Category Archives: Wrexham

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:

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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

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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
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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
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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:
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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.
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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.
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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/

 

 

Valle Crucis Abbey #4 – Patrons, abbots and priors

Cadw sign at the site showing a cutaway of how the interior of the Valle Crucis abbey church may have appeared

Part 1 of this series about Valle Crucis Abbey near Llangollen introduced the background to 12th Century monasticism in Britain, via St Pachomius and St Benedict, and talked about the Cistercians, the spread of the Cistercian order in Wales and why Valle Crucis was located where it was.  Part 2 looked at how the buildings at Valle Crucis were used and how the monastic community functioned.  Part 3 looked the architectural development of the abbey, an architectural jigsaw of a story from foundation in 1201 to dissolution in 1536.

Part 4 and upcoming part 5 look at how the patrons, abbots, priors and monks of the Cistercian Order contributed to life at Valle Crucis.  In Part 4, the top levels of the abbatial hierarchy are introduced, and in Part 5 the main body of the monastic community is described, all helping to build a view of what sort of people were to be found at the abbey, and what life was like within the cloister.

It is the way of the literate world that more is known about those at the top of the hierarchy than those of the main body of the community, because it is the patrons and abbots whose names were on formal documentation, and who were accountable to the mother abbey at Strata Marcella, to the General Chapter at Cîteaux, to the pope, and ultimately to God. More mundanely, the abbots were also subject to the vagaries of political activity and war, and as leaders of the abbey were named as its representatives.  Even so, there are considerable gaps in the list of abbots at Valle Crucis, many of whom are simply unrecorded and others are known only by their names, and even then not always with certainty, and sometimes only partially.
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Normans, Cistercians and Welsh princes

The remains of Strata Florida in midwest Wales. Photograph by Jeremy Bolwell. Source: Wikimedia

Although Wales had its own monastic tradition both before and after the Norman invasion in 1066, by 1150 Norman lords had established houses attached to a number of monastic orders in Wales, connected with French orders.   The Normans also set about normalizing the priesthood, bringing it under the archdiocese of Canterbury, and a number of new dioceses were established, each under a new, Norman-sponsored bishop.  Welsh Cistercian monasteries were spawned by  the Anglo-Norman abbeys in Tintern and Whitland in the south.  Whilst Tintern remained embedded in the Norman-Marcher tradition, Whitland’s fortunes became bound up with the Welsh princes in the 12th century when the Lord Rhys ap Gruffudd restored the fortunes of Deheubarth by claiming it from the Anglo-Norman Robert fitz Stephen.  Lord Rhys assumed patronage of both Whitland (founded with monks from Clairvaux) and Strata Florida in mid-west Wales (founded with monks from Whitland), the latter initially founded by fitz Stephen.  The new Welsh monasteries spawned by Whitland spreading from south to north, were all founded with this sense of being true to the Cistercian order, the spirts of St Benedict, the Virgin Mary and Christ, but were, at the same time, Pura Wallia, pure Welsh.

The regulations and charters of the Cistercians formalized the original intentions of St. Robert of Molesme Benedictine Abbey, who founded the Cistercian order in 1098.  Robert was was conscious that the  labora component of the Benedictine motto “ora et labora” (prayer and work) had been largely abandoned.  In the Cluniac order in particular there was too much comfort, a lot of elaborate and time-consuming ora and very little labora.  Cistercian abbeys were intended to be self-sufficient, combining work, prayer and solitude, distant from the distractions of urban areas.  This was Robert’s vision for the New Abbey at Cîteaux.  Robert was recalled somewhat forcibly to Molesme to resume his role, but was succeeded as abbot at the New Monastery by Alberic (1099-1109), who built on Robert’s initial work and successfully obtained papal privilege for the new abbey and its community in 1100.  Alberic was in turn succeeded by Stephen Harding in 1109, an English monk and theologian who consolidated his predecessors’ work over the next 25 years.

