a footstone, although at Overleigh footstones are unusual (all the elements are in the grave shown at the top of the page, on the right).  This created a clearly defined space in which family and friends could commemorate their dead with gifts of flowers and sometimes additional memorabilia.  The main sculpture or headstone, usually of stone but occasionally of metal, was itself a medium for expression, combining shapes, symbolic and sentimental imagery, and text to express ideas about both the dead and their relationship to the living.  The kerbs were usually visited and the dead were gifted fresh flowers or immortelles (more permanent artificial flowers presented in suitable vessels or frames, sometimes under a glass dome).

Overleigh Old Cemetery

Grosvenor Bridge entrance to Overleigh Old Cemetery

Overleigh Old Cemetery, very convenient for Chester residents without intruding on the town itself, lies just across the Grosvenor Bridge, its northern border running along the south bank of the river Dee.  It has gateways from the Grosvenor Bridge, Overleigh Road and River Lane which converge on the monument of, cenotaph to William Makepeace Thackeray, a Chester doctor and benefactor.  Although this is the oldest of the two halves of the cemetery, it is still in use today for new cremation memorials in its maze-like hedged memorial area (actually designed to look like ripples on the lake that once occupied the space), as well as an enclosed area for interments and cremated ashes of babies, which is inevitably particularly sorrowful.  Overleigh Old Cemetery is often used as a short-cut from the Grosvenor Bridge to the walkway along the Dee, and presumably as its designer Thomas Penson originally intended, always has the feeling of a public park as much as a cemetery, although up until late August 2024, there has been nowhere to sit.  A bench supplied by the Friends of Overleigh Cemetery has helped to bring the cemetery further into the public domain.

First page of the The Chester Cemetery Act in 1848

The cemetery was established by The Chester Cemetery Act in 1848.  Chester’s City Surveyor, Mr Whally had held a public inquiry at the Town Hall to discuss the urgent need of a new extramural cemetery.  Overleigh was established by a private company named the Chester General Cemetery Company, which was formed by an Act of Parliament on 22nd July 1848. According to Historic England, the cemetery site was owned by the Marquis of Westminster who exchanged it for a shareholding in the company.  The cost of the cemetery was estimated at £5000 but the company blew its budget and in 1849 work was forced to stop for seven months until new shareholders could be found.  The thinking behind it was, much like the Grosvenor Park and the museum, as much a matter of civic pride as it was a practicality.  However, unlike the park or the museum, the cemetery was intended to turn a profit, and was essentially a retail operation, selling or renting burial plots, paying for its own maintenance and offering a return on shareholder investment, and providing a valuable service to residents at the same time.

Crypt Chambers, Eastgate Street. Source: Wikipedia

Overleigh Old Cemetery was designed by Thomas Mainwaring Penson (1818–1864), the surveyor and architect responsible for, amongst other Chester buildings, the 1858 Crypt Chambers and the 1868 Grosvenor Hotel, both on Eastgate Street.  The original layout of Overleigh Old Cemetery is preserved in an engraving from sometime after it opened, shown below, probably in the later 1850s.

Following the model already established in Paris, Belfast, Glasgow, Liverpool and London, this was a garden- or landscape-type cemetery, planned to emulate a large garden or small park.  When compared with some of the vast architectural entrances to the great Victorian cemeteries of Liverpool, Glasgow, London and elsewhere (see, for example, Kensal Green or, in a different style, the Glasgow Necropolis) the gates at Overleigh are a mere nod to a transitional zone between the busy outside world and the quiet necropolis within, with modest pillars and iron gates, shown above.  The buildings that were once just inside each gate, the entrance lodges, will have given more of sense of entry and exit than the entrances retain today.  Something of that effect can be seen over the road at Overleigh New Cemetery where the lodge building survives.  The funeral cortege would stop here to be formally received and recorded before proceeding to the burial site.

Overleigh Cemetery. Source: Wikipedia

The cemetery was landscaped with sinuous wide driveways winding down the hill towards a lake, laid out over an area of some 12 acres.  In the engraving to the right there are six buildings, none of which survive today.  I have no information about why they were taken down, but assume that they had fallen out of use and were becoming a problem to maintain.  Two of them are lodges at the Grosvenor Bridge and River Lane gates of the cemetery, used by cemetery superintendents and officials, and housing cemetery records. One of the lodges was apparently removed in 1967.  Chris has a plan of the cemetery dating to 1875 that identifies the church-like buildings at the top and the one by the lake as mortuary chapels (the one by the lake was for Dissenters), whilst the building behind the temple-style monument to Robert Turner was the Chaplain’s house.  It may have had rather good views over the bridge and the river.  The tiny building at centre left was probably a grounds-man’s hut, used for storing tools.

