Category Archives: Wrexham

The magnificent Grade 1 listed Parish Church of St Giles in Wrexham and its medieval context


On this page:

  • Introduction to the Parish Church of St Giles
  • Who was St Giles?
  • Medieval Wrexham
  • A brief history of the church
  • Highlights of a visit to St Giles
  • Final comments
  • Visiting details

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Introduction

Aerial view of the Parish Church of St Giles

Aerial view of the Parish Church of St Giles from the south. Source: Wikimedia Commons

The Grade-1 listed Parish Church of St Giles, (or St Silin or Silyn in Welsh), was the heart of medieval Wrexham and is still the main architectural anchor of the town.  It is possible that it lies over the site of an earlier medieval church, perhaps dating to the 11th century.  Today’s church, built of local yellow sandstone, dates mainly to the late 15th and early 16th centuries.  It is a huge and impressive structure built in two main phases of the gothic style, with five vast windows on the north side and six on the south.  None of the glass is original, all dating to the 19th and 20th centuries, but some of it is very fine, and it all gives a sense of how the church would have looked originally.

Plan of the church from the leaflet available on the table just as you walk in to the main church.

The tower at the west end and the polygonal chancel at the east end were both added in the early 16th century.  The famous tower and the roofs of nave and chancel are elaborately decorated with crenellations and sculptural features.  Only a fraction of the original churchyard remains, but you can still do a full circuit around the church and of the remaining grave markers there remain some fine chest-type grave markers.

The interior is influenced by the window apertures of the Perpendicular Gothic, but the arcades themselves are more consistent with the earlier Decorative style. At the east end a polygonal chancel (5) with a three-sided apse protrudes (3), with the still remarkable remains of a Doom painting over the chancel arch (over 5). There is a 41m (136 feet) tall tower at the west end (12) that is visible from miles around, and from which the views are reportedly spectacular.

The plan today consists of a nave (1) divided from its flanking north and south aisles by an arcade of six arches.  Running along the top of the nave are the clerestories, a row of windows above the level of the aisles that let in light to supplement the stained glass. The east end of the north aisle (the side on which you enter, facing into the town), is now dedicated to the Royal Welsh Fusiliers (9).  Opposite this, the east end of the south aisle is fully occupied by the 19th century organ (7) where the medieval Lady Chapel was once located.  The organ dates to 1894 and its pipes are very nicely decorated, although it hides a stained glass window aperture and the original piscina.  At the western end of both aisles, and lying beyond them, connecting the nave with the tower, is the ante-nave, which is where the font (8) is located.

The nave, with the chancel beyond.

The nave, with the chancel beyond.

I have included a summary below of some of what is known about medieval Wrexham, the period that created the main architectural legacy of the church, mainly because I knew so little about it myself before visiting the church.  Hopefully it will also help others unfamiliar with Wrexham’s past to put it into some sort of context.  I have also included a list of features that I particularly enjoyed.  More formal lists of features are available in a leaflet on the table just beyond the north porch in the ante-nave, as well as in a comprehensive and invaluable visitor guide, with lots of photos, available from the church shop, but I have simply singled out the features that particularly grabbed my attention.

Apart from the font (possibly 15th century) stand-alone features such as the brass eagle lectern (16th century) are generally of post-medieval date.  The pulpit and pews are all Victorian and the choir stalls are missing, which is a crying shame as they were probably beautifully crafted with sculptural carvings.  Inevitably there were 19th century alterations and additions mainly by Benjamin Ferrey in 1866-7, with the chancel refurbished by T.G. Jackson in 1914 and again between 1918 and 1919.  For the most part, with notable exceptions such as the chancel reredos, these have been done quite sensitively, usually with the intention of restoring the appearance of the church rather than elaborating the original vision.

Who was St Giles?

St Giles on the north face of the tower standing on a "grotesque" corbel

According to the guide book (Williams 2018), this is St Giles on the north face of the tower standing on a “grotesque” corbel.

St Giles, whose name in Latin is Aegidius, is one of two saints whose name is associated with the Wrexham parish church.  The other is the Welsh saint Silyn, whose name in Latin is also Aegidius, which may explain why the church has different names in English and Welsh.  An alternative explanation is that the church of St Giles sits over the site of a much earlier medieval church dedicated exclusively to Silyn.

St Giles was featured in the 13th century compilation of nearly 200 stories (hagiographies) of saints called Legenda Aurea (the Golden Legend), by Dominican Friar Jacobus de Voraigne, in which “legend” meant passages of text to be read out aloud.  It was designed as a handy tool for preachers who wanted rousing content for their sermons, a who’s who of revered Christian saints. It spread quickly even before the invention of the printing press in the mid 15th century, after which it went viral with over 80 editions printed, with four editions in English.  It remains an invaluable resource for understanding which saints were most appreciated throughout the medieval period, what was understood about them and how they were valued as models of divinely approved behaviour.  St Silyn was a purely native saint and is not included in the Legenda, but the description of St Giles indicates why he was so valued in the medieval period.

St Giles in the Legenda Aurea, Huntington Digital Library

St Giles in the “Legenda Aurea.” mssHM 3027 f.118v. Source: Huntington Digital Library

According to the Legenda, St Giles was an aristocratic Athenian, who died A.D. c.710. His earliest miracle took place when he gave his coat to a sick beggar who, as soon as he put on the coat, was cured.  On another occasion Giles prayed for a man who was bitten by a snake, and the poison was driven out.  He decided to leave his homeland to escape his spreading fame and head west, and was given passage by some sailors who were saved from wreckage by the saint’s prayers.  Having arrived in southern France, where he remained, he stayed for a while with a hermit, before moving away to become a hermit himself with a spring nearby and with the company of a doe who provided milk.

When the doe fled to him for protection during the local king’s hunt, Giles was accidentally pierced by an arrow let loose by one the king’s hunters.  Giles miraculously lived, but he prayed for his wound not to be fully healed so that he might experience how “power is made perfect in weakness.”  The king, duly impressed, established a monastery and convinced Giles to become its head, which became an important site of pilgrimage.

St Giles 1335

St Giles, Avignon 1335 (Indulgence from 15 archbishops and bishops for the St. Aegidius / St Giles Chapel of the Teutonic Brothers in Aachen). Source: Picryl (PublicDomain)

St Giles became the patron saint of the sick (particularly cripples and lepers), the poor and nursing mothers.  Books like the Legenda ensured that the inspirational story spread across Europe.  There are records of around 162 churches dedicated to him in England and at least 24 hospitals bearing his name.  A leper hospital dedicated to him was located in Chester beyond the Northgate.  He can be identified by his main symbols, a deer, an arrow, and sometimes an abbot’s staff.  His feast day is annually on September 1st.

St Silyn is far more elusive, although sometimes associated with St Tysilio, a Welsh monastic saint of the 7th century (broadly contemporary with St Winefrede of Holywell), whose cult was centred in Powys.
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Medieval Wrexham

Wrexham Town Centre Conservation Area Character Assessment and Management Plan map 2009, with my annotations in pink to show the Parish Church of St Giles and roads that the report states were laid down during the medieval period

St Giles is a vast edifice, the visible architecture built mainly in the 15th and 16th century to house a large congregation in style, something that required a considerable investment in  its basic form, its ornamental embellishments and its furnishings.  Today the church is surrounded by a mixture of urban buildings from different periods.  Throughout Wrexham Georgian and Victorian buildings speak of 18th and 19th century confidence, but unlike Chester, where there are plenty of echoes of its medieval and Tudor past, there are scarcely any obvious indications of a medieval heritage.  However, a bit of hunting around in local resources (with thanks to the local history section at Wrexham’s public library) produced some useful information about the medieval townscape of Wrexham.

Valle Crucis, Llangollen

Valle Crucis Cistercian Abbey, Llangollen, founded 1201

The earliest sign of a settlement in the immediate area is a motte and bailey castle prior to 1161 located 1 km away at Erddig, called “de Wristlesham,” which must have supported a settlement, although it is now known exactly where the accompanying settlement was located.  The predecessor of today’s Wrexham was certainly founded by 1220 because it is at this time that Bishop Reyner of St Asaph allocated half of Wrexham’s income to Valle Crucis Abbey in Llangollen (established 1201), with the other half granted to them in 1227 by Bishop Abraham, also of St Asaph.  Prince Madog ap Gruffyd of Powys Fadog, the founder of Valle Crucis, added to its coffers in 1247 when he granted the abbey the tithes (a type of religious tax earned by parish churches) of the parish church of Wrexham, sealing the link between the town and the abbey, even beyond Henry VIII’s suppression of the monasteries.  By accepting the tithes, the abbey also accepted certain responsibilities to the church, including appointing its clergy and maintaining the chancel.

Seal of John de Warenne, 6th Earl of Surrey

Seal of John de Warenne, 6th Earl of Surrey. Source: Wikipedia

Wrexham’s history started to take a more recognizable and politically stable shape following Edward I’s shake-up of Wales after the defeat of Llywelyn ap Gruffydd (Llywelyn the Last), his brother Daffyd and their supporters in 1282-3.  This destroyed the 13th century challenge to England’s control in northeast Wales. As part of Edward’s plan to bring northeast Wales under English control, Wrexham became the centre of lordship of Bromfield and Yale within the cantref (administrative district) of Maelor under the lordship of John de Warenne, 6th earl of Surrey (best known for building the castle at Holt on the River Dee to the north, completed c.1315).  It is recorded that in 1316 Wrexham was spelled Wrightlesham, and was based in the current location with an accompanying church.  By this time there was a thriving community of 44 tenants who held 52 tenements, with several markets.   In 1330 the church tower fell during a storm, which must have created quite an impression on the town!

7-9 Church Street

The Grade 2* listed 7-9 Church Street, thought to date to the 1500s. Timber-framed, originally thatched, and possibly a single storey mid-medieval hall house, the oldest remaining buildings in Wrexham to which alterations were later made. A floor was added in the 17th century, and it was renovated in the 1990s

The growing importance of Wrexham was confirmed by the king’s grant of a market charter in 1391, permitting it to hold a weekly regional market and annual fair, becoming a focal point for trade and encouraging the growth of local manufacturing and service industries.  Based initially on agricultural activities, with land suitable for some cultivation and a lot of livestock herding, the town’s commercial status was given a boost in the 15th century with the development of coal mining, initially for local consumption, and iron production.  A leather tanning industry, together with all its associated skills, was also well established.

As well as almshouses at Llangollen Abad, a number of documents also refer to the abbey having almshouses in Wrexham, although their original location is not mentioned.  They were destroyed in 1589 by inhabitants of Wrexham, angry by the appropriation of all of the abbey’s properties and financial resources by incomers, and the buildings were converted to raw materials (brick, tile, wood etc) that could be carried off for use elsewhere.

5 – 7 Town Hill, medieval, timber-framed buildings renovated in the 1990s

The revolt of Owain Glyndŵr in the first decade of the 15th century, unlike other unluckier towns in Wales, had no direct impact on Wrexham in terms of attacks and damage to property.  Its effect would have been felt, however, in terms of the disruption to economic activities, transport and communications.  In rural areas the attacks, resulting in loss of resources and income in some areas, would have caused great hardship, and would have led to the fluctuating availability of goods in the Wrexham markets.  Ripples of uncertainty would also have felt throughout the town, as the potential impacts of Glyndŵyr’s activities and the future of Wales, as well as concerns about the immediate fate of the town, would have been extensively debated.

The timberwork revealed in the passageway between 7 and 9 Town Hill Street.

The medieval timberwork revealed in the passageway between 7 and 9 Town Hill.

Unlike Chester, the medieval and Tudor past of which is writ large on the cityscape, Wrexham’s early past is architecturally elusive, most of it demolished and replaced by much more recent buildings, roads and the former Ellesmere-Wrexham railway, its fugitive remnants hidden in nooks and crannies.  The main indicator of medieval Wrexham today is the arrangement of roads that once fanned out in all directions in a radial pattern from the church itself.  Original medieval roads, lanes and alleyways in Wrexham were very narrow, mainly straight, and were characterized by narrow, low buildings.  According to the Wrexham Town Centre Conservation Area Character Assessment and Management Plan report, the wider roads were those where market stalls lined the sides, such as  the High Street.  Other medieval roads and lanes are Abbot Street, College Street, Temple Row, Town Hill, and The Ney.  In 1643 around one quarter of the part of the town that was clustered around the market area was burned down.  It was quickly rebuilt, reflecting both the importance of the town and the funds available locally in the Stuart period, but the fire almost certainly took with it a number of medieval buildings.xxx

The Wrexham and Ellesmere Railway

The former Wrexham and Ellesmere Railway of 1895. The carriage in the distance next to a white building shows the Central Station (moved in 1998) and beyond is the church of St Giles, with one branch of the railway running to its south. This section of railway partially closed in 1962 and completely closed in 1981.  Source: Wikipedia

In spite of the 1643 fire, the 19th century railway that tore up part of the town, and the unsympathetic redevelopments of the 1960s, there are two complete medieval buildings remaining, although you need a sharp eye to spot them, on Church Street (no.s 7-9) and Town Hill (5, 7 and 9).  The Golden Lion pub at the north of the High Street originated in the 16th century.  Otherwise, remnants of medieval timber frames can still be found within some later buildings, the footprints of long thin burgess plots and footprints of shopfronts with yards, where only the yards remain.  Beneath the current ground level there is still potential for learning more about the medieval period:  “The medieval core remains a highly sensitive archaeological area.  There is a strong likelihood that remnants of buildings and deposits may be found in the excavation of land, provided this has not been destroyed by later structures” (Wrexham Town Centre Conservation Area Character Assessment and Management Plan 2009, p.9).

Railway passing just south of St Giles through what was once the southern extent of the churchyard. Source: Facebook

A brief history

The  Gothic church

The parish church of St Giles in the first half of the 19th century by W. Crane. Source: medievalheritage.eu

As mentioned above, the earliest reference to a parish church in Wrexham was in 1220 when the Bishop of St Asaph granted the monks of Valle Crucis Cistercian Abbey in Llangollen half of the income of Wrexham. In 1247, the Prince of Powys, Madoc ap Gruffydd, granted the monks of Valle Crucis the tithes of the parish church of Wrexham.  It is probably from this earliest period that the splendid stone effigy of Cyneurig ap Hywel dates.  The full-sized depiction of the Welsh knight shows him with long hair, no helmet, but with a sword in his left hand and shield over his body, showing a lion rampant and the legend in Latin “here lies Cynerig ap Hywell.”  It was found in the churchyard and moved indoors for its protection, now lying at the west end of the north aisle in the war memorial chapel.

 

14th century corbel sculpture with a mermaid holding a mirror and comb

14th century corbel sculpture with a mermaid holding a mirror and comb facing into the nave on the north face of the south arcade (left as you walk down towards the chancel)

In 1330 on St Catherine’s feast day the church tower fell during a severe storm. It was widely believed that this was because the weekly market took place on a Sunday, angering either St Catherine or God, or both; subsequently the market was held instead on a Thursday.  The original church was largely rebuilt with an emphasis on the gothic Decorated style. The arcades with their very fine lancet-shaped arches and octagonal pillars date from this rebuild. Although some of the sculpted corbels were provided with their sculptural elements in the 19th century, others are thought to be 14th century, including a man with toothache in the north aisle, and a mermaid with mirror and comb in the south aisle (the latter very reminiscent of a medieval misericord in St Oswald’s church in Malpas).  Some of the mason’s marks within the church are thought to belong to this period.  There was no stone tower and no chancel, but it is thought that by the end of the 14th century a wooden bell tower had been added at the west end on the site of the fallen stone tower.

The east end of the church with the former east end window arch now serving as the chancel arch (see bits of tracery from the old window) and the Doom painting above. The three-sectioned apse lies beyond, behind an enormous stone reredos.The pulpit at left dates to the 19th century. The raised semi-circular dais in the foreground is modern.

In the mid 15th century, either in 1457 or 1463, the 14th century church went up in flames, and yet again the church had to be largely rebuilt, based on the footprint of the 14th century church, but adopting the new fashion for the Perpendicular.  A new roof was added.  Only a few elements of the Decorated style, such as the arcades, survived.  Likewise, the decorated corbels that supported the former roof, although they no longer had a practical function, were left in situ.

In 1506 a new set of works took place to transform the church into the structure seen today. The roof was again replaced, this time with a wooden camber beam ceiling, supported on corbels featuring armorial shields.  Sixteen brightly painted angels playing musical instruments or singing look down from the roof, and the glorious Doom painting was added above the chancel at this time (about which more below), with a small red devil’s face on the roof in front of it.  The north porch and a new chancel were added, and the new tower was completed in 1525, extending the length of the church and giving it a magnificent presence in the landscape. The extension of the chancel was achieved by taking out the former east window, which now forms the chancel arch, with part of the former window’s tracery still clearly visible.  The Perpendicular is usually a less lively version of the gothic aesthetic than the previous Decorated, and can be rather regimented and severe, but the sheer number of pinnacles, crockets, battlements, canopies, statues, sculpted corbels, bosses, angels, gargoyles and grotesques, both inside and out, but particularly the famous sculpted elements on the tower, provide the church with real energy.  The font (see further down the page) was certainly present in the 16th century, but its date is unknown.  It was lost during the Civil War, but was remarkably returned to the church in 1843.

The legs of Man, associated with the Stanley family. South aisle, arcade.  Possible mason’s mark in the chiselled block at top right.

Although previous rebuilds had been the result of storm and fire damage, this time the 1506 works seem to have been the result of an investment in status, suggested by the proliferation of Tudor imagery throughout the church, including the Tudor rose and portcullis (associated with Henry VII) and the symbolism associated with the Stanley family (such as the legs of the Isle of Man) who are thought to have invested in a number of religious buildings in the area, including the parish churches at Gresford, Holt and Mold, as well as the superb chapel at the shrine of St Winefrede in Holywell.  The devout Margaret de Beaufort, mother of Henry VII, who married Thomas Stanley in 1482 is often credited with much of this work, but it is not always clear from documentation what form her or her family’s influence or investment took.  If the investment was not made exclusively by the Stanelys, it remains unknown how the financial injection was sourced and where from.

Decorated spandrel on the north porch, showing a splendid lion

Decorated spandrel on the 16th century north porch, showing a splendid, if slightly startled-looking lion

In Henry VIII’s Valor Ecclesiasticus of 1535, a valuation of all the monastic holdings in Britain, it is recorded that pilgrim offerings were being made to images in the church of St Giles (a property of Valle Crucis Abbey), amounting to £2.62.8d, which according to the National Archives Currency Converter is around £1029 in today’s money.  The entire contribution of St Giles to the abbey was recorded as £14 2s 8d (c.£6000 today) for temporalities (secular income such as farms, mills, tenant farmers, mines and quarries and sundry rural and urban buildings that could secure rents), and £54 16s 8d (c.£23,000) for spiritualities (income derived from religious sources such as church tithes and other revenue, pilgrim donations, oblations, and chantries).    It also showed how the abbey short-changed the vicars of its appropriated churches.  The abbot claimed £50 9s 2d (c.£21,000) from Wrexham’s parish church, but the vicar only earned £19 9s 8d (c.£8209 – c.39%).

One of the interesting questions regarding the early Tudor period is what happened after Henry VIII’s dissolution of the monasteries.  The church and other Wrexham resources had become one of many possessions of Valle Crucis Abbey (founded 1201) during the 13th century, but after Valle Crucis had been dissolved, probably in January 1537, the abbey itself was granted by the king to a Yorkshireman, Sir William Pickering, causing significant local resentment from local landowners who had their own designs on the former abbatial property and its incomes.    Although some of the abbey’s land and properties were dispensed of, and most of its building materials stripped down and the church dismantled, many properties that provided incomes were retained by Sir William, including revenues from Wrexham’s parish church.  The income from St Giles for the year 1538-9 (in Appendix II of Derrick Pratt’s book on the subject of the dissolution of Valle Crucis) earned him £50.00 per annum (c.£21,000, according to the National Archives Currency Converter), one of five ecclesiastical incomes that he enjoyed, as well as those from secular properties.  Quite what this meant for how St Giles was administered, including who was now responsible for appointing the clergy, and how and what they were paid is not clear.

The 17th century and Civil War

1524 brass lectern

1524 brass lectern with an eagle on a sphere supported on an ornate stand, with four lion’s feet at its base, which went on to support an original 1601 copy of the King James Bible. It is a surprising survivor of the Protestant attack on the church

The 17th century was a tumultuous period for the churches of England and the borders.  Many were targetted by Puritans determined to eliminate even a hint of pre-Reformation papism, finery and ritual.  The Puritans, suspicious of any rituals and richly ornate ceremonial objects and vestments that echoed elaborate Catholic practices, set about destroying the ornate and the rich.  Worship per se was not discouraged, but the Puritans demanded a purer and more modest relationship with God that reflected honesty and humility rather than wealth, artworks and ostentation.

The church of St Giles did not escape Puritan notice, although the damage could have been much worse.  The organ was destroyed in 1643, the font was removed and a tomb was opened.  John Rowland Phillips gives a vivid description in his Memoirs of the Civil War in Wales and the Marches, describing Sir William Brereton’s advance into Wales:  “In Wrexham they broke in pieces the best pair of organs in the King’s dominions, the lead pipes of which were converted into bullets.”  Phillips seems to feel that they should be congratulated for their restraint in not pillaging homes “purloining nothing save from churches and damaging nothing save what to them appeared superstitious and idolatrous.” (p.181).  It was actually the Bishop of St Asaph who, in 1662, ordered the removal of the rood-loft from the church.  Rood lofts were particularly targeted because they segregated the public from religious activities, instead of allowing them uninterrupted access to the clergy and their lessons.  The sense of mystery and ritual was being placed by unambiguous preaching and sermons.

It is thought that after the destruction of the rood screen, the chancel was segregated from the nave and used for secular, possibly administrative activities, whilst the nave was used by the vicar and congregations.  A surprising survivor of the Puritan visits is the 1524 brass lectern with an eagle on a sphere supported on an ornate stand, with four lion’s feet at its base, which went on to support an original 1601 copy of the King James Bible.  Presbyterian preachers were appointed to St Giles as vicars.

The 18th Century

In the early 18th century, Wrexham had not moved particularly far, in terms of its economic structures, from the medieval period, still based on agriculture, leather tanning and a nail-making industry, with some coal and lead mining.  However the area benefitted from the expansion of the Industrial Revolution, and in the late 1700s John “Iron Mad” Wilkinson opened the Bersham iron foundry in 1762 and the Brymbo smelting plant in 1793.  Even so, by 1801, Wrexham’s population was still only some 2,575 inhabitants, less than half the size of the population in 1841, suggesting that a slow start in the direction of industrialization soon gained traction.

The low screen into the chancel by Robert Davies of Croesfoel

The low screen into the chancel by Robert Davies of Croesfoel

The church benefited from the generosity of Elihu Yale of Plas Grono, best known for his investments in Yale University in Connecticut, today one of the most prestigious American universities, founded in 1701.  His contributions to St Giles were a gallery at the eastern end of the nave in 1707, moved to the west end in 1718, but removed in 1779.  Also in 1707 he is thought to have paid for the installation of the low wrought iron screen that marks the entrance to the chancel, by Robert Davies of Croesfoel.  A Royal Arms of Queen Anne was added at his expense to the north porch in 1718.  Finally, Yale paid for a new organ to be added in 1779, to replace the one destroyed in 1643.  The chest tomb of Elihu Yale is still located at the west end of the church.

A magnificent addition to the church was the wrought iron gateway and flanking railings by Robert Davies (about which more below), who is also thought to have made the screen to the chancel.  They were installed in 1720 and attached to buildings on either side of Church Street, moved to their present position a century later in 1820.

In 1747 the most impressive of the church’s memorials was added.  Sculpted by Louis Francois Roubiliac, it commemorated the life of Mary Myddelton (on which more later).  In 1793 the pressure on the churchyard, where all Anglican burials were interred, was relieved when a new dedicated cemetery was laid out on Ruthin Road.

The 19th and 20th-21st Centuries – restoration and adaptation

The rather chunky sundial was added to the churchyard in 1809

The 18th and 19th centuries marked considerable growth in Wrexham.  By 1841 the population had reached 5,854 and by 1881 it was 10,903.  This was a good period for the church, with the presence of large congregations ensuring its continued relevance and ongoing maintenance.  The presence in Wrexham of new wealth founded on industry, now including brewing, translated into investment in the town’s infrastructure and architecture, as well as the church’s structure and features.  Fortunately in the case of the church, much of the work carried out was sympathetic to the medieval building.  In 1809, the Grade 2 listed octagonal sundial was added to the churchyard, a gift from Edward Ravenscroft.  In 1822 new box pews were added so that the wealthy could purchase their own private places for attending services.  In the same year a new south porch was added.  Sadly for the medieval and later remnants of historic Wrexham, the railway ploughed through much of the town south of the church, taking most of the churchyard with it, opening in 1895.

19th century statue of Moses

19th century statue of Moses with the tablets listing the 10 Commandments standing on a corbel that has a portcullis emblem, one of the armorial symbols of the Stanley family in the Tudor period

A major programme of church restoration was carried out, lead by Benjamin Ferrey in 1866-7, during which a wall painting of the crucifix was found in the north porch.  The family box pews installed in 1822 were removed in 1867 to make way for open pews and the giant statues on the arcades of St Augustine, St Paul and Moses were added in the same year, as was the stone pulpit gifted to the church by Willow Brewery proprietor Peter Walker, twice mayor of Wrexham).  The c. 1747 Roubiliac memorial to Mary Myddelton (more below) was moved to the north aisle in the same year, where it remains.  The 14th century corbels were fitted with new sculptural elements at the same time, although the mermaid holding a mirror in the south aisle and the man with toothache in the north aisle are almost certainly original.  The present organ, with its pipes colourfully decorated, was installed in 1894.  A ceiling boss showing St Giles was added to the north porch some time later, in 1901. The Robert Davies gates were renovated at around the same time.  The south aisle stained glass was installed sometime in the 19th century, five of them by well known stained glass designer Charles Eamer Kempe.  Most of the south aisle is now screened off at least some of the time for community activities, so it may not always be possible to see the windows.