The New Monastery at Citeaux as it is today. Source: European Charter of the Cistercian Abbeys and Sites

Abbot Stephen Harding is usually credited with much of the underlying structure that ensured the success of the Cistercian order.  He appears to have understood that new abbeys, each one its own world isolated from its predecessors and peers, meant that standards would be difficult to maintain.  One of his priorities was to standardize life throughout the Cistercian network of abbeys, to ensure conformity to both the Benedictine Rule and Cistercian values, and it is generally thought that he produced the official constitution for the Order, the Carta Caritatis (Charter of Care), ratified by the Pope in 1119.  Amongst other regulations were a number that dealt with governance and accountability.  The governance was to ensure that all abbeys had the resources to conform to the Cistercian vision.  The accountability was the means by which abbeys were monitored, disciplined and assisted.  

Aerial view of Valle Crucis. Source: Coflein

Records of life at Valle Crucis are sketchy.  To complicate matters, as the centuries passed and the Cistercian order relaxed some of the more severe of its dictums, daily life changed accordingly.  This means that there is no single Valle Crucis way of life because as ideological decay set in, so did the way in which lives were lived.  This phenomenon of gradual departure from early Cistercian values is by no means unique to Valle Crucis, and was remarkably consistent across the Cistercian abbeys and across the centuries.  Some of this is visible at Valle Crucis, and the records that do survive give some insights into a few of the peaks and troughs at Valle Crucis.  Between what is known about Valle Crucis and what is known about Cistercian abbeys in general, we can make a fair stab at getting to know some of the people and their roles.
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Patronage of the abbey

The founder and first patron of Valle Crucis

Cistercians might seek relatively remote locations, but they never made any decisions about founding new abbeys without the input of the Cistercian order, local senior clergy and influential secular local dignitaries.  The most important of these secular authorities was the patron who put up the money for the building of the core monastic buildings, including the church, and provided the abbey with lands to secure its income.  Welsh monasteries were not merely religious but had a political and territorial role.

Valle Crucis Abbey in its valley setting today. Source: Archwilio

Prince Madog ap Gruffudd Maelor of Powys Madog (north Powys, northeast Wales) was the last of the major landholders in Wales to invest in a Cistercian establishment, and was convinced by four of the nearest abbots that he should found a monastery in his territory, extending the reach of the Cistercians in Wales.  Investing in Valle Crucis was not a light-hearted undertaking.  As well as land on which to establish the monastic precinct (the monastery buildings, the abbey church, the gatehouse, storage facilities and possibly farm buildings), the abbey had to be allocated lands to ensure that it could at least achieve self-sufficiency and, ideally, to make a profit to fund future activities.  Although monks took a vow of poverty, some abbeys and priories became very wealthy in their own right.  In the case of Valle Crucis, endowment  first meant relocating the village that already occupied the land chosen for the abbey, and providing it with land and other properties, such as mills and fishing rights.  The lands subsequently allocated to the abbey, both highland and lowland, suitable for livestock grazing and agricultural development respectively, had previously fed into Madog’s own coffers.

Depiction of purgatory in the 15th Century Les Très Riches Heures du duc de Berry. Source: Wikimedia

In return, what did Madog acquire to compensate himself for the ill-will of villagers and farmers, the loss of a useful revenue stream?  The position, prestige and identify of the Welsh princes in the 12th Century was dependent not merely upon political power, but also on spiritual security, which could be secured by investment in monastic establishments and the prayers that would be dedicated to them by the monks.  Richard Southern’s epic narrative about the Middle Ages emphasises the importance of monasteries to patrons (p.225):

The battle for the safety of the land was closely associated with the battle for the safety of the souls of their benefactors.  It was this double objective that induced great men to alienate large portions of their property for monastic uses.  They and their followers and families . . . believed that their temporal and eternal welfare equally depended on the warfare of the monks.