The headstone of Harriett Garner (d.1905) and other family members.  Harriett was a suicide, but because the inquest found her to be temporarily insane, and therefore innocent of crime, she was allowed to be buried in a consecrated grave

The 1847 Cemeteries Clause Act (section 36) stated that a new cemetery contain both consecrated and unconsecrated land and there were usually two chapels, one Anglican and one for Dissenters.  The provision for non-Anglican graves had become particularly important because of the Nonconformist movement, which had grown from strength to strength.  Non-denominational chapels of rest, where the deceased could be laid before interment, were a characteristic feature of the new cemeteries.  The idea of including unconsecrated land was to ensure that a cemetery should exclude no-one, including suicides who were declared sane at the time of their deaths (those judged to be insane when they committed suicide were considered to be innocent), unbaptized children and those of non-Anglican religions.  Chris showed me where, indicated by marker stones, there is a section for Roman Catholics and another for Dissenters, whilst pauper graves, some of which surprisingly have headstones, are dotted throughout the cemetery.  For those short of funds, there were burial club schemes, a little like life assurance today, where people could pay in a regular amount to save up for a proper ceremony and gravestone.

Plantings to give the garden cemetery its Arcadian feel included both deciduous and evergreen trees.  The use of deciduous trees was counter to Loudon’s advice, as in his view they grew too fast, became too big, dropped leaves that had to be cleared up, and looked ugly with bare branches in the winter, but at Overleigh the combination provides a marvelous mixture of colours, textures and shapes for most of the year.  The trees are worth a study in their own right, including some very unusual specimen varieties.  The now truly massive and splendid redwoods and traditional yew trees, both of them evergreen and long-lasting, often represent the hope for eternal life, and the sheer variety of specimen deciduous trees is remarkable and if anyone out there happens to be a tree expert and would like to help me out with some identifications, I would be grateful!

The William Thackeray cenotaph that sits at the conjunction of the cemetery drives. A huge beech tree stands behind it, and in front of it is a big horse chestnut; the trees in Overleigh are one of its most appealing features

The lake was eventually filled in, a very nice feature but presumably something of a problem to maintain and probably a risk to children and of course was using up land that could be used for more graves.  Partially in its place is a cremation area made of concentric hedging to emulate the ripples on the former lake.  The cremation memorial will be discussed in part 3.  The rustic bridge to the right of the lake on the engraving remains in situ, although the land either side of it is being used as a dumping ground for clearance works, which will eventually biodegrade and build up the soil level around the arch bases, which is a real shame.

The William Thackeray monument, at the confluence of the Old Cemetery drives has already been mentioned, but in the engraving above, the tall, slender temple-style monument shown at top right of the image, which commemorated brewer and wine merchant Robert Turner, who was Sheriff of Chester in 1848. The plinth now sits directly over the base,  with the fallen pillars at its side.  The engravings are on the floor of the base, which would once have been visible by walking into the monument and looking down, one for Robert Turner and one for his wife, which are shown on the findagrave.com website (by Chris Kemp). There’s a certain amount of irony in its demise, as over the course of the Victorian period the brewery industry also went into a state of terminal decline.  Work was done by Blackwells Stonecraft to prevent it sliding down the slope in 2022.

Robert Turner’s grave (d.1852) as it now appears in the oldest part of Overleigh Old Cemetery. Christine Kemp has posted a fascinating photograph of it under repair in 2022 on the findagrave website at https://www.findagrave.com/memorial/195750339/robert_hugh-turner/photo#view-photo=247132692

The pillars at the base of the monument, which once formed the temple

Overleigh New Cemetery

Overleigh New Cemetery, with the Greek Orthodox church, formerly a cemetery chapel, in the background

Overleigh New Cemetery, established in 1879, lies to the south of the Old Cemetery, with the Duke’s Drive running along its southern boundary, accessible via its entrance on Overleigh Road, opposite the entrance to the Old Cemetery, which gives some sense of continuity, and this too is still in use.  Overleigh New Cemetery, established in 1879, is a more obviously lower budget incarnation, all on the flat, its driveways laid out on a grid that divides the cemetery into raised rectangles.  Loudon’s book had layouts very like this in his 1843 book, although they weren’t amongst his more imaginative designs.  They did, however, have the essential idea that Loudon proposed of trees and shrubs to create a healthy and contemplative experience, and these are largely missing from Overleigh New Cemetery, except around the very edges.  By virtue of the fact that it does not serve as a route to anywhere else, and is essentially a cul-de-sac, it is more peaceful than the Old Cemetery but has less of a feeling of community.