The 1914 reredos by Thomas Graham Jackson

The 1914 reredos by Sir Thomas Graham Jackson

The 1914 refurbishment of the chapel included the installation of the enormous alabaster reredos by Sir Thomas Graham Jackson showing four scenes from the life of Christ, and the three stained glass windows in the apse designed by Jackson and made by James Powell and Son.  The central window depicts the Jesse Tree (substantially hidden by the reredos) and on the left St Giles and the doe is also represented.

St Giles an the doe by Sir Thomas Graham Jackson

St Giles and the doe by Sir Thomas Graham Jackson, in the chancel, facing northeast

The charmingly decorated organ, built in 1894, was restored in 1984.  The next major work at the church was the re-ordering of the church in 2012, which created new facilities for administration, the congregation and visitors, including kitchen, toilets and a meeting room, the conversion of most of the south aisle into a screened-off community space and the re-positioning of the altar, pews and the removal of choir stalls so that the available space could be used more efficiently.
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The Angel Festival at St Giles.

The uplifting Angel Festival at St Giles. Source: The Church in Wales

The church is still going strong today, with services, baptisms, weddings and funerals, as well as ongoing community activities, such as community lunches and regular events such as heritage talks, art exhibitions,  music concerts and Christmas and other seasonal celebrations.  Following the Coronavirus pandemic of 2019 and the losses experienced during the lockdowns, the church organized a remarkable commemorative event, with the making of over 6000 fabric and paper angels, each representing a death directly caused by Covid, all strung across the church.  The photographs from that time show that it was a remarkable sight, a touching commemoration of a terrible period that both involved the community and helped to support it.  As 2026 is the official celebration of the 1876 Year of Wonder, the church is celebrating with a special 1876 Liturgy Service on St. David’s Day on 1st March, together with a celebratory bell-ringing performance using the innovative Ellacombe mechanism that was installed in the bell tower in 1876.

 

Highlights of a visit to the church

The church of St Giles approached from Church Street

The church of St Giles approached from Church Street, with the white medieval buildings, nos 7-9 Church Street on the right.

The leaflet and guide book, both available in the church, will give you their recommended features.  I’ve taken just a handful that struck me particularly for these highlights.

The main approach to the church is via Church Street.  This is recommended, as not only can you see the medieval buildings, numbers 7-9, on your right as you approach the church, but you enter the churchyard via the magnificently ornate gate and flanking railings painted in black and gold.  These were made by Robert Davies of Croesfoel forge near the local source of iron at Bersham, and were fitted to buildings on opposite sides of Church Street in 1720, only being moved to their present position in 1820.  The Davies brothers are probably best known for the stunning gates at Chirk Castle.  On the way in to the churchyard of St Giles the legend over the gateway reads O GO YOUR WAY INTO THESE GATES WITH THANKSGIVING AND INTO HIS COURTS WITH PRAISE,” and on the way out, the optimistic “GO IN PEACE AND SIN NO MORE.”


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On the exterior of the church, there is a plethora of masonry features to admire – almost too many to get to grips with.  The 16th century north porch, through which you enter the church, is two-storey and features the Virgin Mary over the entrance.  Today’s 41m tall tower replaced the original tower that collapsed during a storm in 1330, and was built in the early 16th century.  It is impressively elaborate with statues in niches standing on sculptural corbels and topped with ornamented canopies, its top ornamented with plenty of pinnacles and crockets.  The aisles of the main building, feature huge windows with flattened arches along each side, topped with battlements and an army of gargoyles.  The exception, pointed out to me by one of the church volunteers (sorry – I forgot to as your name!) is a lancet-shaped arched window at the west end of the south aisle, which looks like the earlier Decorated arches that make up the interior arcades.  It is the only one of its type along the aisles, sitting to the east of the chancel, and is not visible from the interior where it is blocked by the organ.

The anomalous window at the east end of the south aisle

The anomalous window at the east end of the south aisle

Continuing to walk to the east, the three apse windows each feature elegant ogee frames around the arched windows.  There is not much of the churchyard left, but some fine chest tombs are a reminder that this was once the burial place for all Anglican burials in Wrexham before the 1793 cemetery open on Ruthin Road.

Chest tombs in what remains of the churchyard

Chest tombs in what remains of the churchyard of the parish church of St Giles

 

St Giles and the doe in the north porch

St Giles and the doe in the north porch, 1901

The two-storey north porch, through which you enter the church itself, was added in the early 1500s, and on the exterior has a niche with a sculpture of Mary and child.  On entering, you will see a vaulted roof with a number of ceiling bosses, the central of which, dating to 1901 is St Giles. Straight ahead, but very difficult to make out, there was a painting on the wall, thought to have been of a crucifix, but sadly only a few black lines remain and the original subject matter is impossible to make out.

 

The North Porch

The North Porch

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The entire north aisle (left as you enter the church), entered via a wooden screen at its west end, is designated as a chapel lined with marvellously colourful flags (regimental colours) belonging to the RWF.

The north aisle

The north aisle

Royal Welch Fusiliers window by Joseph Nuttgens

Royal Welch Fusiliers window by Joseph Nuttgens

A window in the north aisle, dating to 1989, is a lively celebration of the Royal Welch Fusiliers by Joseph Nuttgens, showing different uniforms that have been used by the regiment between 1689 to 1989.

The end of the aisle, as you approach the chancel end, note the effigy of Cynerig ap Hywel, mentioned above.  The end of the aisle is now the Wrexham War Memorial Chapel, but was originally a chapel dedicated to St Catherine, whose image appears on the east side of the tower. The alabaster reredos shows the twelve apostles, with the 19th century window above showing the Sermon on the Mount. Note the 19th century ceiling decorated with colourful bosses. Although it was built during the 1847 restoration to resemble the roof in the main nave, the ceiling bosses all represent local organizations, some of which are still operating today.

Inside, as you begin to walk down the north aisle note the 1910 Edward Burne-Jones stained glass on the left, which was moved from St John the Baptist Church in Hightown in 1988, prior to its demolition, originally presented to St John’s by the owner of the Island Green Brewery in memory of his parents.  With its Pre-Raphaelite palette of bright, rich colours and the almost androgynous holy faces, it is a particularly fine piece, showing eight saints from both Old and New Testaments. all on the background of green foliage (John, Peter, Elizabeth, Paul, Isiah, Daniel, David and Elijah).  The lights at the very top are filled with angels with crimson halos and blue wings.  The inscription at the base, with Art Nouveau foliage wending its way along the bottom, records the date of the window being moved, and the reason for its original installation.  It is easy to walk past stained glass windows without distinguishing between them, particularly in a church where there is so much of it, but there are some fine examples in the church of St Giles that are worth noting.  See a complete set of the St Giles stained glass on the Stained Glass in Wales website.

The Louis François Roubiliac memorial to Mary Myddleton c.1747

The Louis François Roubiliac memorial to Mary Myddelton c.1747

The north aisle also boasts a memorial sculpture by Louis François Roubiliac to Mary Myddleton (1688-1747) of the 17th century Croesnewydd Hall (still standing next to the Wrexham Maelor hospital).  Mary Myddelton was the daughter of Sir Richard Myddelton of Chirk Castle.  I normally don’t pay attention to memorials, as they are very rarely designed to blend in with the architecture and are often dreadful carbuncles on the face of beautiful buildings (Westminster Abbey is a prime example), but this one does require recognition, although to modern tastes it is extravagantly ornate and somewhat melodramatic.  It is a rather good contrast to the Doom painting over the chancel arch, showing a completely different style of interpretation of the same foretold event.  Roubiliac (1702-1762) was a highly regarded sculptor in his French homeland, coming second for sculpture in the Académie Royale’s Prix de Rome.  He moved to London in 1730, where he became very fashionable.  The subject shows the Day of Judgement.  An angel in a cloud blows his trumpet to summon the dead, and Mary Myddelton, discarding her shroud, climbs from her black stone tomb, which bears an indistinct inscription.  Behind her is a palm frond, signifying the Christian promise of everlasting life triumphing over death.  The toppling pillar or obelisk in the background represents diveine judgement and the final end of the material world.

Corbel, perhaps Thomas Stanley

It has been suggested that this corbel represents Thomas Stanley, but quite why Stanley should have the ears of a donkey remains unexplained

Unlike most of the church, which reflects the late medieval fashion for the rather severe and highly linear Perpendicular style of gothic architectural design with flattened arches, the parallel arcades that separate the nave from the aisles were built in the earlier Decorative style, with elegant lancet-shaped arches supported on strong octagonal piers (columns). The livelier and more expressive Decorative style is also found in some of the corbel sculptures found throughout the church (bearing in mind that some of them are 19th century, built in the same style).  Original medieval examples include a man with toothache (north aisle) and a mermaid holding a mirror (north arcade, facing into the nave, photo further up this post), a man with donkey ears (behind the pulpit) and a lady, possibly Margaret de Beaufort (on the east side of the chancel arch, at the very top). The 19th century imitations have taken gothic examples as their models and are an imaginative collection that offer an insight into how the late medieval church originally looked.  In the 18th century the arcades were fitted with galleries, which somewhat minimized the elegant impact of the arcades, but were a curiosity in their own right.  They were removed in the early 19th century.

 

 

The 16th century camber beam roof features ornamental bosses and 16 splendid musician angels, each holding a musical instrument or singing.  In his guide to the church, Williams lists the instruments as follows: 10 playing citherns (similar to lutes), 1 with bagpipes, 1 with a double pipe (shown near the top of this post), 2 playing harps, and 2 playing an unknown instrument.  Follow the line of the roof towards the early 16th century chancel, and look at the chancel arch.  The arch was part of the wall at the far end of the church prior to the building of the chancel, it and once housed a vast stained glass window.  Look at the inner line of the arch (photo below) and you will see the remains of the tracery that once held the stained glass.

Above the chancel arch is one of the most remarkable features of Welsh church art – the fabulous Doom painting showing the Day of Judgement.  It is the most complete example known in Wales, thought to be contemporary with the chancel itself.  The central section is much better preserved than those flanking it, suggesting that the central portion may have been covered over at some stage for some time.  The clerestory windows were enlarged to cast light onto it and make it more visible to the congregation, to whom the warning of an impending Judgement Day was directed.  The central scene is missing its upper register, eliminating Christ’s head and shoulders, but the rest of the scene shows him presiding over figures emerging from coffins, the whole composition highlighted against a background of black merging into dark green.  Christ himself is seated on a rainbow, signifying the promise of redemption, and wears a red robe decorated with floral motifs.  Wounds on his hands and feet and in his side are visible.  To his right (the onlooker’s left) is the Virgin Mary in a cloak of ermine with her breasts exposed to indicate her role as mother.  On the opposite side is St John the Baptist in an animal skin, with the head still attached.  Either side of Christ are saints in robes of yellow or red, and beyond them angels with the symbols of the Passion – nails, pincers and lances.  Below this hierarchy of the divine are small naked figures rising from their graves, some in shrouds.  A mitred bishop and a crowned monarch make it abundantly clear that no-one is spared Judgement.  Hell is at the lower right, further down the side of the arch, with rows of barely visible figures and red flames licking upwards.

Faint remains of the painting at far right

Faint remains of the painting at far right

The Doom painting is flanked by two wooden painted angels, with another immediately above. Just before them is a small, bright red feature that looks like a conventional ceiling boss on the roof.  If you have binoculars or a long lens you will find yourself looking the devil in the face.

Within the chancel itself, with its triple-sided apse, is a very fine triple sedilia, for the clergy officiating over services, consisting of three recesses canopied arches set into the northeast wall of the chancel, where the clergy sat during services.  Above the canopies are highly ornamented panels between the pinnacles.  A piscina was sometimes positioned next to the sedilia, but in St Giles this remained in the nave and is now concealed behind the organ.
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The Sedilia

Detail of the carvings above one of the sedilia canopies

Detail of the carvings above one of the sedilia canopies

 

Don’t forget to look at the baptismal font in the ante-nave on your way back towards the tower.  It is octagonal, with a different motif on every face, and is very fine.  Its date is uncertain, but it was known to have been one of the fittings of the church in the 16th century.  It was lost during the Civil War, but was rediscovered in the early 19th century in Little Acton House (since demolished), returning to the church in 1843.

Walking around in the churchyard, keep an eye out underfoot because, as with many churchyards in the area, some of the gravestones have been put into practical use as paving stones.

 

Final Comments

Wooden, painted angel holding a shield, and stone Green Man with foliage growing out of his mouth.

I have no idea why it took me so long to visit the Parish Church of St Giles in Wrexham, but I am very glad that I have not merely visited, but thoroughly familiarized myself with it over a number of visits, and enjoyed it.  As well as architectural magnificence, the church has real heart, and there is an unusual feeling of continuity between past and present.  Sadly, the 17th century fire, the 19th century railway and the painful decisions of the authorities during the 1960s have destroyed much of the older town’s heritage, as happened in many towns in England and Wales.  However, there remain some fine buildings dating to the 18th and 19th centuries, when the church was well used, providing good hints of what the town must have looked like.  Although the medieval town has almost vanished from modern view, the church itself speaks loudly about the importance of Wrexham to northeast Wales from the 13th century onwards.  It continues to feel like a living part of the community.  A very fine building, and a very fine legacy.

2026 is Wrexham’s commemoration of the 1876 Year of Wonder, with events to showcase Wrexham’s Arts, Culture, Industry and Commerce.  As well as marking the four-month long great Art Treasures Exhibition of 1876 and the first National Eisteddfod to be held in Wrexham, the Parish Church of St. Giles is currently celebrating the 300th birthday of their bells, so January 2026 is a good time to talk about the church, and to visit its architectural finery and get a sense of its importance to centuries of community life.
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Visiting Details

The Parish Church of St Giles is very welcoming to visitors.  It is heated, very well lit, with friendly volunteers on hand to answer questions, and is open every day to visitors except Sundays when it is confined to those attending services,or during weddings and similar events.  There is a small shop selling the guide book (including a 41-point self-guided tour on the back – Williams 2018), postcards and souvenirs. There are digital payment posts for taking card donations, which help to keep the church open and well maintained.  Outside, there is a path that enables you to do a full circuit of the church, which is well worth doing so that you can see some of the carvings, big and small, that line the upper levels of the walls and the roof pinnacles.

Binoculars are very strongly recommended.  There are some superb features to see in the interior including the roof itself, the Doom painting and features just above the arcade level which are very high up and cannot be seen clearly without binoculars or a telephoto lens.  Likewise, there are some splendid features on the exterior of the building, and in particular tower, which are not visible without optical assistance.

Small grotesques on the south side of the church.

Small grotesques on the south side of the church. I love the way the drainpipe has been carefully diverted around both the grotesque and the window.

The nearest car parking is behind the church in the St Giles Car Park off Tuttle Street (pay and display) – see fees etc here), for three hours maximum, with a capacity of 69 cars. You can walk out of the car-park straight up a flight of stairs into the churchyard.  The car park does fill up quickly, and parking to the north of the church is better for anyone with unwilling legs, to avoid stairs.  There is plenty of other parking throughout Wrexham.  I often park at the multi-storey car park at Tŷ Pawb on Market Street (What3Words address ///track.lazy.poppy), which is long-term but inexpensive (at least at the time of writing in January 2026) and has elevators (What3Words ///waddled.famed.filer).  On entry into the car park the system records your registration number and you need this to pay on return to the car park, so do make sure that you know what it is!  The pay point (which is thankfully indoors) is outside the pedestrian entrance to the car park and you have to enter your registration before you pay.  I have always found that there is always plenty of room there if other car parks are full.


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Sources:

Leaflets available at the church

The Parish Church of St Giles, Wrexham n.d.  A Brief Guide to the Church. Leaflet with site plan.
(Also available online at https://stgilesparishchurchwrexham.org.uk/index.php/history)

The Parish Church of St Giles, Wrexham n.d. Stained Glass Window Guide. By Dr Malcolm Seaborne 1998


Books, booklets and papers

The foot of the tower, October 2025

The foot of the tower, October 2025

Ebsworth, David 2023. Wrexham Revealed: A Walking Tour with Tales of the City’s History. Carreg Gwalch

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

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

Hubbard, Edward 1986. The Buildings of Wales.  Clwyd (Denbighshire and Flintshire). Penguin Books / University of Wales, p.297-302

Palmer, Alfred, N. 1893. A History of the Town of Wrexham.  Woodall, Minshall, and Thomas.
https://archive.org/details/historyoftownofw0000palm

Phillips, John Rowland 1874. Memoirs of the Civil War in Wales and the Marches, 1642-1649, vol 1.  Longman, Green and Co.
https://books.google.co.uk/books?id=U28LAAAAYAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

Pratt, D., 1997. The Dissolution of Valle Crucis Abbey.  Bridge Books

Price, G. Vernon 1952. Valle Crucis Abbey. The Brython Press

Suggett, Richard with Anthony J. Parkinson and Jane Rutherfoord 2021. Painted Temples.  Wallpaintings and Rood-screens in Welsh Churches, 1200-1800.  RCHAMW. (Dual language, English and Welsh)

de Voraigne, Jacobus 1993 (with an introduction by Eamon Duffy 2012) . The Golden Legend. Readings on the Saints. Translated by William Granger Ryan. Princeton University Press

Williams, D.H., 1984. The Welsh Cistercians. Cyhoeddiadau Sistersiaidd

Williams, W. Alister 2001, revised 2010. The Encyclopaedia of Wrexham. Bridge Books

Williams, W. Alister 2018.  The Parish Church of St Giles, Wrexham. Published by the Parish Church of St Giles, Wrexham.  The best place to find all the most useful information in one place, with an excellent 41-feature annotated map on the back for those wishing to do a self-guided walk. Available to purchase in the shop at the church
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Websites

Cadw
DE158 – Wrexham Churchyard Ornamental Wrought Iron Gates and Screen 
https://cadwpublic-api.azurewebsites.net/reports/sam/FullReport?lang=en&id=309

The Church in Wales
Angel festival for Covid victims attracts thousands. 13th January 2022
https://www.churchinwales.org.uk/en/news-and-events/angel-festival-for-covid-victims-attracts-thousands/

Civic Heritage
Wrexham Gateway, Wrexham. Archaeological Desk-based Assessment. July 2025
https://spawforths.co.uk/wp-content/uploads/2025/07/Archaeological-Assessment-Compressed.pdf

Clwyd Powys Archaeological Trust / Heneb
Wrexham Churches Survey: Church of St Giles , Wrexham
https://heneb.org.uk/archive/cpat/Archive/churches/wrexham/106012.htm

Heneb
Clwyd Powys Archaeological Trust – Historic Settlement Survey – Wrexham County Borough
https://heneb.org.uk/archive/cpat/ycom/wrexham/wrexham.pdf
Wrexham Churches Survey – Church of St Giles, Wrexham
https://heneb.org.uk/archive/cpat/Archive/churches/wrexham/106012.htm

Historic England
Sundial, Approximately 2 Metres West of Tower of Church of St Giles
https://historicengland.org.uk/listing/the-list/list-entry/1116496

historypoints.org
St Giles’ Church, Wrexham – audio file recording the bells
https://historypoints.org/index.php?page=st-giles-church-wrexham

Howard Williams Blog – ArchaeoDeath
Where can you visit Wat’s Dyke in Wrexham?
https://howardwilliamsblog.wordpress.com/2019/01/03/where-can-you-visit-wats-dyke-in-wrexham/

National Archives Currency Converter
https://www.nationalarchives.gov.uk/currency-converter/

Public Statue and Sculpture Association
Louis-François Roubiliac (1702–1762)
https://pssauk.org/public-sculpture-of-britain/biography/roubiliac-louis-francois/

Stained Glass in Wales (University of Wales)
Church of St Giles, Wrexham / Wrecsam
https://catalogue.stainedglass.wales/site/103

Welsh Government
Wrexham Town Centre Conservation Area Character Assessment and Management Plan. 2009
https://www.wrexham.gov.uk/sites/default/files/2023-04/wrexham-town-centre-cons-area-assessment.pdf 
Press release: Historic Church of St Giles nears end of essential conservation works. 8th August 2025
https://www.gov.wales/historic-church-st-giles-nears-end-essential-conservation-works

Wrexham’s Year of Wonder 1876 – 2026
https://wrecsam1876.co.uk/

Wrexham.com
Views of 1970s Wrexham From Top of St Giles Tower (most usefully including photos of the Wrexham-Ellesmere railway line that ran just under St Giles until sometime after the railway closed in the early 1980s)
https://wrexham.com/news/view-of-1970s-wrexham-from-top-of-st-giles-tower-100315.html

Wrexham Heritage Trail
Home Page
https://reesjeweller.co.uk/heritage/index.html
Map
https://reesjeweller.co.uk/heritage/mapsmall.html
Town Hill
https://reesjeweller.co.uk/heritage/town_hill.html
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One of the carved crosses in the north aisle

One of the carved crosses in the north aisle

Reredos in the north aisle chapel

Reredos in the north aisle chapel showing the 12 apostles

 

Exhibition: The light and bright “Print International” at Tŷ Pawb, Wrexham

Currently on display in Wrexham’s Tŷ Pawb art venue is the Print International exhibition that ends on 24th January. Print is not something that I know anything about.  Combining art and craft in a creative marriage of aesthetic refinement and technical skills, it has always seemed even more out of reach, physically as well as conceptually, than the more direct relationship between the artist and her/his brush and pencil on paper.  All the teaching in traditional art history that I received back in the Jurassic seems to have left me more than somewhat ill-equipped to assess what print is all about.  All the more reason to go and see a selection of different techniques and a variety of aesthetic concepts and approaches in a single exhibition.

The gallery at Tŷ Pawb has been organized beautifully to display all the pieces to advantage, open and light-filled.  Whether you are very familiar with print as a medium, or a complete novice like me, the Print International exhibition offers the opportunity to engage with an enjoyable and appealing series of bright, light, clean, art works, happily counteracting some of the more greyscale and muddy aspects of winter’s usual offering.

Andrew Wilson. Broken Clock. Copper photogravure

The exhibition was not about explaining print as an art form.  The information boards described the different workshops and artists represented (see list at end), but chose to let the art works speak for themselves, which allows the viewer to assess each piece on its own visual merits, but does not help to demystify how the effects were achieved or why print may be just as powerful as a medium of expression as the more traditional and conventional forms of artistic output.  Divorcing print from other types of artistic medium, however, concentrates the mind wonderfully on what this medium has to offer.

As the Wrexham-Chester area tips more firmly into winter, what was striking was how light-filled and bright the exhibition was, the perfect anecdote to seasonal murk and mire.  It was the lightness of touch that struck me most in the prints on display, including the careful colouring, delicate and gentle in one corner of the room, bold planes of attention-grabbing colour in another, with plenty of stark and arresting monochrome to balance the brighter, lighter shades.  Multiple textures were also on display, with flat surfaces of colour, heavy linearity, spidery filigree, tactile surfaces and subtle washes.  Topics included the representational, pure pattern and pure abstract, and every combination in between. Very attractive experiments were made with text as an art form, as well as more conventional text- and icon-based posters.  If you are familiar with printing techniques, there are plenty of different approaches of these on display too.

The photos below were taken on my smartphone, so are a bit feeble (it and I don’t seem to have a particularly empathetic relationship), and the reflections don’t do them many favours with my shadowy image in some of them, but hopefully give a sense of what’s on show.  See more, with different prints from those below shown, on the Tŷ Pawb website, which also has details of opening times etc.

Martine Baldwin. Shelter. Woodcut

Paul Hogg. City. Screenprint

Tara Dean. New Growth (top) and From Here (bottom). Screenprint

Thomas Gravemaker. Typographic Posters. Letterpress

Michelle Woodward. Erddig. Lino print

Inga Eicaite. B-04. Etching

 

Matt Martin. Get Thee Behind Me Satan. Screen print and mixed media

Lee Nutland. Skeletons I, Pentre Ifan. Copper photogravure

Nicola Scott. A touch of Eva n3a. Callagraph with watercolour

David Armes. Between Sun Turns. Letterpress

Aafke Metens. Deidad. Risograph

No.5 Bus extra evening services

Thanks to the March 2024 Focus LibDem newsletter from Paul Roberts for the information that the operating hours of the no.5 bus service between Chester and Wrexham via Churton, Farndon and Holt have been extended.  This is very welcome news.

Part 4: Who was Brymbo Man, what was the Mold Cape and why do they matter?

Part 4: Pulling together some of the threads

This is the last in a 4-part series about the Late Neolithic – Early Bronze Age in northeast Wales, with special reference to Bryn y Ffynnon, Brymbo (where Brymbo Man and a very fine Beaker were located) and Bryn yr Ellyllon, Mold (where the gold Mold Cape/s and accompanying artefacts of bronze, copper and amber were found).  The Introduction and an overview of how the two sites were found are in Part 1.  Discussions of Bryn y Ffynnon and Bryn yr Ellyllon are in Part 2 and Part 3 respectively.