*****

The section of Overleigh New Cemetery dedicated to the Commonwealth War Grave commission memorials

There is a small and beautifully maintained section dedicated to Commonwealth War Grave Commission graves, and managed by the Commonwealth War Grave Commission itself, is an important reminder of the sacrifices that were made, although graves dedicated to those who lost their lives in combat are also dotted through both the Old and New cemeteries.  These are planted with evergreen and flowering shrubs, and carry just the right balance of dignity, solemnity and floral tribute.  It was decided, when they were originally designed that there should be no distinction between graves of different rank so the headstones are all made according to a standardized template, differentiated by the regimental crest and or badge, the ranks and of course the names of the deceased.

One of the chapels in Overleigh New Cemetery, a Designated Heritage Asset in the Cheshire West and Cheshire “Chester Characterisation Study”

There are four buildings in the New Overleigh Cemetery.  The largest is the West Chapel, now Saint Barbara’s Orthodox Church. Historic England states that it was built in the style of John Douglas in the early 20th Century.  Chester Council made it available to the Greek Orthodox church in the 1980s and it opened its doors to congregations in 1987.  It attracts a congregation from a very wide area and prevents the site feeling entirely field-like.  Also assisting in this sense of place rather than space is a lodge that sits near the Overleigh Road entrance but is now apparently used as a private residence.  The small chapel, now used as a base for cemetery workers, is a lovely little thing with a few nice decorative features inside and out and some understated stained glass consisting of small square panels in quiet colours.  It was nicely thought through when it was built, and is now a Designated Heritage Asset.

The other building, recently fenced off presumably due to the sorry state of repair, making it look like a complete eyesore, is the former grave-digger’s hut, a charming brick-built building, described as “an important historical feature” in the Handbridge Neighbourhood Plan. It is clearly in urgent need of help.

The grave-diggers’ hut, fenced off.

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Headstone of Frederick Coplestone, d.1932 and members of his family by sculptor Eric Gill, showing St Francis of Assisi (Grade 2* listed)

When you first enter the New Cemetery, the initial impression given by the repeated lines of headstones is that the cemetery is less obviously interesting than the variety of shapes and sizes over the road.  This is, however, partly an illusion caused by the grid-like horizontal layout.  Closer inspection of the older sections, nearest to Overleigh Road, demonstrates that these too offer an enormous amount of variety that provides insights into personal preferences and choices, and certain very specific affiliations.  The graves here, many of them more recent than those at the Old Cemetery, offer a rather different sense of style and character, of different experiments with more personalized design and symbol as new trends emerged.  There are, for example, some interesting Art Nouveau and Art Deco examples that I have not noticed in the Old Cemetery.—-

As you head to the extremities furthest from the road, you will see less of these mainly earlier 20th century monuments and find yourself confronted with the more modern emblems of British commemoration of the dead.  These are generally smaller and plainer, often with flowers or other memorabilia, and reflect a changing attitude to memorializing the dead.  The further on you go, the more you find yourself in the sort of “lawn cemetery” concept that is becoming increasingly popular for public cemeteries, with small memorials.  Although this is much less aesthetically engaging than the older cemeteries, it does reflect an interesting change in mortuary practices that will be discussed further in parts 4 and 5.

Looking towards the far end of Overleigh New Cemetery, where new graves are still added

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Family Research

Overleigh Old Cemetery

It does not take a great deal of imagination to see that a cemetery like Overleigh contains an enormous amount of information about people who have lived and died in and near Chester.  Most of this information comes from words on gravestones, although some general comments can be made about the imagery employed and the design of the grave monuments themselves.  There is as much fashion as there is tradition, all mingled together.  Classical elements, Gothic Revival, Art Deco, Art Nouveau are all here, and in Overleigh New Cemetery the differences between Anglican and Roman Catholic graves are often particularly striking.  One way of learning more about the cemetery as a whole is by taking the Stories in Stone walking tour with one of Chester’s excellent Green Badge Guides, which takes visitors on a tour of the main features and some particularly interesting graves.

Grave of William Pinches (d.1929), Overleigh New Cemetery

The most common motivation for conducting research at cemeteries is to find the grave of an ancestor or loved one, whilst others find real interest in the individual stories told by gravestones via design, symbol and inscription.  Although Overleigh is so large that it may all seem like a challenge to make sense of it all, if you know the name of the grave’s owner, the findagrave.com website is an excellent database containing details of the grave and its owner, where known, together with any interesting stories that might be connected with either the grave or the owner.  Chris Kemp alone has been responsible for researching and adding literally thousands of graves in Overleigh and elsewhere in the Chester area since she began to record them over 12 years ago.  There are other online databases that do something similar, but findagrave.com is probably the most accessible resource for Overleigh.  Note that findagrave.com divides the cemetery into the Old Cemetery and the New Cemetery for search purposes.  Chris points out that until 1879 when the Overleigh New Cemetery was built, the Overleigh Old Cemetery was at that time known and referred to in documents as the “new cemetery.”

The Cheshire Archives and Local Studies service has some excellent online resources, and as well as their Overleigh Cemetery 1850-1950 database (it’s not the most user-friendly interface, so do watch the video about how to use it here), there are many other sources of local information about individuals, institutions and business in their online Archive Collections, including parish records, the electoral register, business directories, court sessions and poor law and workhouse records.

Amongst many other activities, Chris Kemp receives emails from people looking for graves from outside the area, and sometimes overseas, and tracks down the graves for them, a valuable and time-consuming task, as she receives at least half a dozen every week, which she hunts down every Saturday, and which demonstrate how much the cemetery, on both sides of the road, continues to contribute to people’s investigations of their past and their sense of a link with their family history.
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Part 1 Final Comments

Many of the first out-of-town cemeteries were conceived of as memorial parklands that were designed to balance the natural and the man-made, to harmonize different needs and priorities.  Although at Overleigh each of the two halves of the cemetery has a different personality, both combine monument and commemoration within a designed space where the dead and the living can peacefully coexist.  The graves themselves, some of them impressive, others very modest, never reach the heady heights of London’s “Magnificent Seven” with their extravagant mausolea and world-famous names, but in the details, the variations and subtleties, and of course in the engravings, there is a very real sense for visitors of mingling with the lives of Chester residents and getting to know something about the population at large.

Detail from the headstone of Margaret Roberts (d.1900), Overleigh Old Cemetery

The gravestone is, just as much as items given pride of place in the home and passed between generations, both an object and a commodity.  It was manufactured, chosen, customized, purchased and curated.  Even within its own funerary landscape, the funerary monument had a role within the home, in that it formed part of a personal experience of the world, a form of mental mapping that includes places beyond the front door but are endowed with a personal value.  They become part of a much wider family and social landscape than their physical location in a cemetery.  This means that there is a social and cultural history component to be researched in large cemeteries that offers a different type of record from documentary resources.  I will talk more about the role of cemetery research in social and cultural history in Part 4.

Overleigh Old Cemetery

Overleigh is a place where relatives can visit their loved ones or carry out genealogical research into their ancestors and where social history can be investigated.  At the same time it needs to be respected and to be recognized as a vulnerable piece of local heritage.  One of the most important questions about any monument or object is what happens when it is no longer valuable to someone, when the useful life for which it was intended comes to an end.  At this point, so many bad decisions have been made in Britain about the value of buildings and objects to social and cultural history, and there is a need to ensure that cemeteries like Overleigh continue to both support and inform the living.  This will be discussed further in part 5.

Part 2, only part-written at the moment, will look at how the living and the deceased are both incorporated into a common language of the necropolis, and how gravestones are used to express complex ideas about the dead.
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With sincere thanks again to Christine Kemp for giving me a guided tour of both parts of Overleigh Cemetery at the beginning of August 2024, and then guiding me to find specific graves and helping me to understand different aspects of the cemeteries when I met her again at the end of August, and for offering ongoing help.  In this and the following parts, she has been a splendid source of information, fact-checking and guidance.  Any errors are, of course, all my own work!