Left to right: The process of the reconstruction of the face of Brymbo Man from the Bryn y Ffynnon grave. Source: Wrexham Borough Museum. One of the geophysical surveys from the field in which Bryn yr Ellyllon was found. Source: Tim Young 2013. Screen-grab from British Museum video showing school children looking at the Mold cape. Source: British Museum video at the end of this post

This final part, Part 4, takes a closer look at some of the themes touched on in the previous discussions.  I have not attempted to provide a summary of the Early Bronze Age, which is done very well in numerous books, a number of which are recommended in Final Comments, the rest listed in the Sources in Part 1.  Here I have cherry-picked key issues that are relevant to discussions about the Early Bronze Age in northeast Wales.

  • Introduction to Part 4
  • Other types of site
  • The arrival of the Beaker phenomenon
  • Negotiating the role of the dead in the world of the living
  • Copper and gold in northeast Wales
  • Lost Data, Missing Data
  • Why do these sites and their associated ideas matter?
  • Wrapping Up
    • Final comments
    • Visiting
    • Useful videos
  • The sources for all four parts are listed at the end of Part 1

Introduction to Part 4

The Late Neolithic and Early Bronze Age, c.2900-1400BC, are usually discussed together due to their similarities.  The Bryn yr Fynnon site that was found in Brymbo, and the Bryn yr Ellyllon site found near Mold both belong to this period, but each represents different approaches to the same tradition of burying the dead with or without barrows or cairns and in stone cists with grave goods.  In northeast Wales the archaeological remnants that define aspects of Late Neolithic and Early Bronze Age life are largely funerary, with very little in the way of settlement data, which provides a distinctly lop-sided view of livelihoods.  There are only a small number of other site types in northeast Wales and these are very rare.

Other types of site

As explained in Part 1, so much data about the Late Neolithic – Early Bronze Age of northeast Wales comes from round barrows and cairns.  Although they are easily dominant, they are not the only types of sites belonging to the period.  A wide variety of site  types are found in other parts of Britain, although funerary data dominates everywhere.  There are isolated examples of some of these other types of site in northeast Wales.

Penbedw stone circle to the northwest of Mold, off the A541. Not open to the public. Source: Coflein

Stone circles are dotted throughout north Wales, but are concentrated mainly in the northwest and are rare in northeast Wales.  Timber circles are now being recognized throughout Britain, but they are rare in Wales and none have so far been identified in northeast Wales.  Timber rots in our damp climate, so stone circles are better represented but it is becoming clear that timber circles were just as prevalent, if not more so, in areas where wood was readily available.  Dating of stone and timber circles is uncertain but they were built somewhere in the 3000-2000BC range, may be large or small and are thought to have served a ceremonial role. 

Henges are rare throughout Wales.  They consist of circular spaces contained by outer banks and inner ditches with entrances, and were sometimes used to enclose earlier sites like stone and timber circles.  Dating is uncertain here too, but they span the period of somewhere around 2600-1750BC.

Settlements are only rarely identified and are usually very ephemeral, usually consisting of little more than scatters of domestic debris including pottery sherds, stone tools, small pits and some signs of hearths.  Only very occasionally does an excavation produce signs of a structure, which are often circular or broadly oval.

Stone cists (stone-line graves) without round barrows or cairns are by no means unknown.  Although in some cases the barrows and cairns have been removed in modern times, there is some evidence to suggest that in some cases the cist was never provided with a mound.  Brymbo could fall into either category.

Round barrows without burials are also found.  This implies that although the two sites discussed here have a funerary component, the barrow might have an important role of its own too, perhaps indicating territory, ancestral links with the landscape or an affinity with a broad set of ideas connected with how humans lived in and used the landscape, and built up relationships with the landscape and environment.

Cremation is the dominant funerary tradition in the latter part of the Early Bronze Age, from around 1850 to around 1500BC.  Secondary depositions in earlier round barrows, such as the one in Bryn yr Ellyllon are common, but cremations may be unassociated with any enduring monument.

There are several other types of site in Britain during this period but so far none of them have been identified in northeast Wales.

The arrival and spread of the Beaker phenomenon

Map of findspots of, amongst other things, Beaker burials, showing how they were largely confined to lowland positions in northeast Wales. Source: Lynch 2000, fig. 3.2, p.86

The skeleton found in the Bryn y Ffynnon burial in Brymbo was interred with two objects.  One was an undistinguished flint tool, lightly worked on both sides.  The other object was a very fine Beaker, a style of pottery that was introduced from Europe and began to spread throughout Britain as part of a new  tradition that initially included not merely a single burials under round barrows, but also came with distinctive, new types of grave good. This new funerary convention clearly represented very different ideas to those in the previous periods.  The Brymbo Beaker itself was discussed in Part 2. The entire Beaker period is sometimes referred to as the Chalcolithic (copper-stone age).

As Frances Lynch’s 2020 map (right) demonstrates, Beaker sites cluster along the borders and coastal areas, but do not penetrate the inner areas of Wales, although Wales is smothered with round barrows and cairns, as shown on one of the maps in Part 1.

The earliest European Beakers and associated objects appeared in Britain during the Late Neolithic – Early Bronze Age and were very distinctively shaped and last between around 2500 and 2200BC.   It is now generally agreed that Beakers mark the arrival of people from various parts of western Europe, who brought their own distinctive traditions with them.  This European origin for the Beaker tradition has been researched by a number of multidisciplinary groups including the Beaker People Project and the Beakers and Bodies Project. These research projects have used conventional analysis supplemented by radiocarbon dating and by strontium and oxygen isotope analysis on human bones, the latter discussed briefly in Part 2, to help investigate the origins and spread of the Beaker phenomenon.

All known Beakers in Wales in 2000. The Brymbo Beaker is number 14 (Step 5). Source:  Lynch 2000, fig.3.13, p.116-7, based on a 1972 scheme by Lanting and Van der Waals.

Why did these European visitors or migrants come to Britain?  There are two popular arguments, which are not mutually exclusive.  The first is that already peripatetic  individuals, perhaps traders, were attracted by the news of the ceremonial centres of Wessex, such as Avebury and Stonehenge, which have no exact parallels in western Europe.  On the other hand, it is possible that these vast monuments were a response to the incursion, rather than a reason for it.  A second is that individuals came either to sell copper objects to indigenous groups, impressing them with the sharpness of blades and the durability of tools that could be recast when exhausted, or to search for new sources of copper.

Whatever motivated people to venture from Europe into Britain, bringing new burial approaches and ideas with them, the consensus is that the Beaker phenomenon spread through Britain after what archaeologist Stuart Needham refers to as the “Fission Horizon” at 2200BC.  Perhaps these early metal users impressed indigenous people with both the utility and magic of early metalwork and different ways of conceptualizing life and death, and the transition from one to the other.  The widespread dissemination through Britain produced geographical clusters such as those in northeast England and Scotland, but the new burial tradition became ubiquitous everywhere.  As Beaker style burials found their way into new areas, communities  demonstrated their own interpretations, cherry-picking what they wanted from the European tradition until it had become something adapted for local needs, preferences and beliefs.

The spread of the tradition is usually, although not exclusively, thought to have been by emulation rather than ongoing immigration.  The reasons for the adoption and spread of these novel approaches to funerary practice and the ideas that produced them, is still poorly understood, but may have much to do with personal identity and how it is received by the dead, and conferred by the living. In northeast Wales burials were usually isolated or in pairs, rather than in the clusters that can be found elsewhere.

Negotiating the role of the dead in the world of the living

Cairns and barrows just to the north of Llangollen in the Eglwyseg range. Source: The excellent Megalithic Portal website (search term “Llangollen”)

As prehistorian Richard Bradley points out, using a handful of remarkable graves containing exceptional artefacts cannot be taken as representative of the greater majority of sites that have either more modest grave goods or no objects at all, but although they are untypical, the burials at Brymbo and Mold illustrate a point about all funerary sites of the period, which is that no two round barrow burials is the same. Although there are recognizable similarities between most sites (such as round barrows or cairns, central stone-built cists, crouched skeletons, grave-goods and secondary burials), the objects accompanying the dead represent multiple ideas and choices.  The perception of objects as mediators of human activity is well attested in all areas of modern, historical and prehistoric lives, and the selection of objects, or the absence of them, represents choices being made within broader funerary traditions.  When a living person dies, they still have a presence and a role until they have undergone some sort of transformation process, to mark the change of status.  A family, group or community may find itself trying to redefine itself in relation to the loss, even if they believe that the deceased is headed for an afterlife, and the objects deposited with the dead may have been part of that process.

The crown of the Queen Mother, 1937. Source: Historic Royal Palaces

Because of our own hierarchical society it is easy but not always wise to assume that the burial of a single person in a marked grave reflects a clearly delineated social role, such as king, queen, chieftain or priest.  When a grave is accompanied by something as rich as the Mold cape, that can be a challenging idea, because it feels instinctively as though the cape and the person belong together, the one conferring status on the other, both reflecting the dead person’s position in life.  On the other hand, what would it say about our own society if the Queen had been buried with the Crown Jewels?  It would certainly suggest that something startling was happening within the royal family, the monarchy and the nation.

Tutankhamen. Photo by Jon Bodworth.

In Part 3, Bryn yr Ellyllon and the Mold cape were compared to the burial of  the Egyptian pharaoh Tutankhamen, as an analogy.  The burial of valuable objects may sometimes be more about disposing of earlier ideas than celebrating the them.  The Tutankhamen burial illustrates how it is the living who bury the dead, and the living may have firm views on what aspects of the living world should be disposed of at the same time.  A burial may reflect a lot of complicated ideas that may therefore have very little to do with an individual’s status in life, and the role of someone in death may be very different from the position or status, if any, that they held in life.

There are many different models of appropriate funerary behaviour.  In the Medieval period, for example, Jewish communities often adhered to the Old Testament’s view that “the rich and poor meet together in death,” indicating that material goods were only valuable to the living, often resulting in few if any grave goods and minimalist grave markers.

In the case of the Late Neolithic – Early Bronze Age, although a specific burial rite and the objects interred with the dead represent conscious choice based on the meaning of that object both in terms of a living community and in terms of how that community re-positions itself after a death, it is very difficult to know whether it is the identity of the living or the dead or the relationship between the two that is being worked through.

None of this directly addresses the questions of what the Beaker meant in one grave, or why such a remarkable collection of items was buried in another, but it does suggest there are many ways of understanding what objects are doing in graves in prehistory.  Whatever the value and meaning of the objects chosen to accompany the dead, both resided not in the material alone but in how the material had been modified and objectified to become embedded with ideas that were connected to the identity of the dead, or to the object’s role as a link between the living and the dead, and to the ideas of physical and spiritual transformation.

Copper, bronze and gold in northeast Wales

The Moel Arthur axehead hoard. Source: Frances Lynch, The Later Neolithic and Earlier Bronze Age in Prehistoric Wales, p. 101, figure 3.7

Because the copper mines of the Great Orme were referred to with reference to Bryn yr Ellyllon, and because the cape was made of gold, and other objects of copper and bronze were present in the grave, a brief overview of how metals were acquired in northeast Wales seems pertinent. The earliest known worked source of copper within easy reach of Wales is in southwest Ireland at Ross Island at around 2400BC, associated with European Beaker pottery, and possibly the result of one group’s prospecting activities.  The earliest Bronze Age (often referred to as the Chalcolithic) is represented in northeast Wales mainly by finds of thick-butted flat axe heads with high copper content in non-funerary contexts, including those from Halkyn, Moel Arthur, Iscoed Park and Caerwys, dating to between 2500 and 2300BC some of which, such as the Moel Arthur hoard, were probably from Ireland.  Later examples were made locally.

In northwest Wales the most important copper mine was Parys Mountain on Anglesey, which is better known for being worked extensively in the 18th and 19th centuries.  On the western edge of northeast Wales, on the coast just west of Llandudno, were the Great Orme opencast and underground mines, radiocarbon dated to between 1700 and c.900BC, still operating several centuries after other copper mines in Britain had closed.  There is an overlap here between the earliest phases of  the Great Orme mine and Bryn yr Ellyllon, Mold.  The opencast mines, where the copper was clearly identifiable green seams of the mineral malachite and relatively easy to access.  The  doleritized limestone and shales, surrounding the ore were soft and easily removed with bone tools. More resistant stone could be detached from outcrops by setting fires against the stone, causing it to crack it into manageable chunks.  The fire-setting would have required large quantities of wood, and may have had an impact on the local environment.

Archaeological exploration at the Great Orme. Source: Great Orme Bronze Age Copper Mines

Opencast mining was followed later by underground tunnelling of galleries for more difficult to reach seams, with galleries so narrow and low (some of which were no larger than 0.3m wide and 0.7m high) that it is thought that only child labour could have been used to work them.  Tools from the Great Orme mines included hammer-stones and cattle bone tools (leg and rib bones used as pickaxes and shoulder blades as shovels) were found in their thousands, together with bronze fragments.  The tunnelling probably coincided with advances in bronze, dependent on the knowledge of how tin could strengthen tools when added to copper (ideally with 10% tin to 90% copper).  The tin was presumably sourced from Cornwall, although evidence remains elusive.

At the Great Orme there are no traces of a settlement or even a domestic refuse site, meaning that there are no clues available about how the mining activities fitted into other livelihood activities.  It is not known, for example, whether specialized teams worked the early mines, or if all suitable members the community were leveraged.  Nor is it known if this was, at least early on, a seasonal activity that was fitted in around other economic pursuits, or whether even when mining first began it was a year-round occupation.  Later, as the mines went underground, the tunnelling alone would have been very labour-intensive, implying full-time operating, but at the time of the Bryn yr Ellyllon site, matters remain opaque.

The Caergwrle Bowl, found in Caergwrle, northeast Wales. Source: National Museum of Wales

Gold was not adopted until a requirement emerged for objects of beauty and prestige rather than everyday functionality.  Gold is too soft to be of any practical use.  Only stray items survive, presumably because terminally damaged items were melted down and worked into new objects.  Several early examples are from Ireland and southwest England.  Examples of Bronze Age goldwork from northeast Wales include the Mold cape(s), the Caergwrle bowl, and an object from Ysceifiog described as a waist tore.  Gold could be found in mid and north Wales, and could be sourced from local streams in northeast Wales, with a possible source for the Mold cape gold mentioned in Part 3.

Lost Data, Missing Data

In the case of Bryn yr Ellyllon, by virtue of the fact that it was plundered rather than excavated, the site stands out as a one of Britain’s most hair-raising examples of how important formal, systematic excavation really is.  The gold cape is lovely, but it is only part of a story that has so many missing components, including both skeletal remains and textiles that were mentioned in the contemporary correspondence but were not retained.  It is agony to know that prior to 1833 the site was undisturbed and could have imparted so much valuable information about the Early Bronze Age in northeast Wales.

This issue is as relevant today as it was in 1833.  Metal detectorists and archaeologists have been working much more efficiently together over the last two decades, and the Portable Antiquities Scheme works with the public to help map object findspots and identify potential sites, but damage to a site to locate objects may be irreversible.  As the British Museum’s Neil MacGregor says

It’s why archaeologists get so agitated about illicit excavations today.  For although precious finds will usually survive, the context which explains them will be lost, and it’s the context of the material -often financially worthless- that turns treasure into history.

It is even worse when formal excavations are not published.  Even the most professionally conducted excavation is an act of destruction, and the precise recording of the site and subsequent publication are the only means by which the site can contribute to research.  The site of Llong near Bryn yr Ellyllon, which produced a jet bead necklace, was the subject of an official excavation in the 1950s but was never published.  This represents an unforgivable archaeological failing.  it was left to Frances Lynch, some 30 years later in the 1980s, to try to pull together the essentials, but even given her excellent attempt to reconstruct the findings, the gaps are sad.

The Whitehorse Hill burial bracelet made of cattle hair and studded with tin. Source: Dartmoor National Park

Data is also lost thanks to the British climate and its destructive effects on perishable items, referred to by archaeologist Linda Hurcome as “the missing majority” on the grounds that by far the greater number of structures and objects in prehistory would have been made of perishable materials that decayed centuries ago.  The textile at Bryn yr Ellyllon is one example, but a more vivid illustration is a burial on Dartmoor in Devon called Whitehorse Hill.  At that site burnt bones were wrapped in a bear pelt and were accompanied by remnants of textile attached to calf skin, a basket, a cattle hair arm band and wooden studs.

Why do these sites and their associated ideas matter?

I started off asking why the burials containing Brymbo Man and the Mold Cape and their Early Bronze Age neighbours might matter.  There are many answers to that question, and you may have a few of your own to add.  

Recreating the past: adding to the bigger picture

Our knowledge of prehistory is fluid.  The idea that the past is static is challenged every time a new site or object is found and explored in detail, and  our understanding grows as new sites and objects contribute to the picture, and new research programmes examine whatever remains poorly understood and under-investigated.  Sites and objects only really start to matter when they are put together with other sites dating to the same period to get to grips with the contemporary social and economic context, which can in turn be compared and contrasted with those of different periods to enable a better understanding of how change happens.

Neal Johnson’s useful visual timeline of the Early Metal Age, showing how bringing together excavated data can help archaeologists to understand when and how technological, economic and social changes occurred. Source: Neal Johnson 2017, p.7, fig.2 (in Sources at the end of Part 1). Click to enlarge and read clearly.

Change is one of the special domains of prehistoric archaeology, because prehistoric research deals in multiple decades and centuries rather than months and years.  Archaeological research into livelihood management and change helps to offer ideas about what drives people to make changes in economic dimensions of their lives, and how this happens.  It also helps us to understand how economic changes and the adoption of ideas, whether local innovations or arrivals from Ireland and Europe, can impact cultural changes (changes in the material record), which in turn reflect how people think, how they translate ideas and beliefs into new actions, monuments and objects.  How these differ from one area to another, and across different topographical landscapes, is another line of inquiry, helping archaeologists to piece together regional identities.

Getting to know people who were rather like us

The separation of Britain from Europe at the end of the last Ice Age. Source: Richard Bradley 2019, p.10. fig1.5

Now that chronological frameworks for different regions in Britain are being refined it is possible to take up the challenge of learning how people lived their lives and expressed their ideas.  Fully modern people, Homo sapiens sapiens, arrived in Europe some 40,000 years ago.  When the ice melted following the last Ice Age completely severed Britain from the European mainland at around 6,500 BC.  Although initially characterized by livelihoods based on hunting, foraging and fishing, with different phases marked by new tool technologies, the introduction of cereals and livestock that had originally been domesticated in the Near East provided British communities with additional means for differentiating themselves from their European neighbours.  Even so, it is clear that by the Late Neolithic, cross-channel connections had been established and continued to be maintained throughout the Bronze Age and later prehistory.

Everyday lives during the Late Neolithic and Early Bronze Age were confronted with hurdles far more difficult than ours to overcome with the unsophisticated technologies available, and people had very little in the way of medicinal resources to treat injuries and health problems.   Lifespans were shorter, options more limited, and ideologies and beliefs were different, but families and communities had the same problem-solving abilities, tackled daunting decisions about risks and opportunities, and had their own traditions about how to behave under any given circumstances.  The objects that they made and modified might be simple tools for specific tasks but they might also have important roles a heirlooms, in creating identity, building up memories and negotiating the difficulties of rites of passage, including death.  The people who buried the individuals in Brymbo and Mold and their contemporaries are recognizable versions of ourselves, and they have left a rich legacy of their past presence both on and under the landscape.

Fairy Mount round barrow in Wrexham. Source: Geograph, by Geoff Evans

Almost wherever you go in northeast Wales, you are sharing the landscape with the prehistoric people who worked the land, engaged in long-distance trade, designed and manufactured both beautiful and utilitarian objects and built round barrows and other monuments, a surprising number of which have withstood the ever expanding agricultural and urban dimensions of modern life.  The round barrows are very easy to find, even in Wrexham itself.  This makes for a rich experience, with round barrows providing a real sense of how Bronze Age family groups or communities put their stamp ubiquitously on the uplands and lowlands of northeast Wales.  Sharing the past in the present is an opportunity to hear and respect the many hundreds of prehistoric voices can be heard if we take the time to listen. The fact that the past requires quite a lot of unravelling is just part of the ongoing enjoyment.

Connecting with the interested public

Brymbo’s Bryn y Ffynnon and its occupant have become more important than the sum of their parts by helping to explain prehistory to the public in the Wrexham County Borough Museum.  Both adults and children may be interested in prehistory but find it very difficult to find a way of approaching it.  By reconstructing the tomb in the museum itself, and by giving the partial skeleton a moniker, “Brymbo Man,” and commissioning a specialist to give him a face based on what remains of his cranium, the museum has used the grave to form a bridge between the present visitor and the past world of Beaker burials.  Videos and information boards, and exhibits with contemporary objects help to bring the Early Bronze Age of northeast Wales to life.  It really is terribly well done.

Screengrab from a British Museum video about the Mold Cape, shown at the end of this post.

The Mold Cape is also great PR for the Early Bronze Age in Wales.  It is a huge draw for tourists worldwide in the British Museum, and the source of fascination for British school children, as shown in the video at the end of this post.  A single piece of truly remarkable bling is not representative of this or any other period, but if it draws attention and results in questions to be asked, and children wanting to know more, it is doing a very good job for raising an awareness of prehistory and its complexities in the here and now.

Final Comments 

Frances Lynch, writing in 2004, commented: “It is difficult to clothe the bones of prehistory in flesh and blood, to provide people with a picture of society to which they can relate,” and this is clearly the case here.  By choosing two remarkable sites, a Beaker burial that is right on the edge of northeast Wales and the Mold cape assemblage, I have picked two sites that are anything but typical.  However, I hope that these two sites, each containing different levels of data preservation and each exemplifying different archaeological problems, have gone some way to explaining how fascinating prehistoric sites can be, both individually and as representatives of a bigger picture.

Two palstave axehead moulds found by a metal detectorist on Conwy Mountain near the Great Orme, and declared Treasure. Now in the collection of the National Museum of Wales. Source: National Museum of Wales, via the BBC News website

Prehistory often feels elusive, intangible, and really quite difficult to grasp, but as archaeologists employ increasingly sophisticated survey, excavation and post-excavation methodologies and approaches, and bring more  scientific techniques to bear, prehistoric livelihoods and worldviews become infinitely more accessible.  Well-presented museum displays, television productions and publications aimed at wide audiences help to support the public, of all ages, as they begin to discover not only what remarkable objects survive from prehistory, but to understand how they may help to tell us about the surprising complexities incorporated into prehistoric livelihoods.  These exist in a past that is distant, but in which people are still easy to recognize, and whose livelihoods, interests, hopes, concerns and losses may be readily identified with today.

Further reading
The full set of sources (books, academic papers and websites) that I have used for all four parts are listed at the end of Part 1.  If you are interested in learning more about the Late Neolithic – Early Bronze Age in Wales, Frances Lynch’s chapter The Later Neolithic and Earlier Bronze Age in the 2000 book Prehistoric Wales by Frances Lynch, Stephen Aldhouse-Green and Jeffrey L. Davies is a very useful introduction.  Steve Burrow’s 2011 book Shadowland, Wales 3000 – 1500BC about Welsh prehistory published by the National Museum of Wales includes good digestible accounts of the period.  Neal Johnson’s 2017 academic monograph Early Bronze Age Round Barrows of the Anglo-Welsh Border has some very good background information but focuses on round barrow clusters that are rarely found in northeast Wales.  For a comprehensive academic overview on Britain’s prehistory, Richard Bradley’s 2019 wide-ranging The Prehistory of Britain and Ireland provides an excellent foundation course.  All can be found in Sources at the end of Part 1.


Visiting

Both sites have been destroyed, so neither can be visited in the field, which underlines the importance of publishing what remains of known sites.  We are fortunate that in both cases the objects from the site were preserved and can be visited in museums.

The Brymbo cist and capstone, the skeleton found within the cist and the objects that accompanied the dead are preserved at the Wrexham County Borough Museum.  The Mold cape and associated objects are now held in the British Museum in London, and the cape has a prominent position in Gallery 51.  Details of both museums are as follows:

Wrexham County Borough Museum. Source: Wrexham Heritage and Archives Service

Wrexham County Borough Museum
The excellent Brymbo Man display in the Wrexham County Borough Museum is free of charge to visit, as is the rest of the permanent museum display.   The display includes some really good videos and information about the reconstruction of the Brymbo Man head and face, together with a holographic representation of the head. There is plenty of parking in Wrexham, and the museum is a short walk from the bus station. Hot and cold drinks, and some great cakes, snacks and lunches are available in the museum’s very attractive conservatory café.  See the Wrexham County Borough Museum website for visiting details: https://www.wrexhamheritage.wales

British Museum, London
The Mold Cape is in Gallery 51.  The British Museum’s permanent galleries are free to enter.  Parking is well nigh impossible.  The nearest Underground station is a 10-15 minute walk away, but there are plenty of buses that go past the front and back doors, and in London there are always taxis.  Within the museum, coffees and lunches are available in the cafés and the upstairs Great Court Restaurant (expensive but good, often with exhibition-themed special menus), and there are plenty of pubs, cafés and restaurants nearby.  The further afield you go from the tourist hot-spots, of course, the lower the prices become 🙂  For visiting details see the British Museum website for more  information. https://www.britishmuseum.org/


Helpful videos
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Part 3: Who was Brymbo Man, what was the Mold Cape and why do they matter?

Part 3: What we know about Bryn yr Ellyllon (and the Mold Cape)

Detail of the Mold Cape showing not only the embossed decorative themes, resembling beads, but also the holes at the top, by means of which a textile garment and/or reinforcing copper pieces could have been attached.