Sources:

Charles Edward Armitage, d.1930, Overleigh New Cemetery

The books and papers and websites used in all the parts are listed in their own page.  Splitting them up over the various parts does not make much sense because so many of them are used time and time again and listing the sources in one place makes it easier for anyone wanting to print off the full list.

The list of references for this post has become ridiculously long, so instead of listing them here on the page I have copied them onto their own page on the blog at
https://basedinchurton.co.uk/walking/overleigh/

 

The rustic bridge that was part of the original Penson design

 

The 1715 “Old Dock” – The earliest of Liverpool’s commercial docks, preserved beneath the Liverpool ONE shopping centre

Introduction

The Eyes map of Liverpool showing Old Dock on a previous tidal inlet and enclosed within the streets of an expanding Liverpool in 1765, 50 years after it first opened. Later docks were laid out along the foreshore. Source: National Museums Liverpool

Earlier in summer 2024 I went on the Old Dock tour in Liverpool when it was offered one Sunday.   Old Dock, of which only one corner remains to be visited, was perhaps Liverpool’s most important commercial and civil engineering initiative at a time when Chester’s port was going into decline and Liverpool had the opportunity to become the trading centre for the northwest.

Old Dock, Liverpool

Old Dock in Liverpool, the first of Liverpool’s impressive network of enclosed docks, opened in 1715, to the design of civil engineer Thomas Steers.  It is Europe’s oldest enclosed cargo-handling dock.  What remains of Old Dock is underground, beneath the “Liverpool ONE” shopping centre.  Its lock gates can no longer be visited, but remain under The Strand (the modern dual carriageway that runs along the line of the old foreshore).  Only the northeastern corner of the dock is accessible to visitors, and has been provided with a gantry and information panels, and its history is presented to pre-booked groups by an excellent guide.  I’ve added details about booking and the tour itself at the end of the post under “Visiting.” The following looks at some of the history of Old Dock.

The 1699 Howland Great Wet Dock in London. British Library HMNTS 10349.ff.9.. Source: Wikipedia

Old Dock was modelled on the Howland Great Wet Dock, shown right, built in 1699, which was built to shelter ships, mainly of the East India Company, in the days when ships over-wintering on the Thames were regularly subjected to both storm damage and piracy.  It was surrounded by a double planting of trees to help protect the ships within and had shipbuilding dry docks at its entrance. It was a convenient place to carry out repairs and to ready ships for the upcoming season, but was not used for handling cargo so was not a commercial trading dock.  The Howland Great Wet Dock was built in a rural space on the south of the Thames in what is now the residential Surrey Quays area of southeast London, and was replaced in the 18th century by Greenland Dock, which itself became part of the Surrey Commercial Docks.

The commercial argument for Old Dock

Liverpool was established by a charter of King John in 1207 and was provided with a castle in 1235.  At this time, however, Chester was the main northwestern port, and Liverpool did not become a commercial giant until the 18th and 19th centuries, and this required some pioneering Victorian thinking and civil engineering before it really took off as one of Britain’s leading ports.  Old Dock is at the heart of this story.

Painting of Liverpool in 1680, from the Old Dock display area. Unknown artist. The original is held by the National Maritime Museum. See more (and a better image) on ArtUK

Before the docks, the Mersey was not the easiest of rivers to use in an age of sail partly due to strong winds but also because of the twice-daily tidal events that swept down the estuary. An additional problem was that due to the dumping of rubbish and ships’ ballast along the river edges, deep-sea shipping was unable to approach the river banks to offload and reload.  It could also become very busy with river traffic of all shapes and sizes. The handling of cargo on the Mersey was achieved by mooring ships in the main channel and loading and offloading them with lighters – unpowered boats into which the cargo was loaded by hand, then rowed to shore, and offloaded by hand.  This could only be carried out between tidal events, confining the activity to around 5 hours a day. To empty a single ship averaging 150 tons could take between two and three weeks.

The engineering success of the Howland dock enterprise inspired MP Thomas Johnson, who was both a successful merchant a slave trader, to approach one of the engineers probably responsible for the Howland dock, George Sorocold, to discuss the viability of a similar dock for Liverpool.  Johnson, however, saw the greater potential of an enclosed inland dock, not for over-wintering ships but for creating a cargo-handling facility to radically improve speed and efficiency. Under The Dock Act of 1708 a Common Council of leading city figures was established to became trustees of the proposed dock, which they operated through council committees.  The risk of doing it this way rather than as a private enterprise was that failure could have put the entire city finances in jeopardy.  Thomas Steers from London was the civil engineer appointed in 1709 to make this a reality, only a decade after the opening of the Howland Great Wet Quay on which he had probably also worked.  Initially costs had been estimated at £6000, but this was a serious underestimation and eventually the dock cost more than double this amount.