In Part 1 of this four part series, the early Bronze Age sites of Bryn y Ffynon (Brymbo) and Bryn yr Ellyllon (Mold) were introduced, the circumstances of their discovery described, and the two graves were set in the context of some of the early Bronze Age sites in northeast Wales.  Part 2 discussed the Bryn y Ffynon (Hill of the Well) burial, probably better known as the grave of “Brymbo Man,” one of the star exhibits in the Wrexham County Borough Museum.

This third post follows a very similar format to part 2, and takes a detailed look at Bryn yr Ellyllon, sometimes referred to as “the gold barrow,” a grave that as well as the Mold Cape produced remains of what is thought to have been a second cape, as well as around 300 amber beads, some interesting bronze and copper objects and some traces of textile.

Unlike Bryn y Ffynnon at Brymbo, where some of the skeletal remains are preserved and provide important information about the individual and the burial rituals, the remains of the individual found under the big cairn at Bryn yr Ellyllon (Hill of the Goblins/Sprites/Ghosts) just outside Mold in the Alyn valley, were disposed of at the time of the grave’s discovery.  This means that nearly all the focus is on the limited information available from the grave’s construction and, more helpfully, what the accompanying artefacts may reveal if they are to be considered in terms of knowledge rather than art.

Approximate location of Bryn yr Ellyllon just outside Mold, and just off the A541 to Chester (now no longer extant). Source: Coflein (annotated)

This post is structured as follows:

  • The grave, including both the primary and secondary burials
  • The grave goods
  • The skeleton
  • Funerary rituals
  • Dating
  • Who was the owner of the Mold Cape?  Was he or she important?
  • How did the owner of the Mold Cape make a living?
  • Final comments on Part 2

The bibliographic sources for all four parts can be found at the end of Part 1.


The cairn, the primary grave and the secondary burial

Source: Frances Lynch 2003, table 3, p.28

The original the site of Bryn yr Ellyllon is in a field behind a row of houses just outside Mold and just off the A541.  The river Alyn runs only a short walk away, at the end of the field.  The cist (burial chamber) was concealed beneath a stone cairn (circular mound of stones), revealed when the stones of the cairn were removed for use as raw material to fill in a hole at the side of the road.  A geophysical survey carried out in 2013 may have identified the original site of the cairn, suggesting that it was around 25m in diameter.  The cairn was quite a large one, but according to Frances Lynch’s summary of cairns and barrows in the Flintshire and Wrexham areas (see table right), it is by no means the largest.  Nothing is known about how the cairn was built.  It is worth noting that the nearby and broadly contemporary Llong barrow was not merely thrown together but constructed in deliberate layers, and may have been expanded over time, subsequent to the initial burial.  A sense of design is a frequent feature of the cairns and barrows built over cists, but the data here has been lost.

Unlike Bryn y Ffynnon at Brymbo, where any burial mound failed to survive, the Bryn yr Ellyllon site near Mold was marked by a burial cairn that performed the role of a conspicuous visual prompt, a device that connected the living, the dead and the landscape.  The importance of this visual device was ongoing, as demonstrated by the later, secondary cremation burial also deposited in the cairn.  Throughout northeast Wales and other regions, the sheer number of these sites suggest that it was important to broadcast ideas that were widely understood, perhaps in connection with both ancestry and territory.

Underneath the cairn it is thought that there was almost certainly  a stone-lined cist, what landowner John Langford referred to as a “rough vault,” which contained the burial.  This excerpt from John Gage’s 1835 report explains the doubts about the exact nature of the discovery:

I think, from the details set forth by Mr. Clough as to the state in which the things were found, that the chief deposit must have been protected from crushing weight.  Is it not  therefore natural to suppose that some of the large stones were so disposed that they formed something of a rude cistvaen, such as is frequently found in carns (sic), and that the labourers employed in levelling the mound, being unconscious of what they were about, did not remark it?

A rarely mentioned secondary burial appears to have been made within the cairn itself.  The secondary burial is described as being two to three yards (6-9ft / 1.8 – 2.7m) “from the spot where he [the primary burial] lay.”  As well as the distance from the cist within what is thought to have been a 25m diameter cairn (which puts it well within the cairn’s diameter), another reason for thinking that this urn burial was deposited in the same cairn is Reverend Clough’s comment that “examples of cremation and inhumation of human bodies are sometimes met within the same barrow,” implying that in this case too, both of the burials were contained within the same cairn.  

To provide some sense of how cairns and barrows could have complex use-histories, this plan shows Barrow 1 at Trelystan, Powys, with its total of 6 burials in addition to the initial central inhumation (without grave goods). Source: Neal Johnson 2017, p.131, figure 90 (bibliography is in part 1)

In the Early Bronze Age, the re-use of a cairn for additional burials within the cairn itself is an important component of its use-history, and a common feature of Early Bronze Age cairns and barrows (see Trelystan Barrow 1, left).  The second burial consisted of an urn, broken to pieces by the workmen, “and more than a wheelbarrow full of the remnants of burnt bones and ashes with it” (Gage 1835).  The bones were identified at the time of the discovery as human by an experienced local surgeon.  A general understanding of the term “urn” at the time included large and distinctively shaped vessels found in later Early Bronze Age and earlier Middle Bronze Age cremation burials, containing the cremated remains.  The burnt wood was described as “like a sponge,” which “when pressed, discharged a black fluid”.   As above, re-use may have been connected with ancestry, or with the continued importance of monuments as indicators of land-holdings. It is not known how many individuals were represented by this cremation.

 

The grave goods in the main burial

Confining comments to the primary burial in the cist, rather than the secondary urn cremation burial, the individual buried in the grave was accompanied by some spectacular grave goods, the famous gold cape, some additional gold pieces that may have been part of a second cape, around 300 amber beads, some bronze fragments and some fragments of textile.

Objects were not necessarily seen as passive by those that buried them, but as something containing meaning both individually and as an assemblage of artefacts by virtue of their links to the living.  Often these links will have been positive, linking the deceased to the landscape and the multi-layered experiences of living.  If, on the other hand, the meaning came to be perceived as dangerous or inappropriate, imbuing objects with a certain spiritual energy, then certain objects may have been seen as better off laid to rest with the dead, allowing new identities and ideas to emerge.  Either scenario, as well as many others, is possible here.

The capes

When you see the Mold Cape at the British Museum or in photographs, you are looking at the outcome of tenacious conservation and restoration work.  The cape was found in pieces of feather-thin crushed gold.  On discovery, the landowner and the workmen divided it amongst themselves.  The gold turned out to represent two objects.  The first turned out to be an item of clothing, rather like a short, tight-fitting poncho, that was made from a single sheet of gold, beaten out from a golf-ball sized ingot, and punched with repeating motifs that appear, at first glance, to be thousands of gold beads of different shapes and sizes, all of which looked like multiple strings of necklaces.  This is a sophisticated form of skeuomorph (an item made in one material to look like an item made in another material).  Skeuomorphs often capture in a new form an older craft (for example basket designs on pottery) or an expensive object captured in a less costly material (for example pottery vessels imitating stone vessels).  In this case, however, one of the most elite materials, gold, was used to capture and evoke the essence of other elite materials that made up bead necklaces (such as amber, jet, and even faience).  It is an extraordinary piece of display.

The cape with holes in the top and bottom pointed out.

When the cist was uncovered, the finders made references to textile, “a coarse cloth or serge” or “braiding,” to which the cape could have been attached via the holes in top and bottom to make a much more complex garment than we see today, perhaps full-length.  It has been suggested that the cape could have been lined with either leather or textile:  “properly speaking, it is an ornament that was attached to the body garment beneath by means of holes pierced through the edges” (John Gage, 1835).

The extreme thinness of the gold represents an attempt to make this valuable material go as far as possible, and may have been reinforced with copper or bronze in key places to help it to maintain its shape.  Reverend Clough observed that there were pieces of copper in the grave, “upon which the gold had been rivetted with small nails, and which had served as a stiffening or inner case of the armour.”  This fragility means that the cape would probably have been used only for special occasions.  Its design would have confined the upper arms to the side of the body, allowing only the lower arms to move.  This again argues that it could only realistically have been used for special occasions, because the activities in which the wearer could participate would have been minimal.  The British Museum’s Neil MacGregor likens the craftsman who made the cape to a Cartier or Tiffany, a world-class artisan, designer and producer of luxury goods.

The pieces of what are thought to have been a second cape, showing a different punched design. Source: British Museum

Pieces of gold sheet that were not part of the cape were also found, featuring a different, simpler punched pattern, and it is thought that these may have been part of another cape.  Stuart Needham’s reconstruction above shows how one of these pieces might have been incorporated into a cape design.  There is no suggestion that other parts of the cape would have been present in the grave to make up a second entire cape; they clearly were not.  Recent studies of other incomplete objects in Early Bronze Age graves, particularly jet necklaces and ceramics, have led to suggestions that objects could be split between the worlds of living and dead, functioning in each case as heirlooms.  This is discussed further in Part 4.

Other gold pieces belonging to one or other of the capes, as well as the only surviving amber bead.  Source: British Museum

The gold in the main cape weighs 700g /1 1/2 lbs, which makes it the heaviest single gold object in Early Bronze Age Britain.  The gold may have been mined and saved, or objects already in existence may have been melted down for recycling into the cape.  Gold was found in rivers and streams in Wales and Ireland, but to collect this amount would have taken a considerable amount of time.  Archaeologist and metallurgy specialist Stuart Needham attempted to locate the source of the gold employed in the the Mold cape. A potential location is the Afon Trystion and its tributary Nant-y-lladron in the Berwyn Hills, which produced low yields of panned alluvial gold.  The highest concentration of panned gold was near the headwaters of the Nant-y-lladron, not far from a cluster of sites at Moel Ty-uchaf.  In spite of the low yields, which may have been due to the exhaustion of the gold in prehistory, this remains the most probable source at the moment.

The beads

It is thought that around 300 amber beads were discovered when the grave was uncovered.  Only one of those beads survives, and is now in the British Museum.  Jewellery became more common in prehistoric graves during the Early Bronze Age, and bead necklaces made of different materials were popular in richer graves.  Exotic materials became very desirable, including gold, jet and amber.

The only remaining bead, out of around 300, of a necklace of amber beads. British Museum 1852,0615.1. Source: British Museum

Amber has specific properties, apart from its colour and translucency, that were almost certainly of particular interest to those who assembled and worked  into wearable ornaments.  Although it looks hard, it is quite soft and easily worked. According to the Getty Museum:

It has a melting-point range of 200 to 380°C, but it tends to burn rather than melt. Amber is amorphous in structure and, if broken, can produce a conchoidal, or shell-like, fracture. It is a poor conductor and thus feels warm to the touch in the cold, and cool in the heat. When friction is applied, amber becomes negatively charged and attracts lightweight particles such as pieces of straw, fluff, or dried leaves. Its ability to produce static electricity has fascinated observers from the earliest times . . . . As a result of the action of oxygen upon the organic material, amber will darken: a clear piece will become yellow; a honey-colored piece will become red, orange-red, or red-brown, and the surface progressively will become more opaque.

Photograph of amber beads from Shaw Cairn, Mellor (Stockport, Greater Manchester), which show spacer beads, dividing the necklace into two strings, and showing how the necklace could be fastened at the back. This stringing of the necklace does not claim to show how it would have looked in prehistory. Source (and more details about the site and the necklace): Mellor Archaeological Trust

It is not known whether the number of beads originally found were the total number that made up the original necklace, or if the original necklace consisted only of beads.  Early Bronze Age amber and jet necklaces often included beads of other shape.  Strings were often divided by spacer plates and had devices to connect both ends at the back of the neck.  Although the necklace shown left, from Shaw Cairn in Greater Manchester, does not claim to represent the original arrangement of the beads found in that grave, it does show some of the usual features of an amber necklace, including the spacer plates, which in this case divided the necklace into two strings.  The approximately 300 Bryn yr Ellyllon amber beads might originally have been strung into rather more strands, not unlike the arrangement of the Llong jet necklace shown further below.  The lack of spacer plates and end-piece may suggest that like the pieces of a possible second cape, the Bryn yr Ellyllon beads represent only part of another necklace, and that both parts, one remaining in the world of the living to be supplemented by new beads, the other in the world of the dead, each taking on an individual role.

The nearest source of amber was the Baltic, although it may have been available along the east coast of England too, brought from the Baltic by the ice sheets of the previous glaciation, from where it eroded out of coastal cliff faces on to beaches below.  Like the cape itself, its burial in the grave withdrew it from the world of the living, confining it to the realm of the dead.  The amber would have looked sensational, particularly under sunshine or firelight.  Whether imported from the Baltic or the east coast of England, amber can be classified as a luxury good.

The bronze fragments

Bronze pieces from Bryn yr Ellyllon. Source: British Museum

The sixteen bronze fragments form another partial jigsaw.  Bronze, an alloy of tin and copper, was almost never used for the manufacture of jewellery during the Early Bronze Age, and these are more likely to be knives or similar hand-held weapons or tools.  As already mentioned, Clough also surmised that some pieces of copper nailed to bits of gold may have helped to reinforce the flimsy cape.

The copper required to manufacture the  bronze was sourced from the Great Orme, the most important copper mine in Wales, and is thought to have been the largest copper mine in northwest Europe from 1800-1600 BC.  although estimates vary, its vital statistics are always remarkable.  In the 1990s, Andrew Lewis estimated that 12,600 tons were excavated from the tunnels and 28,000 from the open cast mine.  More tunnels have been found since then, so these estimates will have risen.  To make bronze, a coper-tin alloy, copper was combined with tin, all of which came from southwest England, particularly Cornwall, and was traded to various parts of Europe as well as other parts of Britain.  The dependency of bronze on both southwest English tin and northeast Wales copper, argues for some long-used routes along the coasts of west Wales and southwest England.

Copper alloy pieces from Bryn yr Ellyllon. Source: British Museum

The pieces of bronze were fragmented, but some are thought to have represented the business ends of tools or weapons.  Bronze was only very rarely used for making ornaments.  In the British Museum photograph above they have been arranged to show how at least one set of fragments could represent a curved blade.  It is not known whether or not the objects were broken prior to their addition to the grave, or whether they represent either normal decay or rough handling when they were discovered. If they were blades, they may have been broken deliberately prior to deposition. 

It has also been suggested that some of these bronze fragments may have formed a reinforcing backing for the gold.

Other objects?

The metal and amber objects were taken from the grave by the workmen, but what about any other grave goods?  Apart from the known but lost skeletal remains, pieces of gold (some of which were taken away at the time and made into rings and breast pins), and some textiles remnants, there is no record of anything else in the grave.  Although there is no way of knowing for sure, it is entirely possible that objects that would have been archaeologically valuable but would have seemed mundane to the Victorian discoverers, such as stone tools and pieces of pottery, may have been disposed of in the same rough and ready way as the skeleton.  It is clear that in the Early Bronze Age, burials were often accompanied by partial objects as well as whole ones, and this type of fragmentary data, such as pottery sherds, may have been rejected by the grave’s finders.

An example of Early Bronze Age textile from Over Barrow, Cambridgeshire. Source: Cambridgeshire Archaeology Unit, via Current Archaeology magazine

The loss of the perishable textile remains is particularly agonizing, partly because perishable items in British prehistory are so rare.  Linda Hurcombe refers to this lost dataset as “the missing majority” because the greater percentage of objects and domestic building materials in prehistoric Britain would have been perishable.  The textile would have added invaluable knowledge not just on Bryn yr Ellyllon but on the subject of both textile manufacture and ceremonial garments in general.  It is difficult to imagine that any garment that was attached to the cape would have been anything other than remarkable.  Only one of the few known textile items from Britain was made of cow hair; the rest were made of plant materials, including wild nettle fibre, which produces a soft and silky texture, and cultivated flax, which produces linen.

Nothing can be done with these thoughts, except to acknowledge that the manner in which the site was discovered may have left us without other objects that could have contributed additional knowledge.  With all sites we are dealing with partial information, but this is particularly worth bearing in mind for sites that were plundered rather than excavated, like Bryn yr Ellyllon.

 

The skeleton

A skeleton was found in the grave under the cairn in 1833, described by the landowner who saw it as “the bones of a man,” although he cannot possibly have known whether the bones represented male or female remains, the description suggests components of a recognizable skeleton, even if only the skull and a few additional bones.  Reverend Clough describes how the cape

contained within it a considerable number of small bones, vertebrae etc, but none of them longer than from two to three inches. The scull [sic], of no unusual size, lay at the upper end, but no bones of the extremities were noticed.

The skeletal remains were disposed of at the time, potentially meaning that an enormous amount of information has been lost.  The British Museum apparently holds “small fragments of skull remaining after laboratory analysis” (museum number 1881,0516.2).  Whether this refers to the skeleton associated with the cape, or the second burial found nearby is not stated, but it is implied by the entry for the skull fragments on the Museum’s database, which describes the cape rather than the bones.  There is no indication of what the “laboratory analysis” may have been.

The questions that remain unanswered include:  whether the skeleton was male or female; whether there were any congenital defects; if he or she had experienced any injuries or illnesses during life; how old the person was at the time of death; the cause of death; or how well-built or tall he or she was.  There is also no possibility of any scientific analysis of the sort potentially available for Brymbo Man, such as radiocarbon dating, DNA testing or oxygen isotope analysis.

The cape being positioned on a woman to demonstrate how it would have looked on someone of her size, male or female, and demonstrating how the upper arms would have been pinned down, leaving only the lower arms free to move. Source: British Museum

The only remaining clue about the physical character and appearance of the owner of the cape is the cape itself.  It was small (18ins/46.5cm wide x 9ins/23.5cm high) and could not have been worn by someone of, for example, Brymbo Man’s stature.  Instead, it must have been worn by a woman, a teenager or a man who was small in stature and build.  In an era where the average age of death was much younger than today and children were expected to participate in work (as demonstrated by some of the tunnels at the Bronze Age Great Orme copper mine, into which only a child could fit) a teenager, male or female, was likely to be a fully functional member of society.

We know that there was a secondary burial within the cairn in the form of a burial urn containing a cremation, but what about the possibility of other less obviously identifiable burials within the cairn?

Funerary rituals

A snapshot from the Geophysical survey report, showing a summary interpretation of major features. Source: Tim Young, 2013

Reverend Clough noted that whatever remained of the human bones, there were no signs of fire.  He suggests that because no extremities of the skeleton were observed where they would have been expected, “the figure had been doubled up.”  These are the only statements that Clough makes on the subject but both are consistent with an Early Bronze Age crouched inhumation. The inability to analyze the bones means that it is not known whether the body was laid facing east or west; how the bones were arranged in the grave;  whether any bones had been excluded or deliberately removed at a later date;  whether the bones were arranged in a particular way; how the artefacts were positioned in relation to the body; and whether there was any ritual treatment of the bones like excarnation or de-fleshing (such as in the case of the Brymbo burial).  

It is certain that the deposition of such a remarkable collection of grave goods with the dead was accompanied by formal ceremonies in which both the person and the objects were transitioned from the world of the living into the world of the dead.  Many of the activities connected with this transition could well have place elsewhere, with only the final stages taking place at the cairn itself, and this itself may have been subject to various spiritually inspired activities to prepare it for its role.

The first task, other than any ceremonies to prepare the ground, would have been to source the slabs making up base, sides and capstone (stone lid) or other form of lid of the cist (stone chamber), and dig the hole that these stones were to line.  The dead person could then be laid to rest.  In the Early Bronze Age the body would be typically crouched, with knees to chest, laid on his or her side.  The dead may have been clothed or covered, but the perishability of textiles means that this remains speculation.  Grave goods could then be deposited with the dead, before the grave was covered with a lid, if used.  If a lid was used, this was probably wood or another perishable material, because there is no record of it in any of the contemporary documents.  The cairn could then be built over the top, often to a particular plan with layers distinguished within the construction.  Each one of these steps, including layering the cairn, could have been accompanied with activities to mark each stage of the transition.  When the cairn was finished, and was a feature of the landscape, it would have stood out as a new element in the landscape for some time before becoming integrated into human memory as a component of the landscape of the past and present.

Early Bronze Age grave goods vary from grave to grave, but it would be idle to deny that those in Bryn yr Ellyllon were anything other than remarkable.  Even today, the surviving metalwork yells wealth, luxury and status, particularly as it was taken out of social and economic circulation by being deposited in the ground with the dead.  Once buried, and not retrieved, these goods could not be inherited, gifted or traded, or even melted down and re-used.  This magnificent collection was lost forever to the living, confined to the realm of the dead.  The burial of such a magnificent and rare piece was a statement, an important ceremonial act, and probably incorporated a series of ritual activities, themselves tools of transition.


Dating

Although bone did survive in the cairn the majority of organic remains were disposed of at the time.  The British Museum records having a piece of skull in its collection (museum number 1881,0516.2), but although I have been unable to find out anything about it, it appears to have been the only survivor, and this was clearly not used for radiocarbon dating (which requires partial sacrifice of the sample).  Instead, a date range of 1900-1600 BC has been proposed for the site by Stuart Needham, based on comparison with objects at other sites that have more secure dating material.  In spite of the embossed decoration on the cape, which might suggest a later date, the presence of jet, amber and the composition of the gold itself, as well as the organization of the burial, suggest an earlier date, perhaps in the final Early Bronze Age.  This date, however, is not secure and could be modified by the discovery of comparable sites that might also produce more secure radiocarbon dates that could help assign a more directly comparable time-range.

Who was the owner of the Mold Cape? Was she/he important?

The cape being modelled, showing how upper arm movement would have been restricted. Source: British Museum

The short answer is certainly yes.  The loss of anyone in a tight-knit community would have been a blow to a community where each individual was an important contributor to health, wealth, communal knowledge and well-being. However, the discovery of something so beautiful and luxurious as the cape has led to a lot of speculation about who or what its owner may have been.  Leadership roles, both secular (chief/prince/king) and religious (priest), have been proposed.  In each case the cape and other objects were suggested as the prehistoric equivalent of symbols of power or badges of office.  The burial of Queen Elizabeth II is a good example of how a community might mark the transition from living to dead of an individual representing a prominent hierarchical position.  Does the deposition of the Bryn yr Ellyllon capes, beads and bronze items represent a comparable situation, suggesting that the relationship between the person and the capes was so fundamental that the two could not be separated in death?  Was each so bound up in the identity of the other that the capes and other goods could not be inherited by, or transferred to another person in the community?

Although these ideas of individual importance and hierarchical significance are entirely plausible, emphasising the role of the individual in an important role in a way very that equates to ways in which European society is arranged with political, social and religious leaders this may be an over-simplification based on modern experiences and expectations of monarchies, political entities and religious authorities.  Not all societies, however, particularly small communities, are organized along the same lines, particularly when there is an enormous amount of inter-dependence of skills and economic activities that are not centrally organized.  As I suggested in Part 2, Early Bronze Age burials may have been about a lot more than a single person.  Even when a single individual takes up the central cist, secondary burials may be made within the burial cairn, and the original individual may represent an anchor for ideas about territory, ancestry and memory.  Again, in the case of Bryn yr Ellyllon, there is the question of why not only one cape but two are thought to have been represented.

Some items in history acquire a meaning and value all of their own which transcend the time-limited personality or role of any given individual.  Instead, these items help to define their role in relation to others (people, social/religious structures and political institutions) and even to frame ideas about the future.  Examples of such objects that transcend either an individual or a specific role but represent unity are the Olympic flame, the Remembrance Day poppy, or a national flag.  Burying a symbol may say a lot about what was happening in the world at that time, and less about the specifics of who was lying there, particularly given that two capes suggest not just that more than a single identity was involved.

Detail of an ivory box lid, showing Tutankhamen receiving flowers from his wife Ankhesenamun. Source: Wikipedia

The relationship between a dead person, the objects and the living world are complex.  An illustration of this sort of complexity is the burial of the Pharaoh Tutankhamen in Egypt, who was also interred with objects of great richness and beauty, including exotic items unavailable locally, most of which were artistically characteristic of the preceding heretical Amarna period, of which Tutankhamen was the last male descendent.  Even though Tutankhamen renounced his father’s heretical ideas, the king was tainted with his family’s recent past.  The grave in which the king was deposited in a wadi (dry valley) reserved for royal burials was not the ambitious grave that Tutankhamen had been building for himself; that was appropriated by one of the officials who buried the king.  Instead, the tomb in which he was buried was small, incomplete, very poorly decorated and vastly inferior to those belonging both to his ancestors and those who ruled subsequently.  The highly distinctive Amarna style items that accompanied him may have been deposited with the king to dispose of them for good.  It is very probable that many of the hastily assembled goods jumbled in the tiny tomb were inserted by those who wished to dispose of the discordant memories of the Amarna period with more speed than dignity.  What are to us things of invaluable beauty so characteristic of the Amarna period were seen at that time as representing everything that the new governing elite wished to eliminate from history.  

This is a very specific example, but it serves to illustrate how even very rich burials may have any number of themes running through them.  Colin Harris and Adam Kaiser, for example, proposed in 2020 that some particularly rich burials may represent a form of conflict resolution, and offer a persuasive discussion, using Viking data as a test case.

Although it cannot be ruled out that the Bryn yr Ellyllon burial was of an important individual who had the cape made for herself or himself, it is by no means the only answer when the burying is done not by the dead but by the living according to criteria that has as much to do with the ideas incorporated in the objects themselves and their role in the community as a whole, of whom the dead might continue to be, or not continue to be a representative.

How did the owner of the Mold Cape make a living?

The Llong Necklace (a speculative recreation of the original design). Source: Curious Clwyd

Bryn yr Ellyllon was not the only site near Mold that produced exotic (non-local) and ornamental items.  The nearby Llong grave near Bryn yr Ellyllon, where a multi-stranded necklace was found, this time made of jet (and some shale), contribute to the impression that this was an area where people could leverage their own resources to purchase luxury goods, and there may have been many aspects to their economic life to build such purchasing power.

Unlike Bryn y Ffynnon in Brymbo, which was on a hillside overlooking the valley of the river Alyn, Bryn yr Ellyllon sat in the river valley itself.  This was a potentially good place for  agrarian activity, but was also in easy reach of uplands that would have been ideal for livestock grazing.  However, the investment in the cape, both in terms of acquisition of gold and particularly the specialized skill needed to work it argue that this was a high value item, and was the product of something other than localized farming activities.  Similarly, the means to assemble 300 amber beads that were not available locally argues for considerable influence and resources that would enable negotiations to take place in trading transactions.

Looking around for a possible source of unusual wealth, the most obvious candidate to strike most writers is the Great Orme copper mining industry, and the networks that connected that industry to the world beyond north Wales.   The copper mines were 40 miles (64km away), so not on the doorstep, which requires some form of explanation, but if the inhabitants of this area of the Alyn valley were also involved in agrarian and livestock management activities, aspects of both sedentism and mobility could have been incorporated into livelihoods that also included longer distance links.

Final Comments on Part 3

Both Bryn y Ffynnon (Brymbo) and Bryn yr Ellyllon have produced some unusual objects in association with primary cist burials in northeast Wales.  These are not typical of the greater majority of sites in northeast Wales, but both serve to illustrate how disparate datasets offer different insights into the past.  Without a skeleton, the cape still gives a sense of the dimensions of the wearer, but many other details have been lost.  The objects themselves are so unusual that it is difficult to fit them into a general pattern of livelihoods and activities in northeast Wales, but they do represent substantially specialized skills and the ability to source unusual raw materials, both of which argue the ability of the community to accumulate a form of wealth.  There are more questions than answers regarding the site, but although it appears to stand out, it must still be understood in the wider context of the Early Bronze Age of northeast Wales, which will be discussed further in Part 4 (upcoming).

Perhaps the biggest lesson of Bryn yr Ellyllon is that there are many reasons why rich objects may be buried in graves, and these are not all to do with the importance of an individual as a chief or priest, or other specific role.  It is risky to draw conclusions of this sort, when there are many other possible explanations to consider.

The second important point that this site highlights is the importance of publication of any excavation activity.  Excavation is by definition destructive, and what remains for posterity is the record of that excavation, which must be published in order to become available to researchers.  Whereas Bryn y Ffynnon was subject to excavation by the National Museum of Wales, and published only a few years later in 1946, Bryn yr Ellyllon was ransacked in the early 1800s, not excavated.  It it is only thanks to the Reverend Clough taking an interest that many of the grave goods were rescued, and to John Gage’s letter to Sir Henry Ellis, that we know what we do.

In the next and final part, part 4, some of the various strands are brought together, which discusses the sites in terms of key themes of the Early Bronze Age, and provides details of the museums where the objects from the two sites can be visited.

 

 

 

 

Part 2: Who was Brymbo Man, what was the Mold Cape and why do they matter?

What do we know about Bryn y Ffynon and Brymbo Man?

The skull of the Brymbo skeleton. Source: detail of a photo from the Wrexham County Borough Museum website.

In Part 1 of this four-part series, two Late Neolithic – Early Bronze Age burial sites were introduced: Bryn y Ffynon (the grave of the so-called Brymbo Man), and Bryn yr Ellyllon (the grave in which the Mold gold cape was found).  A map of their locations was shown, the circumstances of their discovery was described, and the two graves were set in the context of similar sites in northeast Wales.

This post looks more closely at the Bryn y Ffynon, best known as the grave of Brymbo Man, one of the star exhibits in the Wrexham County Borough Museum.  Part 3 looks at Bryn yr Ellyllon, the grave that produced the Mold Cape.  I the fourth and final part, the various strands will be brought together in a conclusion, together with visiting notes.  The bibliography for all four parts can be found at present at the end of part .

Contents of Part 2:

  • The grave
  • The grave goods
  • The skeleton
  • Funerary rituals
  • Dating
  • What did Brymbo Man look like?
  • Who was Brymbo Man? Was he important?
  • How did he make a living?
  • Final comments on Part 2
  • (Sources are listed at the end of Part 1)


The grave

Brymbo Man was buried in a stone-built grave called Bryn y Ffynon (Well on the Hill)  on the north side of Ruabon Mountain, now the site of a housing estate in Brymbo to the northwest of Wrexham.  No burial mound, either of earth or stone, has survived, and it is not known if there ever was one.  In the northeast of England there were cemeteries of flat graves, so a burial mound might not have been essential everywhere, but in northeast Wales mounds of earth (barrows) or stone (cairns) were usual, even though not all of them remain.  Some mounds were built in complex layers using different materials, and importantly could contain secondary burials, usually cremation burials, that were added to the mound, sometimes involving the extension of the mound. The loss of a burial mound often equates to the loss of valuable data.  Stone cairns in particular were often robbed for their stone for much later building material, sometimes leaving a hidden cist unsuspected beneath the surface.  Given the upland location of the site, if the grave was covered, it probably lay under a cairn.

The cist (burial chamber) itself was made of roughly hewn slabs of local stone lining the walls and floor of the grave, and measured 96 x 79cm (38 x 31 inches).  The cist was aligned north-south.  A very large and uneven slab of stone, called a capstone, was placed over the top of the cist, sealing the burial before any burial mound was built over the top, itself measuring 5ft 6ins (167cm)  long, 3ft 3ins wide (c.1m) and 9ins (23cm) thick.

The Grave Goods

There were only two items found in the grave with Brymbo Man, which are on display with the skeleton.  One is a ceramic vessel known as a Beaker and the other is a flint tool.  This is fairly typical of Early Bronze Age graves.  Without access to the excavation report (unpublished) one assumes that the relationship between the objects and the skeleton in the cist was recorded, and that this is what has been reproduced by the museum, with a flint knife placed not far behind the skull and the Beaker placed towards at the base of what remains of the skeleton.

The Beaker

On the left: The Bryn y Ffynnon Beaker. Source:  Rebecca Van Der Putt (with congratulations, because I couldn’t get any sort of angle on it). Source: The Modern AntiquarianOn the right:  Savory’s photograph of the Bryn y Ffynnon Beaker.  Source: Savory, H. N. 1959.

Brymbo Man was accompanied in his grave by a very distinctive ceramic form known as a “Beaker,” more precisely a short-necked Beaker.  The Beaker tradition was an import from Europe, marking one of the changes in the centuries at the end of the Neolithic and beginning of the Early Bronze Age.  Where a Beaker is buried with the individual, it may be accompanied by a variety of other goods, but is often the only object found.  This suggests that the beaker itself was pivotal in establishing the identity and purpose of the grave and its owner.  Skeletons in Beaker graves were flexed / crouched, (with their knees bent and their legs pulled up to their chests).

The process by which Beaker burial traditions arrived in Britain is still poorly understood.  Options are that the tradition was imported by visitors or immigrants; or that it was brought back from the continent by British (using the term loosely) travellers who found certain affinities with the funerary practises that they observed.  The idea of foreign people being buried with the new Beaker style burial is given some credence by beaker burials from the Stonehenge region, and in particular the Amesbury Archer, who was buried with a range of goods traditionally associated with beakers, and was subjected to isotope analysis that indicated his origins were probably in the Alps.  In addition, a multi-disciplinary DNA analysis research project in 2017 proposed that a significant percentage of the indigenous population of Britain was, by the Middle Bronze Age, replaced by those who brought the Beaker tradition with them at the end of the Neolithic:  “the genetic evidence points to a substantial amount of migration into Britain from the European mainland beginning around 2400 BCE.” (Olalde et al).  As is so often the case with this sort of DNA research, as highlighted in the study itself, there are questions remaining about the extent to which it is possible to extrapolate from the data used, including sampling issues (statistical, geographical and relating to the quality of the material).

The Beaker on the left is from Balblair in eastern Scotland, is not dissimilar from the Brymbo Beaker. althoug its neck is shorter, the carination less pronounced and the decorative incisions slightly different. Source: Inverness Museum and Art Gallery

The new burial tradition found favour, whatever it represented.  The new funerary regime could not have spread so far and and wide throughout Britain and Ireland without people in all those regions being complicit.   Whatever the mechanism of transmission, by the end of the Neolithic the continental Beaker and associated objects had become desirable, and were found extensively under round barrows, as well as occasionally in other contexts, in many parts of Britain.

Beakers were hand-made (i.e. not wheel-thrown), built up from a single ball of clay that was hollowed out and shaped before being fired.  There is a video at the end that demonstrates how Beakers may have been assembled and decorated.  A certain amount of skill went into the construction, which is a very specific shape, and the decoration must have taken considerable patience, but what is most remarkable about it is its faithful reproduction of an idea that had spread through Europe and was now perfectly at home in burials of northeast Wales.  The Beaker may have had slightly different ideas associated with it different areas, but it clearly imparted a message either about the deceased, the role or status enacted by the deceased in life, the status conferred upon the deceased after death, the place where the burial was made, as well as ideas and ideologies inherited with the Beaker tradition.

The flint knife

On the left. The plano-convex stone tool found in Bryn y Ffynnon, illustrated in Savory 1959. On the right, a photograph of the same, although note that the photograph appears to have been accidentally inverted (i.e. it is the wrong way round, which sometimes happens when photos are digitized). Source: Wrexham County Borough Museum

A flint tool was found in the grave.  It is plano-convex (flat on one side and curved on the other).  Flint was the preferred stone for tool manufacture in Britain.  In Cheshire, and less frequently in northeast Wales, it could be found locally in river beds and on beaches as pebbles, which are useful for making small tools, but for more ambitious pieces it would be imported from areas where flint was part of the geological fabric.  The reason for its popularity is the way in which it responds when it is struck in order to shape it into a tool.  The term for it is conchoidal fracturing, which means that the shock-wave of its fracture creates a slightly concave “bulb of percussion” from which concentric lines that ripple out from the point of impact.  The waste products left over from tool manufactured, undifferentiated flakes, are usually referred to as “debitage.”  Some of these could be further worked into other smaller tools, but others might be abandoned and are useful datasets about tool manufacture in their own right. Some tools are very distinctively shaped, like barbed and tanged arrowheads, but others are far more generic, like the one accompanying Brymbo Man.  Stone tools were often hafted in wood to make, for example, arrows, spears and axes.

Terminology used to described features of worked prehistoric tools. Source: Martingell 2001, p.10

Small plano-convex tools were common in the Late Neolithic and Early Bronze Age, particularly from the northeast, and often towards the end of the period.  When the edges are worked to form a sharp edge, they are usually termed knives, but many, including this one, were probably multi-purpose tools.  A particular industry referred to as “plano-convex” tools, formerly “slug knives,” is characterized by tools made with specialized pressure-flaking over one face of the tool, which have a very distinctive appearance and are particularly associated with the northeast and food vessels.  Nothing special went into the manufacture of this item, which is a very everyday piece, and although it is technically plano-convex, it is not characteristic of the more elaborate objects that are usually associated with the term.  I cannot find an image of the reverse side of the flint, but it looks more like a flake (a piece struck from a core piece of flint without much additional work) than a properly manufactured and shaped tool.

The Skeleton

Skeleton of “Brymbo Man” in the Bryn y Ffynnon cist. Source: Wrexham County Borough Museum

The skeleton as it survives today is incomplete, as shown in the photograph on the left.  Even with only a partial skeleton to study it could be determined that the deceased was a male who, at the time of his death, was 5ft 8ins/173cm tall, and was strong and powerful, indicated both by the shape of his skull and by the muscle attachments to both his skull and his leg bones.

Brymbo Man is thought to have been 35 years of age at the time of his death. There are different estimates of life expectancy for this period, but it is probable that 35-40 was a good age.  His age was determined both by the degree to which the bones in his skull had fused and by the wear of his teeth.  He had once suffered a wound above hairline on his forehead, thought to have been caused by an arrowhead, but this had healed and was not the cause of his death.  No cause of death was identified.  He could, for example, have died from an injury that left no traces on what remains of his skeleton, or from illness or disease.

Illustration to help explain strontium isotope analysis. Source, and helpful article: PBS Time Team America

Isotope analysis has not been carried out on the Brymbo skeleton.  Isotopic ratio analysis has become very popular for an increasingly popular for the study of past human and livestock migrations.  The technique was used, for example, on the tooth enamel of a skeleton found near Stonehenge, known as the Amesbury Archer, and indicates that this person spent his childhood in the Alps.  It has also been used by the Beaker People Project, which has concluded that dsfsadfsd.  It also be used on livestock remains, helping to show patterns of mobility such as transhumance.  Like radiocarbon dating, isotopic analysis requires a sample of human material, which is destroyed in the process, and so far Wrexham County Borough Museum has decided not to subject the Brymbo remains to avoid harming the remaining bones.  The choice between preservation and knowledge is a difficult one to make.

Funerary Rituals

Rituals for the dead can be important for ensuring that  the living transition successfully into an afterlife, but they may also be important for the living, allowing communities to come to terms with the loss of a community member, to create ancestral links with a particular landscape, and to formalize any exchange of role from the dead person to a living replacement.  These ideas are familiar from the rituals that we engage in today when we attend a funeral.  In prehistory, it is likely that there were other reasons and meanings embedded into the ritual activities accompanying the deposition of the dead.  There was certainly an internal logic to the burials contained within the stone chambers during this period, and the Brymbo burial shares many of these features.

The presence of the Beaker puts it within a burial tradition that is quite distinctive.  The dead were buried by themselves, usually under a barrow or cairn, in a small chamber (cist) with a Beaker vessel and sometimes other objects.  This European tradition was adopted slowly throughout Britain, and Beakers were adapted by local people to conform to their own traditions.  There are numerous variants.  Quite what this tradition meant to living communities is unknown.  It may have indicated some sort of specific role in society for the deceased, and it may even indicate, in this case, that the the deceased was either involved in networks of communication and exchange with other areas, or was not native to the northeast Wales or border area.

Savory’s 1959 illustration of the cist and capstone in the excavation report, showing the objects and skeletal remains in situ.

The skull was laid on its side, with the head to the north, facing east and, if the museum display reflects how the skeleton was found, the rest of the bones were apparently laid to give the impression of a crouched burial.  Although there are exceptions, males were usually laid with their heads facing east, females with their heads facing west.

Only 13% of the Bryn y Ffynnon skeleton was interred in the grave.  This is not an accident of survival of decay, but a deliberate decision by those who buried the remains.  This is not unusual.  Analysis of the skeletal remains by osteology specialist Corinne Duhig found that  some of the bones bore cut marks that had been made by a sharp tool, which may indicate de-fleshing the bones.  The disarticulation  of the skeleton, the missing bones, and and the signs of defleshing imply that between death and interment multiple activities took place.  None of this was by any means unusual in the period, or indeed from the preceding Early Neolithic.   One explanation for this type of activity is that the person died some distance from home and that the body was prepared somewhere else for travel prior to burial;  another is that the practices were part of a set of rituals that marked the transition from life to death, possibly including a transition to an afterlife.  It is also entirely possible that the body may have been laid to rest elsewhere and moved here at a later date.

Splitting of bodies between multiple places is not as strange as it sounds and has parallels, for example, in Medieval Britain. For example, when Earl Ranulf III of Chester (1170-1232) died away from home, his body was eviscerated (internal organs removed) so that it could buried in three locations.  His entrails were buried where he died in Wallingford, his heart was buried at Dieulacrès Abbey in the Midlands and his embalmed body was then returned to Chester for burial in St Werburgh’s Abbey. This was completely consistent with the traditions of the period.

The pre-interment activity at Brymbo does beg the question of how close the association between the dead person and the objects in the grave actually was.  If there was a considerable period between death and interment, it may be that the objects had more to do with the living than the dead, and that they were simply conventional contributions in which ideas were embodied in the artefacts about the site itself, rather than statements about the deceased.

Dating

Chronology of ceramics in Britain, Late Neolithic and Early Bronze Age. I have indicated the Beaker type most similar to the one in the Brymbo grave. Source: Parker-Pearson et al 2016

The skeleton has not been subjected to radiocarbon dating, but is thought to date to around 1900BC on the basis of artefacts that accompany the burial.  Relative dating of this sort is achieved by comparing the objects in graves with similar graves that have been subjected to radiocarbon dating.  Radiocarbon dating is a scientific method, known as absolute dating, that measures the amount of atmospheric carbon-14 remaining within organic materials such as bone or wood to obtain a date.  A brief but useful explanation can be found Oxford Radiocarbon Accelerator Unit website.  A sample of organic matter (such as skeletal or plant material) is required for the dating procedure, and this sample is destroyed in the process of obtaining a date.  Recent improvements in the technique need much smaller samples, but some curators are reluctant for even small samples to be destroyed.  Signage at the Wrexham County Borough Museum explains that the museum has decided, at the time of writing, not to have the Brymbo Man scientifically dated.  Instead, the relative (inferred) date given above has been based mainly on the Beaker.  Beakers have been studied extensively.  They appear from 2500BC, and there are multiple different styles, some of which can be charted over time.  The Brymbo Beaker, placed at around the 1900BC mark, is well into the Early Bronze Age and on the edge of the period when this style of pottery was going out of fashion.

What did Brymbo Man look like?

The Brymbo skull was used by facial reconstruction expert Dr Caroline Wilkinson at the Unit of Art in Medicine at Manchester University, to create an estimate of Brymbo Man’s appearance.   Although the skull is incomplete, what remained was enough for Dr Wilkinson to use.  The skull itself was fragile, but robust enough for a cast to be made.  The position and size of the muscle attachments helped to build a sense of the musculature in the face which, along with bone structure and overall body weight, help to determine the shape of the face.  The shape and size of all apertures in the face, such as eyes, mouth and nose, and the spatial relationship between them, also contribute to how a face would have looked.  Once the underlying structure of the face had been determined, the skin, represented by clay, was added.  There are some things that are not determined by the underlying structure, like lips and ears.  Once the model head was completed, a make-up artist was responsible for hair and the colour of eyes, complexion and hair.  This is not a definitive representation, but it is based on the available data, and it gives an excellent sense that the skeleton was once a living man.

Who was Brymbo Man?  Was he important?

Given that 1000s of people during the Bronze Age were not buried (the landscape would have been stuffed full of mounds if they had), we know that a selection process had been implemented, and this selection process put Brymbo Man in this grave.  Unfortunately we do not know the selection criteria for those who were deposited in graves.

One might wonder if he was the leader of his community, but he might equally be an elder respected for his experience and knowledge, a ritual specialist responsible for the religious well-being of the community, or a wealthy trader who conferred status on the group without necessarily having a position of hierarchical power.  Perhaps it was not his place in society that marked him out, but an action or event in which he took part.  Or was his death itself significant in some way?  Perhaps he was the first person to die after the establishment of a claim over a new territory.  Equally he might be a person or an idea regarded by the community for reasons that we might never imagine, because we can never know how people were categorized or how they related to the ideas of the community and the broader social conventions to which they were connected.

The capstone that sealed the stone grave, 5ft 6ins (167cm)  long, 3ft 3ins wide (c.1m) and 9ins (23cm) thick.

Whatever he represented, whether as a valued family member, an important representative of the community, or a symbol of something rather less conceivable, the burial itself was clearly important.  Assembling the grave was no light-hearted exercise.  Even without a barrow, cutting the stone for the the stone-lined cist, which would then have to be assembled, would have been a significant activity.  Even more impressive, the quarrying of the stone for the capstone and moving the capstone into position would have required many hands, probably some lifting technology, and a great deal of incentive and determination.

We know that Brymbo Man had sustained an injury to his skull, which he survived.  The nature of the injury suggests that it might have been made by an arrow, which could have been received in a hunting accident, or in conflict.  There are numerous reasons why people might resort to violence, including livestock raiding, disputes over territory as well as personal grievances, but there is no matching data from other burials in the area, such as evidence of similar injuries, to indicate wider scale disputes.  Although his injuries could have been connected to his role or status, and might have been a criterion by which he was selected for a round barrow burial, we simply have no way of knowing whether or not this was the case.

This photo shows a cairn that is better preserved than many located in exposed positions. Cefn y Gader 1 near Llangollen. Source: Megalithic Portal, photograph by “Postman”

Beyond speculation there is little information that the presence of a burial with a single Beaker and a single stone tool can divulge about who the deceased may have been in life.  It is not even clear whether he was important in his own right or whether his burial represented a set of ideas and traditions, quite unlike our own, that led to his burial in this location.  As things stand, we cannot form an opinion about whether he was any more important to his contemporaries than the event that placed him in the grave.  What can be stated with some confidence is that the grave itself, and the dome of earth or stone that probably encased it, were significant to the people who built it, standing proud on a landscape that was inhabited by people, and to whom it would have communicated messages that we can no longer read.

What do we know about how Brymbo Man made a living?

We know something about Brymbo man’s vital statistics, and how he was treated after death, but so far we have not had the opportunity to look at how he may have lived his life.  In Britain, Late Neolithic and Early Bronze Age resources potentially included cereal (wheat and barley) and legume crops, as well as livestock, primarily cattle and sheep.  In the earlier Neolithic period, after an initial burst of agrarian activity, livestock herding became dominant over cereal cultivation, possibly because of teething problems with the establishment of cereal farming in new territories by inexperienced farmers.  Cattle herding increased, and soon sheep also contributed to the subsistence mix, with dairy products rising in importance.  Before the end of the Early Bronze Age, cereal farming resumed on floodplains and other suitable land.  Although different areas had access to different types of land and both wild and domesticated resources, there is no reason to doubt that the inhabitants of northeast Wales could obtain access to subsistence assets when they required them, choosing the best combination of crops and livestock for the conditions in which they lived.  Hunting wild game probably supplemented the diet.

How much of this applies to the Brymbo area?  We know that the grave was on a hillside above the River Alyn.  The hillside is used used for sheep farming.  Given that Brymbo Man was buried in this location, it can be assumed that he lived and worked here for at least a portion of the year, but whether this was a settled or mobile life is unknown.

Topographic map of Brymbo. The meandering blue shows the Alyn valley. Click to show the bigger image.  Source: topographic-map.com

The point was made above that Brymbo Man was a sturdy individual with no obvious health defects, that 35 was a respectable age for the period, and that these observations suggest that he was healthy and probably had a nutritious diet.  We can state with some confidence is that Brymbo Man was once part of a family, and a larger community, made up of farmers and/or herders, as well as stone and pottery workers who exploited the fertile lowlands and highland pastures of northeast Wales, possibly on a transhumant or otherwise seasonal basis. These were the people who buried him.  There would have been many other men, women and children in the area when he was alive and making a living, each with a specific role within the community.  

It is possible that some members of the community split away from the rest on a seasonal basis, following a pattern of taking up livestock onto the hills to take advantage of summer pasture, before returning in the autumn to help with the harvest.  If the burial on the edge of Ruabon Mountain is an indication of an affiliation with this particular part of the landscape, Brymbo Man was probably involved in sheep or cattle herding, and was in easy reach of the Alyn valley for other agrarian activities.  Climatic indicators suggest that the weather was warm and relatively dry, and although lowland areas could be freed up for agriculture by the clearance of often dense woodland before they could be cultivated, upland areas were often used for both cultivation and herding.

Coming back once again to the Beaker, it is as far as one can tell from other excavated sites in the region, something of an unusual object in northeast Wales and the borders.  This one in particular seems to have affinities with other areas and it seems unlikely that it was made locally.  The presence of the copper mine on the Great Orme indicates that there was significant trading activity from there to other parts of Britain, and that the development of complex overland and seagoing trade routes were established had been established by the Early Bronze Age.  It is in not, therefore, far-fetched to suggest that this grave, overlooking the Alyn valley and only a few kilometres from the Dee valley, might have had connections further afield, and that the Beaker may not have been made by native potters, but was an import, either in trade, or in company with Brymbo Man.  This is highly speculative and more data is required.  Perhaps the beaker itself, and analysis of the clay from which it was made, could add additional data. Isotopic analysis of the skeleton might also well help to clarify some of these distance-related questions.  As noted above, however, this would involve inflicting damage on the Brymbo remains.

Final Comments on Part 2

Brymbo Man remains elusive.  One grave on its own, even containing a skeleton and grave goods, provides insufficient data for judging what the grave meant to the people that buried a man there, and covered his burial chamber with a giant capstone and, probably, a barrow or cairn.  Isotope data could probably get us a little further, but only as far as assessing whether this man was likely to have travelled.  All we can say for sure is that he had no obvious signs of ill health, that his physique, height and age suggest that he was well nourished, that he had received an injury apparently inflicted by another human, and that the hilly surroundings of his burial place might imply that he was involved in livestock herding or that this was a route he travelled in the course of another economic activity.

The real value of Brymbo Man, the objects in his grave and his burial mound is as a data source in comparative research to enable the development of a greater understanding of all these burials, the features they shared, and how they were differentiated from one another.  Once sufficient data has been accumulated, probably not until decades from now, it may be possible to return to Brymbo Man, better informed, with more knowledge to hand, to ask some of the above questions again.

Next

Bryn yr Ellyllon, the Early Bronze Age burial cairn that produced the Mold Cape, are discussed in a similar vein in Part 3.