Building and opening the dock

The dock was lined with bricks in the upper sections with local red sandstone in the lower courses.  I am accustomed to the later Surrey Commercial Docks in southeast London, where I used to live, which are lined with stone much like Liverpool’s Albert Dock, so the sight of a brick-lined dock seemed extraordinary to me.  The bricks were made on site from local clays, with a dedicated kiln built for the task, and a special mortar was used to resist the incursion of water.

At the base of Old Dock, Liverpool

The result of all the investment, civil engineering and labour was Old Dock, which opened in 1715 at the mouth of a former tidal inlet or creek.  Up to a hundred ships could be taken into the 3.5 acre dock via a 30ft wide entrance lock and could draw up against the quayside to offload without the use of lighters. Because of the tides, ships could only enter the dock at the top half of the tide, but a 1.5 acre tidal entrance basin was provided as a waiting area.  By drawing ships up against the quayside, three weeks could be reduced to just one to two days.  The proof of concept was soon confirmed.

The area around the dock was soon surrounded by residential, commercial, retail and service industry premises. Excerpt from a poster from the Old Dock exhibition area.

An entire new residential, commercial, retail and service industry quarter grew up around the dock, which became known as the Merchants’ Quarter.  As well as homes, warehousing and other commercial facilities there were lodging houses for sailors, and less salubrious businesses that catered to their needs.  This is a good illustration of the sort of process of urban sprawl that follows on from a specific industrial development.

Old Dock was such a notable success that new docks were soon opened, and the Liverpool foreshore began its transformation.  During the 18th century South Dock, also built by Thomas Steers (later Salthouse Dock) opened 1753, George’s Dock opened 1771, King’s Dock opened and Queen’s Dock opened in 1796.  It is a measure of the success of the dock concept, Old Dock having been established 53 years before Bristol’s first dock, that between 1772 and 1805 the total tonnage of shipping increased from 170,000 to 670,000, with foreign shipping increasing from 20,000 to 280,000.  By the end of the 19th century 9% of all world trade passed through the Liverpool docks, and there were 120 acres of enclosed docks along 10km (7 miles) of Liverpool’s foreshore.

Closure of the dock

Old Dock, Liverpool

Old Dock itself closed in 1826 mainly because as ship sizes increased, in terms of width, length and depth, it became increasingly obsolete.  It did not help either that the dock had become surrounded with other buildings and could not easily expand without considerable destruction.  Instead, the development of docks beyond the existing foreshore seemed like a better option and this is what happened.

This new use of enclosed docks for cargo-handling was pioneered at Old Dock in Liverpool, creating the first revolution in cargo handling in the UK.  To provide additional real estate for the rapidly growing city, most of the dock was infilled and built over, so this one remaining corner is a significant survivor from Liverpool’s early development as a major trading port.

Final Comments

Old Dock brickwork

Much of what is known about Liverpool’s earliest docks comes from the archaeological investigations that took place between 1976 and 2009. Old Dock was examined prior to the building of Liverpool One by Oxford Archaeology between 2001 and 2006. The remains of Old Dock are designated a site of Outstanding Universal Value.

It is difficult to over-emphasize how important London’s Howland Great Wet Dock and Liverpool’s Old Dock were to the development of maritime trade in Britain.  With an enclosed dock designed by Thomas Steers, the Old Dock set Liverpool firmly on the path for trading success throughout the 18th century and the commercial and architectural triumphs of the Victorian period.

Visiting

Booking details, opening times, ticket prices and everything else you need to know are on the Old Dock Tour website.

At the time of writing the meeting point shown on one place on Google Maps is in a different location from the one that is shown on the Old Dock Tours website, and the latter is the correct one.  I don’t know Liverpool at all and I was confused by the directions on the website, partly because I had no idea what a “Q-Park” might be when it escaped from its burrow, so I arrived early to make sure that I was in the right place, which was on the Thomas Steers Way entrance to the “Q-Park” (the Liverpool ONE car-park), on the left as you head up from the Mersey, near the base of the Sugar House Steps.  Here’s the What3Words address for that location, which is traffic-free, but do check on the website or your ticket that this remains the same meeting place: https://what3words.com/found.farm.gent. Have your ticket handy to be checked, either printed out or on your device.