Part 1: Who was Brymbo Man, what was the Mold Cape and why do they matter?

From left to right.  The Mold Cape and strings of amber beads superimposed on a digital sketch, which could be man or woman (Source: British Museum Partnership Programme); Photograph of the Wrexham County Borough Museum hologram of the reconstructed head of Brymbo Man (my photo); The recreated grave and capstone with original skeleton and grave goods of Brymbo Man in the Wrexham County Borough Museum (my photo).

 

Bryn y Ffynon (Brymbo) and Bryn yr Ellyllon (Mold) indicated by yellow markers, shown in relation to Chester and Wrexham. courtesy of Google Earth. Click to enlarge.

This is part 1 of a four-part overview of two Early Bronze Age graves and how they contribute to an understanding of  the archaeology of the period in northeast Wales and the borders. All four parts have been written, and will be released over the next couple of weeks.

The series has been divided up as follows:

Part 1 (this post) – Introduction to the Late Neolithic and Early Bronze Age in northeast Wales:

  • Introduction
  • Some Background to the Late Neolithic and Early Bronze Age
  • A rich heritage in northeast Wales
  • Discovering the graves
  • Sources (bibliography) for all four parts 

Part 2 – What do we know about Bryn y Ffynnon, the grave of ‘Brymbo Man’?

Part 3 – What do we know about Bryn yr Ellyllon, where the Mold cape was found? 

Part 4 – Bringing the threads together, plus visiting details

 

Part 1: Introduction

The series is based on two burial finds in northeast Wales, Bryn yr Ellyllon, near Mold and Bryn y Ffynnon at Brymbo, Wrexham.  These two sites have been chosen 1) because excavated sites are comparatively unusual in northeast Wales, 2) the contents of both sites can be visited in museums, and 3) because of the differences between them, and the opportunity for assessing different types of knowledge about the Late Neolithic and Early Bronze Age in northeast Wales.  In spite of the differences between them, both represent variants of the broader burial tradition, and therefore have the potential to add their own unique voices to the discussion of how this period manifests itself in the region.

The Mold Cape (British Museum 188,0514.1) from Bryn yr Ellyllon near Mold. Source: British Museum

Bryn yr Ellyllon (which translates as Hill of Goblins or Fairies) was discovered by labourers in 1833 a few miles to the east of Mold.  It was a round cairn (a mound of stones) that contained a badly decayed skeleton together accompanied by a number of very fine artefacts, one of which is the magnificent gold Mold Cape made of paper-thin gold and embossed with a decorative theme that emulates multiple strings of beads.  The other objects included around 300 amber beads (the exact number found remains unknown, and only one survives), other pieces of gold that appear to have belonged to a second cape, and some poorly preserved items of bronze.  These are now in the British Museum in London and are discussed further below and in part 3.  Even though the objects were pulled from the site as pieces of treasure, the location of the site is known, and the objects form a relatively coherent assemblage.  These are valuable details when understanding how objects were chosen to accompany the dead, and where burial sites were located in the landscape.

The partial remains of Brymbo Man and his two grave goods from the Bryn y Ffynnon cist. Source: Peoples Collection Wales

In 1958 a stone-line cist called Bryn y Ffynnon, was found 10 miles to the northwest of Wrexham at Brymbo, containing the well-preserved remains of a partial skeleton, a flint tool and a ceramic vessel known as a Beaker.  The name means Hill of the Well or Spring (with many thanks to Reginald Iain de Crawford-Griffin for the translation).  It seems to have been named for a small farm of the same name on Brymbo Hill.  The site was excavated in 1958, and the results published in an excavation report in 1959.  The man to whom the skeleton belonged, now nick-named Brymbo Man, was around 35 years old when he died some 3600 years ago.   The burial, including the skeletal remains, is now on display in the Wrexham County Borough Museum, together with a reconstruction of the skeleton’s face.  The site is discussed further below, and in detail in part 2.

Each burial offers contrasting insights into the Late Neolithic / Early Bronze Age, and they are worth looking at both individually and together to highlight how different sites may produced different types of knowledge.  Every individual site has something to say for itself, and as more sites are investigated, each feeds in turn into our knowledge about the period in which they were constructed, and during which they formed an integral part of the human landscape.  It is the  understanding of the period as a whole, rather than individual objects, that is important to archaeologists, who work to recreate past societies from the sites and objects that survive.

Some Background to the Late Neolithic and Early Bronze Age

Chronology of ceramics in Britain, Late Neolithic and Early Bronze Age. Source: Parker-Pearson et al 2016

The Late Neolithic and Early Bronze Age are usually discussed together.  The period lasts from around 2900-1600 BC.   The division from the earlier Neolithic lies in transformations visible in the material record, which may in turn reflect revisions of ideology, social organization and/or economic activity.  These changes coincide with a period of climatic change.

Riverine connections during British prehistory, showing how the river network links from Wessex, the Thames valley and the Humber estuary. Source: Bradley 2019, p.20

The climate, cooler than in the earlier Neolithic, was still favourable for agriculture, and in particular may have supported agricultural development in hilly areas in the summer months.  Astrid Caseldine’s analysis of environmental indicators suggests that this was a period of deforestation in many parts of upland north Wales, probably indicative of agricultural expansion into these upland areas.  This is supported both by the notable increase in cereal pollen in these environments, and by the flowering of Late Neolithic – Early Bronze Age monuments across the upland landscape.  This expansion could not have lasted indefinitely; the soils were simply not of sufficiently robust quality to sustain long-term agricultural expansion.  Valleys were also popular locations for these sites, indicating that communities were adept at making the best of various different environments.  The valley of the river Alyn, along which several sites are located including Bryn yr Ellyllon and the Llong, is one example.

Foremost amongst the transformations in material culture, suggesting social as well as economic changes, is a different form of burial  practise, suggesting changes in the way that communities defined themselves and related to both others and the landscape.  Although there were a number of tomb styles prevalent in the earlier Neolithic, most burial sites contained the remains of multiple individuals, but at the end of the Neolithic and the beginning of the Bronze age, smaller round barrows and cairns were favoured, usually containing a single burial in a small subterranean chamber at its centre, sometimes with a new form of pottery known as a Beaker.  Sometimes additional burials added into the mound itself at a later date.  At the same time, settlements became less substantial, more ephemeral, and much less easy to find archaeologically, the sites often consisting of little more than household debris with few, if any, signs of the circular structures that once contained them.

A suggested reconstruction of the 100s of beads found in the cairn at Llong, near Mold. Source: Curious Clwyd

Pottery styles also changed at this time, with the introduction of the new Beaker form from Europe and the replacement of earlier Neolithic styles with new home-grown Grooved Ware, Food Vessels and Collared Urns.  As the name Bronze Age suggests, this was also the period during which metal-working began, first copper and gold, and later bronze itself, an alloy of copper and tin.  North Wales was well placed as a base for the exploitation of mineral sources, an industry that gained momentum during the Early Bronze Age before becoming an important centre for copper and other resources in the Middle Bronze Age.  The earliest copper tools in Wales were flat axes that had been cast in an open mould, a basic technology that improved over time.  Decorative items, such as items of jewellery also appear much more frequently.  The amber beads in Bryn yr Ellyllon and the jet and shale beads in the necklace found in a cairn at Llong, near Mold, both in the valley of the river Alyn, are both examples from northeast Wales.

Although these are the top-level identifiers of the new Late Neolithic and Early Bronze Age material culture, there is considerable regional variation, and even within a region no two graves are identical.  Although inhumations (burials) are typical of barrow graves, cremation steadily gained momentum, eventually replacing inhumation as the preferred method for disposing of the dead.

A rich Early Bronze Age heritage in northeast Wales

The Maesmor Estate macehead from near Corwen (near Llangollen). Found in 1840. Source: National Museum of Wales

Northeast Wales was a recipient of these new ideas, perhaps deriving them from earlier versions in south Wales, or perhaps more plausibly from similar manifestations in northern England with which the northern Welsh material appears to have certain affinities.  The Bryn y Ffynnon Beaker, for example, bears a close resemblance to examples in northeast England, and stone maceheads from northeast Wales are comparable with those from the north of England, including a remarkable example from the Maesmor Estate at Llangwm near Corwen in the Ceirw river valley, not far from the Dee (shown left).  Good quality flint pieces for more mundane stone tools are unavailable in north Wales, and this appears to have been imported from elsewhere.  Yorkshire jet appears in northeast Wales during the Late Neolithic, as does amber. The nearest source of amber was the Baltic, but it also washed up on beaches along the Yorkshire coast.  Amber was found in Bryn yr Ellyllon with the golden cape;  jet (and black stone resembling jet) appears in the necklace, found scattered in a the stones of cairn at Llong, 1.5 miles (2.4km) southeast of Mold, overlying the burial of a crouched female skeleton. Although sea routes had dominated during the earlier Neolithic, the indications are that land and river routes now assumed a new importance, transforming networks of communication.

Distribution of round barrows and cairns in Wales. Source: Burrow 2011, p.106

However they arrived, the Early Neolithic and Early Bronze Age burial practices soon colonized northeast Wales, mainly round barrows (mounds of earth or turf) and cairns (mounds of stone) the majority of which, but by no means all, are thought to have been burial sites.  Here there were none of the earlier Neolithic monumental burials such as the so-called portal dolmens found in northwest Wales and on Anglesey.  There are 100s of mounds all over Wales, north and south, and there are particular concentrations in the northeast of Wales, and along the Welsh borders.  See the map right.  There are also a few other types of ceremonial monuments from the period, including stone circles and so-called henges.  Sadly, as explained above, there is a severe dearth of settlement sites.  Nearly all of the archaeological data available about the period in northeast Wales is derived from these round mounds, built of earth, turf, or stones.  Most have not been excavated, and many have become very overgrown over the millennia, making it difficult to differentiate between them.  Where they have been investigated, a number of different types have been identified, based on features like kerb stones, berms and ditches.  Some round barrows and cairns are completely empty of burials, but may perform a similar function in terms of looking like a burial site and establishing a presence in the landscape.

Source: Prehistoric Funerary and Ritual Monuments in Flintshire and Wrexham, by Frances Lynch 2003

Of the round barrows found in northeast Wales, some have been recorded but are no longer visible.  Others are visible, either as monuments or as crop marks in aerial photographs, but have not been examined.  Some were excavated before sound archaeological techniques were developed, and just a few have been subject to modern archaeological investigation.  In all, it’s a very mixed bag of data, but it all points to a very busy Welsh heritage during the Early Bronze Age period.

When Frances Lynch discussed the survey of Bronze Age monuments in Flintshire and Wrexham in 2003, she included a table that listed 284 monuments, capturing particular concentrations of Early Bronze Age burial activity on Ruabon Mountain and in the Alyn Valley. What is interesting about her list is the sheer number of round barrows when compared to any other type of contemporary monument.  A single stone circle and a possible henge (ceremonial monuments) are recorded.  Lynch makes the point that sites located side by side may or may not be directly related to one another, but even so, a landscape stuffed full or more or less contemporary monuments is a notable phenomenon.

1991 map showing the distribution of scheduled Bronze Age barrows and major finds spots in Clwyd.  Scheduled monuments are those that are under state protection, but there are many more that are not scheduled, so this shows only those sites deemed to be most important. Source: Manley et al 1991, p.66

To understand the Late Neolithic and Early Bronze Age, other types of site would normally be taken into consideration, a mix of domestic, funerary and ritual sites.  These include other ceremonial sites, industrial sites like kilns, quarries and mines, and settlements.   A combination of sites helps to create a sense of what the lived area was like.  The profusion of round mounds argues that northeast Wales was clearly well populated, but settlement and industrial sites remain very rare, although the copper mine at the Great Orme stands out as a notable and welcome exception.  In spite of these gaps, prehistorian Frances Lynch, who specializes in Welsh archaeology, suggests that these prolific barrow builders were far from insular, and that they were part of larger networks of communication

“Although the social character of Wales was perhaps more conservative than that of many parts of Britain, the country was not isolated.  The presence of exotic beads made of amber, faience and jet demonstrates that even quite remote communities could obtain luxuries from a distance and that fashions in clothes, as far as we can reconstruct them, changed in step with those elsewhere.” (Lynch 2000 p.138)

I will be talking more about grave distribution and how these two graves fit into the general picture in part 4.

Discovering the graves

The two sites under discussion were found 125 years apart.  That 125 years accounts for how differently each site was treated by its finders. Both sites were discovered by workmen.  Bryn yr Ellyllon, which contained the Mold Cape, was found in 1833 and Bryn y Ffynnon (Brymbo) was found in 1958.  The grave at Bryn yr Ellyllon on the eastern outskirts of Mold, was discovered on the banks of the River Alyn, by accident by workmen in 1833, using stones from the cairn (stone mound) that covered the cist and its contents to fill in a disused gravel pit at the side of a road.  Similarly, Bryn y Ffynnon, was found by workmen building a new housing estate.  They were laying pipes, for which they were digging a new trench  in Cheshire View in the village of Brymbo.

Bryn yr Ellyllon (containing the Mold Cape and accompanying grave goods)

Imaginative reconstruction of the discovery of the Mold Cape at Bryn yr Ellyllon by Tony Daly.  It is far more likely that the skeleton was lying on its side, and we know that the cape was in pieces.  Still, it is a useful way of visualizing how the site was uncovered.  Source: British Museum Partnership Programme

An early 19th century discovery is almost inevitably bad news for a site in terms of excavation techniques, the proper recording of archaeological finds and the finding and preservation of delicate organic remains, such as, for example, very small pieces of human skeletal material, animal bones, plant remains, foodstuffs and any fabrics or bits of basketry.  Even so, if the Bryn yr Ellyllon grave had been subjected to any form of contemporary archaeological investigation it would have fared better than it did.

When the labourers at the Bryn yr Ellyllon grave found the treasures that accompanied a decayed skeleton, they simply disposed of the bones and divided the spoils between themselves and the landowner John Longford.  No records were made of the skeleton, and any contents that could be expected within the cairn itself, such as any secondary burials or artefacts within its structure, were lost. It is possible that other more pedestrian objects like stone tools may have been in the grave but, like the skeleton, were disposed of at the time.  Had it not been for the Reverend Charles Butler Clough, the vicar of Mold, the find might never have come to academic light, and its discovery by a team of labourers would have been the kiss of death.  Fortunately, the Reverend Clough heard of the find and took great interest in it, writing a letter to John Gage, in which he described the find, referring to the cape as a corselet:

I regret to say, that the Corselet suffered considerable mutilation. Mr. Langford, upon its discovery, having no idea of its value, threw it into a hedge, and told the workmen to bring it with them when they returned home to dinner. In the mean time several persons broke small pieces off it, and after I saw it, one piece of gold, apparently a shoulder strap, which was entire (or piece passing over the shoulder from the front to the back of the arm) was taken away ; two small pieces, of what I believe to have been (from its similarity to what I had seen) the other shoulder strap, with several small pieces of copper upon which the gold was fixed, are still in Mr. Langford’s possession; several rings and breast pins have been made out of the pieces carried away.

Illustration of the Mold Cape  and fragments of a different cape from the same grave, all found in 1833. Source: Gage 1835

Hair-raising stuff.  It was common for the clergy to write up this sort of discovery, as they were frequently the most scholarly and informed people around, and often had a profound interest in history.  It is because of the Reverend Clough that anything at all is known about the grave beyond the surviving grave goods. His report was published in the journal Archaeologia in 1836, three years after the discovery, and the British Museum picked up on it and went to Mold to see if they could rescue the finds.  It took over a century for enough of the pieces of the cape to be assembled for a reconstruction to be made (in the 1960s).  Some fragments are still missing presumably those that Clough said had been recycled into rings and pins.

A geophysical survey was carried out in 2013, hoping to find either the site itself or anything associated with it, but its findings were limited to the discovery of the possible original site of the cairn, estimated at 25m in diameter.

The grave contents are now in the British Museum in London and the cape itself was featured in Neil MacGregor’s radio series (and the book that followed) “A History of the World in 100 Objects,” based on objects in the British Museum.  In 2013 it was loaned to Wrexham County Borough Museum where it was put on display for five weeks, together with Llong shale and jet necklace, discovered in another burial nearby.  It is is decorated with impressed designs, and absolutely remarkable for the skill required to work something so thin.

Bryn y Ffynnon (the grave of “Brymbo Man”)

The 1950s Brymbo housing estate, during the construction of which the Bryn y Ffynnon grave was found.  Its rural surroundings are clearly visible. Source: Archwilio

Bryn y Ffynnon was found in 1958, and was very soon the subject of professional excavation.  The workmen laying pipes for a new housing estate on the outskirts of Brymbo had stumbled across the corner of a vast slab of stone when they dug down to create a trench, about 30 cm (1ft) below the modern surface.  When they investigated further, they found that it was the roughly hewn capstone (lid) of a cist (stone-lined rectangular grave)., which contained a burial and two artefacts:  a pot and a flint tool.  They removed the long bones and the beaker, for reasons unknown, but left the rest undisturbed.

Even in 1958, archaeology had not come of age in Britain.  Radiocarbon dating had been invented but was still giving inaccurate dates, and was not calibrated (corrected) until 1967, after which many further modifications were made.  Field techniques had not yet been fully refined, although they were improving all the time.  Nor was there the same awareness that there is today of the value of leaving discoveries like this in situ, like a crime scene, so that they objects can be understood in relation to one another as they were deposited, in keeping with the intentions of those who interred the deceased and the grave goods.

The importance of relationships between objects, such as placement of finds near the head, hands or feet, help archaeologists to understand the lost language of ritual practises, just as the positioning of the skeleton itself, including its orientation (e.g. north-south) and the direction in which it was facing (e.g. east or west)  help to understand how widespread these traditions and ideas actually were.

It is particularly nice, therefore, that in spite of the fact that the burial was found in the middle of a construction site, the details were passed over to the Grosvenor Museum in Chester, who in turn passed the news over to the National Museum of Wales to enable them to send a team and excavate the site as a rescue dig.  The aim of rescue archaeology is to recover as much data and material as possible at a site in the allotted time before the halted construction or other activity must resume.  Many rescue digs were carried out in the countryside during the 1950s due to the expansion of housing on formerly rural land.  Without a cairn or barrow to signal its presence, the cist was only found whilst work was already underway, and work had to stop to allow the site to be excavated.

Plan and elevation by H.N. Savory published in 1959, showing the grave, together with its contents, as it was found in 1958.  Source: Transactions of Denbighshire Historical Society

When they arrived on site, the National Museum of Wales archaeologist H.N. Savory and his team were able to replace the bones in their original position and went on to record the entire grave in situ before removing the grave, slabs and all, to enable the pipe-laying to proceed.

The following year Savory published a short but comprehensive excavation report with illustrations in 1959 in the Transactions of Denbighshire Historical Society, not yet digitized but available today in the public library in Wrexham.  The plan and elevation of the grave is taken from that publication.

The grave and its contents were initially sent to Cardiff, where they were put on display in the National Museum of Wales, but are now in the Wrexham County Borough Museum.  The grave is excellently displayed.  The skeleton has been nick-named Brymbo Man.  A reconstruction of the head, based on the remains of the skull, gives Brymbo Man a possible face, also on display in the museum.

In Part 2, both Savory’s excavation, together with the later post-excavation work that took place, will be discussed.

Final Comments on Part 1

Northeast Wales is home to 100s of round barrows.  There are even two in Wrexham itself, miracle survivors of urban development.  Not enough sites have been excavated to be able to talk in terms of a typical site, but both both sites stand out for the quality of their artefacts.  Although the Beaker in Bryn yr Ffynon is not a rare piece, it is certainly unusual in this area, at least in the context of our current knowledge, and the Mold cape is acknowledged as a national treasure.

Photograph on display in the Wrexham County Borough Museum of Bryn y Ffynnon being excavated during the construction of a new housing estate.

Neither site was found under ideal circumstances, but Bryn y Ffynnon fared much better than Bryn yr Ellyllon, due almost entirely to the 125 years between the two discovery dates, and the much greater awareness of the value of archaeological sites, and their protection by law.  In a field where funding is always an uphill battle, it is often due to accidental findings during construction work that result in excavations.  Ironically, given that it signals the destruction of a site, rescue archaeology is enormously helpful in filling out the picture of archaeological periods, but it is relatively rare that such rescue work is required in rural areas.  It was only because of the expansion of Brymbo into the surrounding countryside that Bryn y Ffynnon was discovered and rescued.  What this means, in practical terms, is that the recovery of the archaeology of northeast Wales will inevitably remain piecemeal, as funding for excavation (and post-excavation analysis) is secured on a case by case basis, or as other rescue opportunities arise.

Each burial and its accompanying objects will be discussed in much greater depth in the next two posts, Bryn yr Ffynon (Brymbo) posted in part 2 and Bryn yr Ellyllon (Mold), posted in part 3.  In part 4 all the strands are brought together to talk about how the two sites contribute to what is known of the archaeology of northeast Wales and the borders.

 

Sources:

Books, booklets and papers:

Armit, I., and Reich, D. 2021. The return of the Beaker folk? Rethinking migration and population change in British prehistory. Antiquity, 95 (384), 1464-1477
https://www.cambridge.org/core/journals/antiquity/article/return-of-the-beaker-folk-rethinking-migration-and-population-change-in-british-prehistory/ABF13307796A0476353FA8D2DA38A21A

Bradley, R. 2019 (2nd edition).  The Prehistory of Britain and Ireland. Cambridge University Press

British Museum Partnership Programme, (no date). The Mold Cape. A Prehistoric Masterpiece from North-East Wales. (Dual language, Welsh and English). National Museum of Wales and Wrexham County Borough Museum.

Brück, J. 2004. Material Metaphors. The Relational Construction of Identity in Early Bronze Age Burials in Ireland and Britain.  Journal of Social Archaeology, vol.4(3), p.307-333

Brück, J. 2008. The Architecture of Routine Life.  In Pollard, J. (ed.) Prehistoric Britain. Blackwell, p.248-267

Brück, J., & Booth, T. 2022. The Power of Relics: The Curation of Human Bone in British Bronze Age Burials. European Journal of Archaeology, p.1-23
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Burrow, S. 2011.  Shadowland. Wales 3000-1500BC.  Oxbow Books / National Museum of Wales

Caseldine, A. 1990.  Environmental Archaeology in Wales. Department of Archaeology, St David’s University College, Lampeter
https://archive.org/details/environmentalarc0000case/page/n1/mode/2up

Clark, J. 1932. The Date of the Plano-Convex Flint-Knife in England and Wales. The Antiquaries Journal, 12(2), p.158-162.

Clarke, D.V., Cowie, T.G. and Foxon, A. 1985.  Symbols of Power at the Age of Stonehenge. National Museum of Antiquities, Scotland.

Clwyd-Powys Archaeological Trust.  Mold Gold! Newsletter Autumn 2007
https://cpat.org.uk/wp-content/uploads/2018/12/CPAT-Autumn-2007-1.pdf

Duhig, Corinne. n.d. The Skeleton from Bryn-Y-Ffynon, Brymbo (“Brymbo Man”), Unpublished, Wolfson College, Cambridge. (With many thanks to Rhiannon Pettitt for sending it to me)

Dutton, A., Fasham, P., Jenkins, D., Caseldine, A., & Hamilton-Dyer, S.,1994. Prehistoric Copper Mining on the Great Orme, Llandudno, Gwynedd. Proceedings of the Prehistoric Society, 60(1), p.245-286

Frieman, C. 2012. Going to pieces at the funeral: Completeness and complexity in early Bronze Age jet ‘necklace’ assemblages.  Journal of Social Archaeology, 0(0), p.1-22
https://www.researchgate.net/publication/258157952_Going_to_pieces_at_the_funeral_Completeness_and_complexity_in_early_Bronze_Age_jet_%27necklace%27_assemblages

Fowler, Chris, 2013.  The Emergent Past. A Relational Realist Archaeology of Early Bronze Age Mortuary Practices. Oxford University Press

Gage, J. 1835.  XXII. A Letter from JOHN GAGE, Esq. F.R.S., Director, to Sir HENRY ELLIS, K.H., F.R.S., Secretary, accompanying a Gold British Corselet exhibited to the Society, and since purchased by the Trustees of the British Museum.  Read 17th December, 1835
[includes extracts from Reverend Clough’s and Mr Langford’s letters]

Harris, C. and Kaiser, A. 2020. Burying the Hatchet.  Revue d’Économie Politique, November-December 2020/6 (vol.130), p.1025-1044
https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3701375

Harris, S. 2019. Chapter 7 – The Challenge of Textiles in Early Bronze Age Burials: Fragments of Magnificence. In: The Textile Revolution in Bronze Age Europe.  Production, Specialisation, Consumption, ed. Sabatini S. and Bergerbrant, S. Cambridge University Press, p.154-196. 

Hoole, M, Sheridan, A, Boyle, A, Booth, T, Brace, S, Diekmann, Y, Olalde, I, Thomas, M, Barnes, I, Evans, J, Chenery, C, Sloane, H, Morrison, H, Fraser, S, Timpany, S and Hamilton, D 2018 ‘“Ava”: a Beaker-associated woman from a cist at Achavanich, Highland, and the story of her (re-)discovery and subsequent study’, Proceedings of the Society of Antiquaries of Scotland 147:
73-118.
http://journals.socantscot.org/index.php/psas/article/view/10106

Hurcombe, L.M. 2014. Perishable Material Culture in Prehistory. Investigating the Missing Majority. Routledge

Johnson, N. 2017.  Early Bronze Age Barrows of the Anglo-Welsh Border. BAR British Series 632

Jones, A. 2008. How The Dead Live:  Mortuary Practices, Memory and the Ancestors in Neolithic and Early Bronze Age Britain and Ireland.  In Pollard, J. (ed.) Prehistoric Britain. Blackwell, p.177-201

Jones, N.W. 2000. Prehistoric Funerary & Ritual Sites:  Flintshire and Wrexham. Project Report.  Clwyd-Powys Archaeological Trust, March 2000.
http://www.walesher1974.org/herumd.php?group=CPAT&level=3&docid=301338460

Lanting, J.N. and van der Waals, J.D. 1972. British Beakers as seen from the Continent, Helinium 12, p.20-46

Lewis A 1990, Underground exploration of the Great Orme copper mines in (eds.) Crew, P. and Crew, S., Early mining in the British Isles, Plas Tan y Bwlch, p.5-10

Lloyd, J.Y.W. 1885. The History of the Princes, the Lords Marcher and the ancient nobility of Powys Fadoc and the Ancient Lords of Arwystli, Cedewen and Merionydd.  Whiting and Co, London.
https://archive.org/details/historyofprinces05lloy

Lynch, F. 1983. Report on the Excavation  of a Bronze Age Barrow at Llong, near Mold.  Journal  of Flintshire Historical Society, 31, p.13-28

Lynch, F. 1991. The Bronze Age.  In Manley, J., Grenter, S and Gale, G. (eds.) The Archaeology of Clwyd. Archaeology Service Clwyd, p.55-81

Lynch, F. 2000.  The Later Neolithic and Earlier Bronze Age.  In. Lynch, F., Aldhouse-Green, S., and Davies, J.L. (eds.) Prehistoric Wales. Sutton Publishing

Lynch, F. 2003. Prehistoric Funerary and Ritual Monuments in Flintshire and Wrexham, Flintshire Historical Society Journal, Vol 36 (2003), p.19-31

MacGregor, N. 2020.  A History of the World in 100 Objects.  Penguin

Morgan, D.E.M. 1990. Bronze Age Metalwork from Flintshire. North West Archaeological Trust, Report No.4

Morgan, V. and Morgan, P. 2004.  Prehistoric Cheshire.  Landmark Collections Library

Needham, S. 2012, Putting capes into context: Mold at the heart of a domain. In Britnell, W. J. & Silvester, R. J. (eds.) Reflections on the past: essays in honour of Frances Lynch. Welshpool, Cambrian Archaeological Association, pp. 210-236

O’Brien, W. 1996.  Bronze Age Copper Mining in Britain and Ireland. Shire Archaeology.

Olalde, O. 2017. The Beaker Phenomenon and the Genomic Transformation of Northwest Europe.  bioRxiv May 2017
https://www.biorxiv.org/content/10.1101/135962v1.full.pdf

Parker-Pearson, M., Chamberlain, A., Jay, M., Richards, M., and Sheridan, A., Curtis, N., Evans, J., Gibson, A., Hutchison, M., Mahoney, P., Marshall, P. Montgomery, J. Needham, S. O’Mahoney,  S. Sandra, Pellegrini, M. and and Wilkin, N. 2016.  Bell Beaker people in Britain: migration, mobility and diet. Antiquity., 90 (351), p. 620-637
https://www.researchgate.net/publication/303316762_Beaker_people_in_Britain_Migration_mobility_and_diet

Powell, T.G.E. 1953. The Gold Ornament from Mold, Flintshire North Wales.  Proceedings of the Prehistoric Society 19, p.161-79

Ray, K. and Thomas, J. 2018.  Neolithic Britain. The Transformation of Social Worlds.  Oxford University Press

Savory, H. N. 1959. A Beaker Cist at Brymbo. Transactions of Denbighshire Historical Society, Iss. 8, Vol.8, p.11-17

Sheridan, A. 2008. Towards a fuller, more nuanced narrative of Chalcolithic and Early Bronze Age Britain 2500-1500 BC.  Bronze Age Review. vol.1, British Museum
https://britishmuseum.iro.bl.uk/concern/articles/28723733-e7b7-4726-aa04-1d89ad647048

Taylor, J. 1985. Gold and Silver. In (eds.) Clarke, D.V., Cowie, T.G. and Foxon, A.  Symbols of Power at the Age of Stonehenge. National Museum of Antiquities, Scotland
https://archive.org/details/symbolsofpowerat0000clar/page/n359/mode/2up

Taylor, J.A. 1980. Environmental changes in Wales during the Holocene period in Taylor, J.A. (ed.) Culture and Environment in Prehistoric Wales.  British Archaeological Reports British Series 76

Thomas, J. 1991.  Reading the Body.  Beaker Funerary Practice in Britain. In (eds.) Garwood, Jennings, D., Skeates, R and Toms, J.  Sacred and Profane: Proceedings of a Conference on Archaeology, Ritual and Religion, Oxford, 1989.  Oxbow Books

Thomas, J. 2007, Three Bronze Age Round Barrows at Cossington: A History of Use and Re-Use. Transactions of Leicestershire Archaeological and Historical Society 81 (2007), p.35-63
https://www.le.ac.uk/lahs/downloads/2007/2007%20(81)%2035-63%20Thomas.pdf

Timberlake, S. and Marshall, P. 2014.  The beginnings of metal production in Britain: a new light on the exploitation of ores and the dates of Bronze Age mines.  Historical Metallurgy 47(1), p.75-92
https://hmsjournal.org/index.php/home/article/download/112/109/109

Young, T. 2013.  GeoArch Report 2013/20, Geophysical survey of the supposed findspot of the ‘Gold Cape’, Bryn-yr-ellyllon, Mold, Flintshire (pt 2), 29th September 2013
https://museum.wales/media/30592/2013-20-Geophysical-survey-at-Mold-pt2.pdf

Waddinton, C. 2004. The Joy of Flint. Museum of Antiquities, University of Newcastle upon Tyne
https://www.archaeologicalresearchservices.com/wp-content/uploads/2022/06/JoyofFlint_1.pdf

Woodward, A. 2000.  British Barrows: A Matter of Life and Death.  Tempus.

Woodward, A. 2002. Beads and Beakers: heirlooms and relics in the British Early Bronze Age. Antiquity 76, p.1040-47

Websites:

Advanced Amber Kretaceous Zoologia (AAKZ)
British Amber
http://www.aakz.com/British-and-Irish-amber.html

ARCHAEO-death by Howard Williams
Questions for Brymbo Man
https://howardwilliamsblog.wordpress.com/2015/08/05/questions-for-brymbo-man/

Archwilio
CPAT Regional Historic Environment Record Mold: Bryn-yr-ellyllon, Geophysical survey, 2013
https://archwilio.org.uk/her/chi3/report/page.php?watprn=CPAT166880&dbname=cpat&tbname=event&sessid=CHI39bx3hf5&queryid=Q883547001681323677

BBC News
Great Orme: Rare Bronze Age axe mould declared treasure, June 1st 2022
https://www.bbc.co.uk/news/uk-wales-61663012

British Museum
Cape
https://www.britishmuseum.org/collection/object/H_1836-0902-1

Clwyd-Powys Archaeological Trust
Mold Gold!
CPAT Newsletter, Autumn 2007, p.6-8
https://cpat.org.uk/wp-content/uploads/2018/12/CPAT-Autumn-2007-1.pdf

Current Archaeology
December 1st 2016
The Cist on Whitehorse Hill
https://archaeology.co.uk/articles/features/cist-whitehorse-hill.htm
October 1st 2018
Spinning the tale of prehistoric textiles
https://archaeology.co.uk/articles/news/spinning-the-tale-of-prehistoric-textiles.htm

Dartmoor National Park
Whitehorse Hill
https://www.dartmoor.gov.uk/wildlife-and-heritage/heritage/bronze-age/whitehorse-hill

The Fire on the Hill
Index of Brymbo Placenames
https://thefireonthehill.wordpress.com/index-of-places/

Getty Museum
The Properties of Amber
https://www.getty.edu/publications/ambers/intro/6/

The Independent
Discovery of vast treasure trove of fine textiles shows importance of fashion to Bronze Age Britons by David Keys, 14th July 2016
https://www.independent.co.uk/news/science/archaeology/vast-treasure-trove-of-fine-textiles-shows-importance-of-fashion-to-bronze-age-britons-a7135786.html 

Mellor Archaeological Trust
Necklace of Amber Beads
https://www.mellorarchaeology-2000-2010.org.uk/archaeology/finds/amberbeads.htm

PBS Time Team America
Isotope Analysis
http://timeteam.lunchbox.pbs.org/time-team/experience-archaeology/isotope-analysis/

Wrexham County Borough Museums and Archives
Brymbo Man Revealed
https://www.wrexhamheritage.wales/brymbo-man/

Exhibition: “The Tailor’s Tale” at Tŷ Pawb gallery, Wrexham

Image source: Tŷ Pawb website, with original image © Amgueddfa Cymru (National Museum Wales). The giraffe is sublime, but the panther is bliss.

The Tailor’s Quilt, by James Williams. Click to see the larger, clearer image. Image source: Tŷ Pawb website, with original image © Amgueddfa Cymru (National Museum Wales).

The Tailor’s Tale exhibition, at the Tŷ Pawb gallery in Wrexham, is on until September 24th 2022.  It is a rare opportunity to see the mid-19th century “Tailor’s Quilt” without having to go to south Wales to see it in its usual home.  The exhibition is showing at the same time as the exhibition Blanket Coverage, in the same gallery, about which I have already written here.

The Tailor’s Quilt was made by master military tailor James Williams of Wrexham (c.1818 – 1895). It is on loan from the St Fagan’s National Museum of History in Cardiff.  The museum bought it in 1935 from Williams’s grandson during the economic depression, where it joined a national folk art collection, which now has over 200 examples of Welsh quilting and patchworks.   

As well as the quilt itself, which is a complete joy, the exhibition features modern art works, including designer clothing and accessories by Sarah Burton (fashion house Alexander McQueen) and fashion designer Adam Jones;  a range of items  by Mark Herald, based on the quilt and commissioned by Tate Britain; and a set of four small pieces by Quilter’s Guild of the British Isles members Judy Fairless, Anne Gosling, Barbara Harrison and Helen Lloyd.  It is one of the pleasures of The Tailor’s Tale, that 19th and 21st century approaches to patchwork and quilting by local textile specialists can be seen side by side, with all the implications of social and economic change that each implies.
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The Tailor’s Quilt

First, a bit of terminology.  A quilt is generally defined as at least two layers of fabric with padding, called wadding, between them, all stitched together either with straight lines crossing each other to form squares or diamonds, or in more elaborate designs.  A patchwork consists of pieces of fabric sewn together.  A patchwork quilt is a patchwork that has been provided with a wadding and backing, and has been sewn together at multiple places across the surface to connect all three levels, to form a patchwork quilt.  The Tailor’s Quilt, technically, is a patchwork, because it is made up of different fabrics sewn together but is not sewn over to join all the layers together.  It is made using the intarsia method, as described by Dr Clare Rose of the V&A:  “This technique, also known as ‘cloth intarsia’, ‘mosaic needlework’, ‘inlaid patchwork’, ‘inlay patchwork’ and ‘stitched inlay’, involves cutting motifs out of wool cloth and stitching them directly to each other with no seam allowances and no backing fabric.”  Features like the panther’s very smug smile, are picked out in silk thread.

James Williams, Draper, located opposite another draper and a boot maker at the gates to the church. Source: @Tiffypox on Twitter

As modern as it looks, and as imaginative as it is, the Tailor’s Quilt was crafted by James Williams in his downtime over a period of 10 years between 1842 and 1852, using leftover fabrics from the suits and military outfits that he made, as well as from textile sample books that were no longer of use.  It is truly astounding for its scale, imagination and the splendid combination of representational scenes and abstract designs.  The quilt is surprisingly huge, and framed behind glass it is a real presence.

It is thought that Williams was born in 1818.  His name is listed in trade directories between 1850 and the year of his death in 1895.  A photograph survives of his shop sign with the church in the background, which is supposed to show a shopfront on 8 College St., Wrexham.  I went to have a look to see if the original building is still there.  The view shown left, which shows a sign with the legend “J. Williams Draper,” cannot possibly be College Street, which approaches at a very awkward side angle to the church tower.  This is without question Church Street.  Perhaps Williams moved from one premises to another at some point in his business life.

A view down Church Street today.

The Tailor’s Quilt measures 2.34m high by 2m wide (7.6 x 6.5ft) and contains over 4,525 pieces of material.  It is far bigger than I was expecting, even knowing the measurements.  It uses a fairly limited but perfectly harmonized palette of colours, drawn from what Williams had to hand.  It shows scenes from the Bible such as Adam naming the animals, Noah’s Ark,  Jonah and the whale (fabulously, with only the legs showing out of the whale’s mouth), and Cain and Abel, with the sky filled with lightning.  It also features motifs symbolizing Wales (a leek), England (a rose), Scotland (a thistle), and Ireland (a shamrock).  Giving the composite scene a really modern twist, the Menai Suspension Bridge and Cefn Viaduct (with a steam engine and two carriages passing over it) are also prominently featured.  The significance of the Chinese pagoda seems to escape most commentators, but perhaps (speculating recklessly) it was inspired by Chinese ceramics, which had become mainstream in 19th century Britain at the time. Part of the fun of the piece, with a huge, self-satisfied black panther dominating the composition, is looking for the vignettes and enjoying the details in each one.

Image source: Tŷ Pawb website, with original image © Amgueddfa Cymru (National Museum Wales).


The combination of abstract, symbolic and representational takes time to absorb, and it works perfectly both on the level of the detailed vignettes and as a complex composition that instantly creates an attractive and appealing impression.  It is difficult to imagine how, over a 10 year period, Williams was able to keep hold of the compositional elements to create something so beautifully balanced and proportioned. 
As the Tŷ Pawb website puts it, “The quilt is now widely regarded as one of the best surviving examples of Welsh folk art.”

It was exhibited at the Art Treasures Exhibition of North Wales in 1876 and the National Eisteddfod in 1933, both held in Wrexham, and in the British Empire Exhibition in Wembley in 1925.  Although its travels were put on hold for conservation work, it is now fit for travel once again, and was displayed in the Victoria and Albert Museum’s Quilts 1700-2010 exhibition in 2010, and was loaned to the Wrexham Museum for a temporary exhibition in 2017.  Its return to Wrexham at Tŷ Pawb in 2022 is very welcome.

Modern Responses to the Tailor’s Quilt

One of the reasons that this exhibition is so appealing is that it explores how The Tailor’s Quilt influenced and inspired other artists working in the same medium. It offers an opportunity not merely to see a sublime example of the genre, but to see how modern textile artists have incorporated design elements of the quilt in their own work.

The most original of the contributions is that made by fashion designer Adam Jones, who was commissioned by Tŷ Pawb to make a quilt of his own to be displayed adjacent to the Tailor’s Quilt.  It works superbly, because Adam Jones has a style that is quite unlike that of James Williams.  His bright, often garish clothes are attention-grabbing and regularly make use of clashing colours, textual elements and pub-themed motifs to make often loud, sometimes kitschy and frequently humorous statements.  Adam Jones is from Froncysyllte near Wrexham, but is now based in London.   Although there are garments from Adam’s collection in the exhibition, to demonstrate some of his creative range, his quilt is particularly interesting in this context.  It combines the inspiration of the Tailor’s Quilt with a unique vision of Wrexham, its football team and pubs, and has its own intense personality.  The composition is set against a bright, shiny red background (Wrexham FC’s dominant colour), and is full of references to Wrexham, and in particular Wrexham Lager.  Contrasting textures, like lace and towelling, and everyday objects like a butcher’s apron and a pair of gloves are intertwined with abstract geometric shapes inspired by the Tailor’s Quilt.  Instead of all four nations, Wales is given pride of place with the dragon at its base.  Flanking Jones’s quilt are huge photographs of the quilt with local people, one man sitting on it, another draping it around her shoulders, removing textile art from the clean walls of the gallery and taking it back to its spiritual home.  Great fun.

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Painter and printmaker Mark Herald was commissioned by Tate Britain to create some pieces based on the Tailor’s Quilt for the Tate’s shop.  Mark’s sketchbook is displayed here, together with some of the items that he created for Tate Britain (some of which are currently for sale in the Wrexham Museum, a short walk away).  His pieces include pictures, mugs, plates and bags.  He takes motifs and themes from the Tailor’s Quilt, gives them a bright hit of colour, and arranges them in harmony on the new surfaces.  They work superbly, echoing the Quilt, the motifs unmistakeably lifted from its progenitor, but given a bright, modern twist on the surface of everyday objects.  Although none of his other works are shown in the exhibition, a quick web search shows why Tate Britain chose him.  His own artworks are similarly full of light, often referencing the animal world, full of bright colours and dynamic shapes.

 

The name that pops up repeatedly when you do a search on the Tailor’s Quilt is clothes Sarah Burton, Creative Director of the fashion house Alexander McQueen.  Sarah Burton was inspired by the Tailor’s Quilt on a visit to St Fagan’s Museum, and incorporated its themes into her Autumn/Winter 2020 collection.

Her work provides yet another contrast.  Just as the Tailor’s Quilt is the product of a professional tailor working in Wrexham, and Adam Jones’s quilt and clothing specifically reference the small town environment of the 70s and 80s that were part of his upbringing, Sarah Burton’s clothing is self-consciously aimed at the catwalk and is the product of the couture design world.  Angular shapes and big panels of fabric are imprinted with motifs lifted directly from the Tailor’s Quilt, but given a new colour palette and an entirely new feel.

Four small pieces exhibited together are by Judy Fairless, Anne Gosling, Barbara Harrison and Helen Lloyd, who each made a piece as a response to the Tailor’s Quilt for the Llangollen Quiltfest in 2017.

From top left, clockwise: Ann Gosling “What a busy life I lead;” Helen Lloyd. “Jump,” Barbara Harrison, “The world around me,” and Judy Fairless, “All Stitched Up”

Although every exhibition has a curator and a team of skilled assistants, the general public does not often hear much about them.  This exhibition was the brainchild of the late Ruth Caswell, to whom the exhibition is dedicated.  She was a very remarkable and award-winning costumier, designer, artist and teacher, as well as a skilled curator of exhibitions, of which this was her last.  The Tŷ Pawb website explains how she started out:

Ruth moved to London in the 1960s, when she met and married her husband actor Eddie Caswell. Ruth said: “When we married and moved to London, we had only £12.50 to our name so I made clothes in my back bedroom and sold them in Kensington Market on a stall next to Freddie Mercury’s. I delivered them on the 73 bus each Friday and they sold instantly.”  Ruth’s clothes were photographed for Vogue and worn by model Jean Shrimpton.

There is a video in the exhibition showing Ruth talking at fascinating length about textile design, and her enthusiasm, eloquence and generosity of spirit are very evident.
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Final Comments

Quilting and patchwork, as craft activities, have a long tradition in domestic contexts, either for daily use or to mark special occasions from the Medieval period onwards.  The Tailor’s Quilt, imagined and hand-stitched by a professional tailor, was very much the product of a professional skill, but was also created within a domestic context.  The exhibition makes it clear how craft activities are now gaining traction in the fields of design and textile arts, featuring on catwalks and in art galleries.  The liminal position held by textile arts for at least a century, is slowly being eroded, and textile is coming of age in a number of commercial contexts where they are recognized as both design and art.

It was a particular stroke of genius to organize The Tailor’s Tale and Blanket Coverage at the same time, and provide them with a single space to share.  Whilst quite different in their content and their style of display, both raise questions about how textiles are regarded today, and what they bring to the world of art.  Both of the exhibitions, the one exploring the impact of a single magnificent piece (the patchwork quilt) and the other exploring the multiple facets of a single genre (blanket weaving), work beautifully both in isolation and together.

With this new exhibition, the Tŷ Pawb gallery has again provided the perfect venue for bringing together modern art and local history, whilst also exploring more universal themes.  The exhibitions The Tailor’s Tale and Blanket Coverage run at Tŷ Pawb until September 24th 2022 between 10am and 4pm Monday to SaturdayEntry is free of charge.


Sources:

Books and papers

Jones, J. 2016. Welsh Quilts. Seren

Rose, C. 2011. A patchwork panel ‘shown at the Great Exhibition.  V&A Online Journal, Issue No. 3 Spring 2011
http://www.vam.ac.uk/content/journals/research-journal/issue-03/a-patchwork-panel-shown-at-the-great-exhibition/#:~:text=This%20technique%2C%20also%20known%20as,allowances%20and%20no%20backing%20fabric.

Ty Pawb handouts, 2022.
– Artist Biographies
– Ruth Caswell

Websites

175 Heroes
Ruth Caswell
https://175heroes.bradfordcollege.ac.uk/ruth_caswell.html

Build Hollywood
Your Space or Mine: Adam Jones
https://www.buildhollywood.co.uk/work/adam-jones/

National Museum of Wales
Patchwork Bedcover
https://museum.wales/collections/online/object/4ce80b8d-182e-3822-8038-54080af6b0b8/Patchwork-bedcover/

Tŷ Pawb
https://www.typawb.wales
The Tailor’s Tale / Blanket Coverage at Tŷ Pawb 02/07/22 – 24/09/22
https://www.typawb.wales/exhibitions/the-tailors-tale-blanket-coverage/

Based in Churton
Exhibition write-up: The luxuriant “Blanket Coverage” at Tŷ Pawb gallery, Wrexham. By Andie Byrnes
https://wp.me/pcZwQK-2F8

Exhibition: The luxuriant “Blanket Coverage” at Tŷ Pawb gallery, Wrexham

Wallace Sewell

Blanket Coverage, the exhibition currently showing at Tŷ Pawb Gallery in Wrexham, is an exploration of sumptuous and subtle modern woven blanket textiles.  If you have never really considered blankets as an art form, or have never had the chance to experience them at first hand, this is a real opportunity to get up close to some examples of the most creative and skilled examples of modern British textile art.  Some of the artists included in the exhibition are very well known, with established businesses and works hanging in galleries, whilst others are just starting out.  Both individual artists and commercial mills are represented, and there is a good mixture of textures, colours and ideas on show.  It is a small exhibition, but full of rich content.

The curators of Tŷ Pawb have inventively and successfully combined the Blanket Coverage touring exhibition from Llantarmon Grange in south Wales with their own exhibition, The Tailor’s Tale, sharing the same gallery space.  The two small exhibitions, both specializing in textiles, work beautifully together, each complementing the other and offering contrast in terms of themes, styles, textures and colours.  I am talking about each on separate posts, because there is so much to say about each of them separately.   I have started with Blanket Coverage (just because I finished it first) and the post about The Tailor’s Tale will follow shortly.

Detail of Margo Selby’s “Kazo Throw” showing the subtlety of the colouring and the softness of the texture (click to enlarge and see the details).

Blanket Coverage has been curated by designer, weaver and curator Laura Thomas, and features works by a diverse collection of contributors who, at Tŷ Pawb, included (in alphabetical order) Llio James, Beatrice Larkin, Angie Parker, Sioni Rhys Handweavers, Margo Selby, Maria Sigma, Wallace Sewell, Meghan Spielman and Melin Tregwynt, as well as curator Laura Thomas.  All are available to purchase.  Both exhibitions opened on July 2nd and are running until September 24th 2022, between 10am and 4pm, Monday to Saturday.  Entry to the exhibition is free of charge.  There is plenty of parking above the gallery and public space, and it is a super, friendly place, so feel free to ask questions. Check the Tŷ Pawb website for any updates.  I have talked about the exhibition space and Tŷ Pawb itself in my previous post about the fabulous Tales of Terracottapolis.
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The exhibition

Handwoven blanket by Llio James. 100% lambswool. 137×178 (upper) and 137×168 (lower)

Blanket Coverage is all about woven large scale blankets (weighty and warm) and throws (lighter weight and fluid).  The format of the blanket, which is big and rectangular, offers an opportunity to develop ideas on a large scale.  The blanket provides a flat, symmetrical area that can be filled with compelling patterns, colour combinations, and textures in combinations that display skill, creativity and often luminous imagination.  Perhaps more than any other medium, the woven work is produced within the constraint of the technology that defines it.  The loom, whether manual or mechanized, is both a restricting factor, confining the weaver to the format of the physical structure of the mechanism, and an appeal to the imagination of the artist to create magic within that confinement.   Just as a concert pianist is confined to wherever the grand piano happens to be, a weaver must build a relationship with the loom within its environment.  Before the sketched design can be translated into a woven textile, the loom must be threaded with the warp, the structural component of the weave into which the rest of the yarns, the weft, are woven.

Within those restrictions are a multitude of options that enable the weaver to express ideas and develop new forms of connection with the person who picks up the resulting textile, handles it and is lucky enough to luxuriate in it.  Some are lightweight throws that are full of movement; others are heavier, traditional blankets with more physical mass.  Mixing lighter and thicker yarns creates alternative fabric weights and textures, extending the repertoire.

Meghan Spielman “Interchange” showing the use if ikat dyes

Dyes too, varying in subtlety and complexity, give infinite possibilities for design.  Whilst some of them reference the environment in which they are made, with muted colours of the landscape, others are brightly independent of any particular context and celebrate the yarns, colours and textures with which they are created.  Others are splendidly monochrome or used a limited, pastel palette, focusing attention on the shapes and patterns that create an energy through the sense of rhythm, repetition and reinforcement.  The ikat dye technique, of which I was previously unaware, works by blanking off parts of the yarn and dying others, so that the dye leaches and creates the effect of colours bleeding into one another, and looks as though the surface has a liquid quality.  Just as a sculptor tests the limit of his or her chosen material, weavers are experts on how to make the most of their material resources.  