This is a guided tour.  You receive an excellent lecture as you walk to the dock via a wall-sized map of old Liverpool, and then stand on the  gantry looking down into the dock. Our guide was informative, humorous and engaging, parting with a staggering amount of information in an easily digestible way.  It is always a mark of how well a guide does when there are questions afterwards, people wanting to explore specific aspects of the story, and there were lots of questions.  I used to live overlooking Greenland Dock in London, and the remnants of the Surrey Commercial Docks were my home for twenty years.  Opposite was Canary Wharf, where the former East India and West India quays are preserved and the Museum of London Docklands is located. It was a real dock heritage experience, so it was particularly nice to go to Liverpool and have someone bring this particular old dock to such vivid life.

If you are dealing with unwilling legs, there is a flight of steps with a banister to hold onto.  I forgot to count, but I would guess perhaps ten steps, down from the car park entrance into the dock area.  There is then a gantry (metal walkway) across the remaining part of the dock, with high sides to hang on to.  There is nowhere to sit, so a portable perch of some sort might be useful whilst you are listening to the talks.

I had not realized that it was the schools’ half term break.  Half-term was a poor day to visit Liverpool, and on the tour there were two completely uncontrolled young children running around and yelling their heads off.  A less child-intensive day would be better if it can be arranged.  There’s not a lot for young children to see on this walk anyway, although an older child seemed to be enjoying it very much.
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Sources

Most of the above details came from the guided tour.  I did not want to detract from that so I have not gone into greater detail here, but I did use some additional sources to check facts that I had not noted down at the time, and have provided some suggestions for further reading.

Books and Papers

Farrer, William, and Brownbill, J. (eds.) 1911. Liverpool: The docks, in “A History of the County of Lancaster: Volume 4,” p. 41-43. British History Online. Originally published by Victoria County History, London, 1911.
https://www.british-history.ac.uk/vch/lancs/vol4/pp41-43

Gregory, Richard A., Caroline Raynor, Mark H. Adams, Robert Philpott, Christine Howard-Davis, Nick Johnson, Vix Hughes, David A. Higgins 2014. Archaeology at the Waterfront vol 1: Liverpool Docks. Lancaster Imprints / Oxford Archaeology North

Stammers, M.K. 2007.  Ships and port management at Liverpool before the opening of the first dock in 1715.  Journal of the Historic Society of Lancashire and Cheshire, vol.56.
https://www.hslc.org.uk/journal/vol-156-2007/attachment/156-3-stammers/

Stephenson, Roderick A. 1955. The Liverpool Dock System.  Transactions of the Liverpool Nautical Research Society, Volume 8 1953-55 (1955)
https://liverpoolnauticalresearchsociety.org/wp-content/uploads/2019/03/Article-The-Liverpool-Dock-System.pdf

Websites

National Museums Liverpool
Ten fascinating facts about Liverpool’s Old Dock
https://www.liverpoolmuseums.org.uk/stories/ten-fascinating-facts-about-liverpools-old-dock

Historic Liverpool
1846: Plan of the Liverpool Docks, by Jesse Hartley, Dock Surveyor
https://historic-liverpool.co.uk/old-maps-of-liverpool/1846-plan-liverpool-docks-jesse-hartley-dock-surveyor/#4/65.79/-74.43

The Liverpolitan
Old Dock: a different view. Wednesday, 18 November 2015
https://theliverpolitan.com/blog_old_dock_a_different_view.php

That’s How The Light Gets In blog
Liverpool Old Dock: Down to the bedrock
https://gerryco23.wordpress.com/2010/09/14/liverpool-old-dock-down-to-the-bedrock/

Liverpool World Heritage
LIVERPOOL MARITIME MERCANTILE CITY WORLD HERITAGE SITE MANAGEMENT PLAN 2017 – 2024. Prepared by LOCUS Consulting Ltd. Liverpool City Council
www.liverpoolworldheritage.com/wp-content/uploads/2018/09/pmd-486-liverpool-whs-management-plan-final-version-as-at-27-sep-2017.pdf

A Rotherhithe Blog
The Howland Great Wet Dock 1699-1807
http://russiadock.blogspot.com/2008/06/rotherhithe-heritage-2-howland-great.html

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