Laura Thomas. “Home blanket.” 100% lambswool. 150x200cm

As well as being visually stunning, each piece has a phenomenal tactile appeal that makes it difficult not to reach out and touch.  A lady with two children who was visiting when I was there was hissing “no, don’t touch!” every few minutes, and I felt total empathy with the children, because it is almost impossible not to reach out to sample the feel of the weaves.  The tactile temptation of textiles like this is different from nearly all other forms of art.  Just as luxurious fabrics like the soft warmth of a cashmere jumper and the cool, liquid smoothness of a silk scarf are just as attractive to the touch as they are to the eye, the finely woven blankets in the exhibition have their own special properties and personalities in which their very physical texture is important both to their functional role and their aesthetic appeal.

Left: Margo Selby. Right: Angie Parker.

The exhibition presents an excellent mix of hand-woven and mill-produced textiles.  Hand-woven pieces consume time, and are more expensive.  Those produced in a mill are less expensive,  and means that copies can be made, but most of them were first woven by hand and were then produced by the mill, building authenticity and originality into the process.  Mills, with their own economic challenges, have become increasingly flexible and adaptive, and work with individual designers and design companies to provide short runs, enabling the mills to develop new opportunities, and the designers to lower prices and reach a wider customer base.  The mills too have their own designers, some of them computerized, which add a new dimension to their works.  The relationship between artist and mill is probably the key not merely to the survival of weaving as an art, but of its development.


The exhibitors

Beatrice Larkin. Cut Throw. 148x195cm. &0% Merino lambswool and 10% cotton

The exhibitors in Blanket Coverage at Ty Pawb introduced below in alphabetical order.  One of the great things about the exhibition is that it combines some well known names like Wallace Sewell with relative newcomers like Beatrice Larkin.

Beatrice Larkin works first in pencil and ink to create her monochrome designs, and works with commercial mills to produce textile runs that capture the hand-drawn quality of her works.  Her patterns repeat over the surface of the blanket, and the way in which the designs are put together often creates a sense of motion.  Her blanket weaves are both eye-catching and attractive. I particularly like the way in which most of those in the exhibition have a rhythmic feel to them, which gives even repeat patterns a sense of being natural and spontaneous.  A good example is the double-sided “Cut Throw,” a monochrome twill weave blanket that looks as though a pattern of slashes has been reproduced across the surface.  It was inspired by West African mud cloth block designs.  Although she lives in Kent, Beatrice Larkin’s weaves are all produced in the north of England, and this example was woven on a jacquard mill in Yorkshire. The jacquard mill, patented in 1804 was an ingenious invention that used punched cards to speed up production and produce increasingly complex patterns, a bit like an early computer, and other weavers in the exhibition also have their designs made up on short runs on this type of loom.  

Margo Selby. “Kazo Throw.” 100% lambswool. 140x190cm.

Margo Selby specializes in hand woven bright colours and geometric designs.  Often inspired by graphic design and Japanese art, she examines the interplay between colours, exploring the relationship between the boundaries where colours collide.  Like some of the other designers in the exhibition she makes hand-woven objects and then works with a mill to produce her designs on a jacquard loom.  Her company makes both large- and small-scale pieces, the latter being particularly well suited to blanket design.  The pieces within the exhibition are not typical of her usual riotous colour palette, and instead focus on the interplay of blacks, whites and greys, creating an interplay between the mainly monochrome shades and textures.  Although her company specializes in handweaving they also collaborate with commercial mills.  As well as blankets and framed pieces, the studio produces rugs, fabrics for upholstery, soft furnishings, apparel, cushions, towels and scarves.

Wallace Sewell “Feilden.” 100% lambswool. 170x250cm

Wallace Sewell (established by established by Harriet Wallace-Jones and Emma Sewell) is a textile design company that produces items both to hang and to use, including scarves, cushions and throws, as well as art prints of some of their designs.  Their weaves are first created on a hand loom before going into production, and all are made using natural yarns.  They work closely with Mitchell Interflex, a mill that straddles the Lancashire-Yorkshire border.  The Mitchell family has been producing woven textiles since 1907, when they first acquired the mill.  Wallace Sewell are noted for the bright colour abstract combinations of their designs, which are fresh and full of light.  Although not on display in the exhibition, if you have hopped on a Victoria Line tube train in London and admired the lovely seating upholstery capturing famous London landmarks, this was one of their commissions, and a measure of both the company’s success and its creativity.

Left: Llio James. “Phaedra V2.” Pure new undyed British alpaca and dyed lambswool. 170x130cm. Right: “Acallis V2” baby blanket. Left: Phaedra V2. Pure new undyed British alpaca and dyed lambswool. 170x130cm

Maria Sigma is a Greek weaver trained in Britain and working in London and Athens.  She uses naturally coloured yarns, including alpaca, to produce hand-woven textiles with subtle and complex patterns and textures, and some surprising details like the blue edging of the ones in the exhibition, which contrast with the muted, natural colours of the yarns.   Her use of yarns that are only minimally processes gives each blanket a unique finish, where the texture is as much a part of the fabric, and of Maria Sigma’s ethical approach, as the design itself.

Llio James, a Welsh weaver who grew up in a village that supported two mills, specializes in using a palette of ecru, black, charcoal and reds to produce modern designs building on the tradition of Welsh weaving that is so familiar to her.  Those at the exhibition are hand-woven, but she also works with a mill for short production runs.  Most of her patterns don’t repeat, but use the rectangular blanket format as a canvas to develop abstract designs, which are best seen in full format rather than folded.  She starts the design process on paper before moving on to a loom to experiment with colours, patterns and yarns, before finalizing the designs, which are produced in a traditional Welsh mill, the Melin Teifi.  The photo of her two contributions to the exhibition are at the top of this section.

Melin Tregwynt. “St David’s Cross.”  100% lambswool.  240x250cm

Melin Tregwynt in Pembrokeshire is one of the best known Welsh weaving mills, which has been in the hands of the same family for over 100 years, and there has been a mill on the site since the 17th century.  The company has a huge archive of Welsh designs, and colours chosen often reflect the local landscape with its valley and moorland palettes.  As well as in-house and guest designers, they also make use of a computer programme called ScotWeave to develop new and complex patterns.   Their versatile product range includes Welsh woollen blankets and throws, woollen cushions, upholstery, items of clothing, accessories and bags.  Although most Welsh wool is too coarse for most weaves, the Cambrian Wool Initiative has been established to introduce softer fleeces back into Wales, and as partners in this project, Melin Tregwynt now have a source of Cambrian soft wools to use in their weaves. Have a look at their website to see a series of videos on the production process: https://melintregwynt.co.uk/watch-weaving.

Sioni Rhys Handweavers

The popular Sioni Rhys Handweavers, established by designer Dennis Mulcahy and weaver Stuart Neale, specializes in the production of traditional Welsh cartheni, patterned bed covers that are used as throws and blankets, frequently using the distinctive twill weave shown right.  Although they often reference the surrounding landscape of Brecon in their colour choices, other examples are bright and full of energy.  Their aim is to combine traditional techniques with modern ideas, and the four examples at Blanket Coverage show the versatility of their carthen range.

Detail of blanket by Angie Parker

Although Angie Parker specializes in woven rugs, she began making blankets during lockdown, inspired by the colours of some the painted buildings that she was walking past in her Bristol neighbourhood.  She specializes in complex combinations of bright, light colours, and this translates well into her blanket weaves, combining colours in very appealing geometrical arrangements that draw on her designs for rug weaves and costume design.  There was only one blanket in the exhibition, but it was well chosen for its visual impact and firm but fine texture.  It was made up by the Bristol Weaving Mill.  There is a photograph of it at the end of the previous section.

Meghan Spielman, “Interchange.”

Meghan Spielman trained in London and now lives in New York.  “Interchange” is a wall hanging rather than a blanket or throw, but uses the same format as the blanket, enabling the design to be worked over a large area.  Spielman works in a variety of materials,  often in combination, which give each of her pieces a distinctive quality.  The piece in the exhibition is a double cloth that uses the ikat dye technique to give parts of it something of the appearance of a watercolour, with colours bleeding into one another, whilst other blocks are far more linear, with clean edges, providing an attractive contrast to the more fluid areas of the surface.  The limited palette of colours, which work so well together, put the composition at centre stage.  It is composed of two sections, stitched down the centre.
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Laura Thomas. “Verdant blanket.” 100% lambswool.

Laura Thomas, the curator of the exhibition, is a well known and popular weaver, and has two of her own blankets on display, one a uniform colour in two shades of green with a pattern built into the weave itself, creating oval spaces evenly distributed across the surface.  A second piece, monochrome with a repeat pattern defined by a raised texture, was particularly successful as a design concept on Instragram, and was sent to Melin Tregwynt for production for a short run.  At the mill it was made of Cambrian Welsh wool, and creates a real sense of motion, like water, as you follow the design across the surface.  As well as designing individual pieces like these, she also works with graphic designers on commercial works, and has contributed to public art projects, which sometimes blend with architecture to create unusual spaces.  Like others in the exhibition, she has a real feel for bright, striking colours and experimental textures.

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A fading tradition?

Melyn Tregwynt

In its introduction to Blanket Coverage, the Llantarmon Grange website comments “With traditional skills such as weaving in danger of being lost, the makers in the exhibition are ensuring that traditional crafts continue to not only survive but thrive, both celebrating and innovating the rich tradition of woollen blanket production.”

Weaving is rarely taught in schools, meaning that most children are simply not exposed to it. Those who go on to study art at college may have the opportunity to experience weaving and other textile arts, but they represent a select few, most of whom will not have been exposed to weaving before.

Developing a career or a business based on weaving also presents a challenge.  A fully hand-woven item is extremely time-consuming to make, and this translates into a much higher cost than an item produced on a commercial scale.  Although some of the weavers represented in the exhibition only weave by hand, others have chosen to build relationships with commercial mills that can produce their designs on a more commercially viable basis, which helps to lower costs and potentially find additional potential purchasers.  Perhaps one of the most difficult tasks is to find ways in which to market these products, and to locate suitable places to display them, where they will find these potential purchasers.

Wallace Sewell’s “Dorothy.” 100% lambswool. 105x165cm.

Some help comes from collaborative projects that support craft and design combine resources to help support practitioners and promote their interests.  A good example is Design Nation, which arranged the interview with exhibition curator Laura Thomas, shown below.  At the same time, galleries like Tŷ Pawb and Llantarmon Grange are important for showing us not only what skills remain but what traditions we should continue to support.

Blanket Coverage and The Tailor’s Tale, and similar exhibitions are at the heart of raising the profile of textile arts, and help to involve the visitor in challenging their own ideas about the importance of traditional skills and products in the modern world.  By combining the two exhibitions in a single space, one about quilting, patchwork and costume, the other about blanket weaving, the curators of Tŷ Pawb have given local people access to a world of colour and texture that, one hopes, will continue to grow and to find new purchasers who will find great pleasure in experiencing objects of real beauty on a daily basis.

Final Comments

Beatrice Larkin

The blanket makers in this exhibition are ensuring that traditional crafts continue to not only survive but thrive, both celebrating and innovating the rich tradition of woollen blanket production. The skills, traditions and symbolism wrapped up in blankets make them a prized procession in every home, providers of comfort and warmth, both physical and psychological, which are passed from generation to generation.

By combining its own exhibition, The Taylor’s Tale, with Llantarmon Grange’s Blanket Coverage, Tŷ Pawb has elegantly combined two textile genres to bring artists working in this medium into the public eye.  I loved it.

Both exhibitions opened on July 2nd and are running until September 24th 2022, between 10am and 4pm, Monday to Saturday. Entry is free.

There is an informative interview with curator Laura Thomas, who is talking to Design Nation‘s Development Manager Liz Cooper about the Blanket Coverage exhibition (55 minutes).

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Sources and further reading:

Melin Tregwynt. “Knot Garden.” 100% lambswool.

Designers’ websites

In alphabetical order

Other Websites

Arts Council of Wales
Blanket Coverage goes on Tour
https://arts.wales/news-jobs-opportunities/blanket-coverage-goes-on-tour

Design Nation
http://designnation.co.uk/about-us/

Design Pool
Ikat: Definition, History & Design
https://www.designpoolpatterns.com/ikat-definition-history-design/

Llantarmon Grange
Touring:  Blanket Coverage
https://llantarnamgrange.com/blanket-coverage-at-shetland-art/
Blanket Coverage catalogue on Issuu
https://issuu.com/lgac/docs/blanketcoverage_eng
Interview by Design-Nation with curator Laura Thomas
https://vimeo.com/492333129

Margo Selby
Blanket Coverage
https://www.margoselby.com/blogs/stories/blanket-coverage

Melin Tregwynt

Series of videos on the their weaving production process
https://melintregwynt.co.uk/watch-weaving.

Tŷ Pawb
https://www.typawb.wales
The Tailor’s Tale / Blanket Coverage at Tŷ Pawb 02/07/22 – 24/09/22
https://www.typawb.wales/exhibitions/the-tailors-tale-blanket-coverage/

Detail of Beatrice Larkin’s “Cut Throw”

Exhibition: “Tales from Terracottapolis” at Tŷ Pawb gallery, Wrexham

Tŷ Pawb, meaning “Everyone’s House,” is a small but well thought out community and arts hub in the heart of Wrexham.  I had never been to Tŷ Pawb before, simply because I didn’t know of its existence.  Although I have been permanently installed in Churton for over a year now, I am still finding my way around.  The photographs below are my own unless otherwise stated in the caption.

Ty Pawb in Wrexham. Source: Wrexham Leader

For those who have never encountered Tŷ Pawb, it was formerly a covered market with a car park on top.  Apparently the market was hanging on to life by a thread before it was closed and as usual with this sort of change, the plans unsurprisingly met with some resistance. Often, the words “arts” and “community” when put together in the same sentence are enough to set any number of warning bells ringing, but in this particular case, there has been a strong dose of common sense and a real feel for the town thrown into the mix. The car park and the open space occupied by the market are still there, but the exterior and the former market space have been given a very smart and modern facelift.  Small retail units and a food hall and modern benches and chairs making it an an excellent place to meet and grab a bite.  It is an impressive initiative, and looking at it today, it seems to be working very well.

Source: Ty Pawb

The  gallery fits in very nicely into this arrangement.  The market space with its creatively designed modern signage and bright frontages and furnishings give the whole place a contemporary edge, which segues nicely with the inclusion of the gallery, which is so well blended into the space that at first we couldn’t see it.

We were there to see Tales from Terracottapolis.  It is on until 4th June (open Monday to Saturday, 10-4, free of charge), and I recommend it wholeheartedly.  It is a small exhibit, a single gallery, but makes brilliant use of the space with its excellent light.  Using objects from the Wrexham Museum and elsewhere, together with art works from a number of local artists, it combines 19th Century with 21st Century ideas to explore the local production of architectural flourishes and glazed tiles that formed the character of an older, more confident and prosperous Wrexham.  Some of the decorative twiddles, like capitals, finials and long decorative panels, could be ordered from catalogues, but others were custom made.

There is an excellent video that provides the background to the industry, and explains how the terracotta was made, from kneading the clay by hand via being formed into moulds before firing, a highly skilled process from beginning to end.  It would have been really great to be able to re-see the video online.
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The front part of the gallery, where you walk in, is dominated by the modern pieces, many of which are very striking and engaging, and which aim to complement the story of Wrexham’s brick, tile and terracotta industry by offering new responses to it.

The first thing that draws the eye is The Brick Man by Antony Gormley, best known for his Angel of the North. It is (or would have been) one of his most tactile pieces, and a true celebration of brick.  This is a scale model of a piece that was originally planned as a 120ft (36.5m) monument in the run down Holbrook area of Leeds, near the Leeds City Station.  There was some public outcry against it, which is such a shame, as it resulted in the planning application being rejected by city planners.  As well as the scale model, itself a solidly impressive celebration of brickwork, there is an archive of documentation following the sources of the statue, from the original proposal to the official rejection of the the proposal.

There is a fascinating letter from the Partnership Manager of the British Railways Board, who supported the idea of the project, to a disgruntled objector, which really hits the nail on the head for me.  You can click on the image to see a legible version.  I am often amongst the first to grumble about inappropriate and poorly thought out modern sculpture installed in urban or rural locations as some form of random art statement, because such initiatives can actually alienate people from art and frequently undermine the impact of the heritage in which they are being installed.  By contrast, The Brick Man actually had real merit (originally, I typed “legs”), not only as an art work, but as a way of contributing to urban regeneration, both by drawing attention to the monument and the area, and by attracting visitors.  It is also a good piece of art, which is important.  I was previously unaware of The Brick Man, and it was a really good opportunity to see the scale model and some of Gormley’s original plans.

Display of pottery sherds by Paul Eastwood

Immediately on the right as you walk in to the gallery is a section of wall covered by rows of ceramic sherds that the artist, Paul Eastwood, had collected from riverside locations during lockdown.  It was so familiar, looking eerily like some of the stuff I have been collecting from my garden, and posing exactly the same sort of questions.  Eastwood, based in Wales, specializes in capturing how memory is created through objects and language and, in this case, what abandoned sherds tell us about the people who discarded them and the places they were found.  There were other pieces of his work on the same wall.

A set of large stand-alone pieces in the main space of the gallery, hanging panels and tall curving sections, captured the images of walls and arches, surface-traced like brass-rubbings from the derelict walls of buildings that had produced the bricks, moulded works and tiles.  I had not worked my way round to these Lesley James pieces when I was welcomed to the exhibit by one of the curators, who pointed them out to me, and I was glad she had as I would certainly have missed their textural connection with the 19th century manufacturers:

Lesley James surfaces traces

At the far end of the gallery is a floor-to-ceiling map showing the location of all the major brickworks.  It is an excellent way of showing just how important the area was for the production of bricks, tiles and terracotta.

In this section of the gallery, the focus shifts from present to past, and some of the marvellous tiles and moulded terracotta pieces are located here, together with the video.  This is where the exhibition makes a slight gear change from modern art gallery to beautifully displayed items of heritage.  Both flanking the map and at its foot, are examples of locally made bricks, each one marked with the name of the works that produced it, with a key to identify which name related to which manufacturing works.  In Farndon, on Brewery Lane, there is a Llay Hall brick more or less randomly incorporated into the left side of the road, all on its own, face up.  I have no idea what it is doing there, but it was great to see two of its relatives on display, from Llay Hall Brickworks in Sydallt.

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J.C. Edwards ceramic tiles, rescued from a condemned property on the Air Products factory site in 1989, and restored and reconstructed in 1993.

The main manufacturers represented at the exhibition are Dennis Ruabon Ltd and  J.C. Edwards of Ruabon, both important local producers of bricks, tiles and terracotta.

J.C. Edwards tiles were particularly valued and were installed locally at Liverpool’s Pier Head, and at the Lever Brothers village Port Sunlight on the Wirral, and were bought from as far away as Singapore, Egypt, Panama and India.  Edwards also provided the floor tiles for the kitchens on the Titanic. There is at least one of his tiles in the British Museum, designed by Lewis Foreman Day.

Examples of Dennis Ruabon Ltd terracotta work can be seen locally in Chester at the Westminster Motor Car and Coach Works and the Central Arcade in Hope Street, Wrexham.  Further afield, the Grand Metropole Hotel in Blackpool and Wellington House, at Buckingham Gate in London are high profile examples of  Dennis Ruabon Ltd work.  Whilst Edwards specialized in brickworks based on the Etruria Marl unique to the area, Dennis had interests in a variety of industries, including  quarries, coal pits, waterworks, brickworks and a tramway.

Tiles by J.C. Edwards

Tiles by J.C. Edwards, Henry Dennis, Monk and Newell and the Pant Works

The use of clay pressed into moulds was an excellent way of enlivening buildings, giving them celebratory flourishes without all the costs involved in stone masonry.  The use of moulds that could be re-used many times, enabled manufacturers to produce catalogues for architects, from which their customers could choose appropriate features, which not only made decorative flourishes affordable, but resulted in their proliferation, particularly on roofs.  Once you have seen the items on display, as well as those more elaborate versions shown in the video, it encourages you to look up in places like Wrexham and surrounding villages to spot the terracotta work that gave many local towns a real sense of pride.

Dennis Ruabon Ltd chimney

The layout of the works was elegant and well thought out, with each item widely spaced from the next, allowing it to be appreciated without distraction.  The combination of modern art works and 19th century heritage objects worked beautifully.

All the signage was in Welsh and English, and there was a  handout introducing the modern artists whose works were on display, together with  the 19th century manufacturers J.C. Edwards and Dennis Ruabon Ltd.  I picked up the Welsh version, assuming that it was bilingual; presumably there was an English version as well, so if you don’t read Welsh, look out for it.  I was rescued by Google Translate 🙂

The friendly and helpful curator of the exhibition, whose name I failed to catch, told me that over 2000 people had visited since the exhibition opened in March, with a number of them either former workers or their families sharing experiences.  Certainly, from my own perspective of things I have found in my garden, the Llay Hall brick randomly set into the side of a lane in Farndon, and my enormous affection for 19th century tiles in general and the Westminster Car and Coachworks (now the public library) in Chester in particular, it was very easy to relate to this exhibition.  The modern art pieces also work really well, balancing the older pieces and offering a new way of looking at this type of heritage, as well as engaging the visitor in their own right with thoughts about how heritage can be remembered, explored and, when necessary, lamented.

There was a school party arriving as we left, and on the table by the door I noticed that there was a pile of A4 sheets showing illustrations of three different statues, with an empty space for children to add their ideas for a monumental work.  We flipped through the completed sheets, and they were brilliantly inventive.  They made me remember what it was like to be a child with all that flying, chaotic, no-holds-barred imagination.  I particularly liked the giant robin with a big mouth in its side were its wing should be, complete with a healthy set of teeth.  The giant jelly fish statue was also rather terrific, but they all had something to offer.  Some were surprisingly very abstract.  It was a marvellous idea.

The gallery is a welcoming place, completely unintimidating. I both admired and enjoyed the entire feel of the place.  My only actual grumble about  it is that apart from seating for watching the video there was no seating in the gallery for those who have less than perfectly functioning legs, or who just want to sit and soak up the exhibits.

Practicalities:

The gallery is open 10-4, Monday to Saturday and the exhibition is free to visit.  We didn’t investigate what else the gallery has to offer, so it would be worth checking what else is available and whether there is a ticket charge if you want to visit anything other than the exhibition space (Gallery 1).  Full details for visitors and future exhibits are at https://www.typawb.wales/plan-your-visit.  You can also follow them on Twitter at https://twitter.com/TyPawb

We parked in the multi-storey carpark on Market Street, which has lifts down to the ground floor where the gallery and the food /retail space are located.  It was easy to find, and unlike some multi-storeys, the spaces were generous.  Do not leave your carpark ticket in the car – the pay station is on the ground floor outside the doors to the elevators, and access to the elevators requires you to put your car park ticket into a ticket reader by the side of the door.

Tŷ Pawb has been shortlisted for Art Fund Museum of the Year, the winner of which will be announced in July 2022.  Here’s hoping!
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Source: Ty Pawb

Sources:

Ty Pawb
Exhibition: Tales from Terracottapolis
www.typawb.wales/tales-from-terracottapolis

Exhibition handout in Welsh:  Chwedlau o Terracottapolis 19/03/22 – 11/06/22


More re Wrexham’s brick, tile and terracotta manufacturing history:

Wrexham Leader
There was gold in the red of Dennis Ruabon
https://www.leaderlive.co.uk/news/20131331.gold-red-dennis-ruabon/

Old Bricks – History at your feet
Ruabon Area
https://www.brocross.com/Bricks/Penmorfa/Pages/ruabon1.htm

Coflein
Hafod Red Brick Works; Dennis Ruabon Brickworks, Rhosllanerchrugog
https://coflein.gov.uk/en/site/40776/

Wrexham History
Henry Dyke Dennis and the Red Works, by John Davies
https://www.wrexham-history.com/henry-dyke-dennis-red-works/

Pontcysyllte
Brickworks
https://www.pontcysyllte-aqueduct.co.uk/object/brickworks/

Hansard 1803 – 2005
Brick and Tile Industry, Wrexham Area: Motion made, and Question proposed, That this House do now adjourn.—[Colonel J. H. Harrison.] – Mr. J. Idwal Jones (Wrexham)
https://api.parliament.uk/historic-hansard/commons/1958/jun/10/brick-and-tile-industry-wrexham-area


More on Ty Pawb:

Ty Pawb
“About” page
https://www.typawb.wales/about/

The Guardian
Tŷ Pawb review – an art gallery that truly is everybody’s house. By Rowan Moore
https://www.theguardian.com/artanddesign/2018/sep/01/ty-pawb-review-art-gallery-everybodys-house-wrexham-market

Architect’s Journal
Something for everybody: Ty Pawb art gallery by Featherstone Young
https://www.architectsjournal.co.uk/buildings/something-for-everybody-ty-pawb-art-gallery-by-featherstone-young

Wrexham Leader
Ty Pawb, Wrexham, shortlisted for Art Fund museum of the year
https://www.leaderlive.co.uk/news/20126804.ty-pawb-shortlisted-museum-year/


More on artists in the exhibition mentioned in this post

Paul Eastwood
https://www.paul-eastwood.net/

Lesley James
https://www.lesley-james.com/

Antony Gormley
https://www.antonygormley.com/