At the same time, his personal prestige would grow along with the monastery.  He had achieved a new status, a validation of his authority and a connection into the wider European world of erudition, culture and divine integrity represented by the spread of the Cistercians and their influence.  With a Cistercian abbey in his heartland, no-one could accuse any ruler of presiding over an uncivilized land.  The spread of the Cistercians in Wales was often connected with reinforcing power, prestige and identity, whilst still maintaining a Welsh personality all wrapped up in a nicely Christian package.  A neat trick.

By investing in a monastic establishment, Madog also stayed on the good side of the Church.  More importantly, what he obtained for himself and his family was the most important direct commodity that the abbey had to offer – its prayers.  As the horrors of purgatory loomed ever closer, patrons hoped that the strength and integrity of monastic prayer would offer powerful intercession.  The prayers of monks who were so close to the divine might work wonders on behalf of the deceased and his family.  Although the Cistercians initially banned burial of secular people within monastic premises, no matter how important, this rule was not observed at many Cistercian monasteries, and certainly at Valle Crucis part of the arrangement seems to have included the burial of Madog and members of his family within the monastic precinct, yet another step nearer to God.

Patrons descended from Madog ap Gruffudd Maelor

When Madog ap Gruffudd Maelor, prince of Powys Fadog (north Powys) died in 1236, his son Gruffudd Maelor ap Madog (c.1220-1269/70), appears to have taken over most of the responsibilities of Madog’s role, although the domains were split between all five of Madog’s sons.  It was Gruffudd who in the year of his father’s death re-confirmed the founding charter, meaning that Valle Crucis retained the properties and assets that had been bestowed upon it by Madog.  He had two sons, Gruffydd Ial ap Madog and Madog ap Gruffydd Maelor.  The family had complicated allegiances, swapping sides between the Welsh and the English, but retained their lands until Edward I took Powys Fadog in 1277.  Gruffudd’s sons were both buried at Valle Crucis, and had presumably taken over the patronage as their father had done before them.

Patronage under English rule

Map showing Bromfield and Iâl (Yale). Source: Rogers 1992, p.444

Valle Crucis, located in a part of Powys known as Bromfield and Iâl, found itself in the middle of several political tugs of war and it is difficult to know what sort of patronage followed between the death of Gruffyd and the suppression of Valle Crucis in 1536.  The answer lies somewhere in the history of Bromfield and Iâl, which had become something of a diplomatic bargaining chip. It seems worth recounting some of that history in order to highlight how political complexities could impact both Valle Crucis and other monastic establishments in Wales.  

Following Edward I’s conquest of Wales Edward I’s reparations to Valle Crucis were generous, but these were intended for replacement of stock, repairs to property, and general compensation for the injury to the dignity of the monastery, but Edward did not replace the Powys princes as patron.  Madog ap Gruffyd, the great-grandson of founder Madog ap Gruffudd Maelor, was buried in the abbey in 1306, as was his cousin Gweirca, implying that they continued to support the abbey even after Edward I.  However, on the death of Madog ap Gruffyd everything changed.

Much of the following has been based on information from the 1992 doctoral thesis The Welsh Marcher Lordship of Bromfield and Yale 1282-1485 by Michael Rogers (any errors are, of course, my own).  Rogers quotes a charter of Edward I from 7th October 1282 at Rhuddlan:

Notification that the king, for the greater tranquillity and common benefit of him and his heirs and of all his realm of England, has granted by this charter to John de Warenne, earl of Surrey, the castle of Dinas Bran, which was in the king’s hands at the commencement of the present war in Wales, and all the lands of Bromfield, which Gruffudd and Llywelyn, sons of Madog Fychan, held at the beginning of the said war . . . saving to the king the castle and land of Hope . . . ; and the king also grants to the earl the land of Yale, which belonged to Gruffudd Fychan, son of Gruffudd de Bromfield, the king’s enemy; doing therefor the service of four knights’ fees for all service custom and demand . . .

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

Two years later in 1284, John de Warenne granted Bromfield and Iâl to his son William, who died young in 1286.  The crown once again took possession whilst John tried to claim his rights to the lands, but in the following year Bromfield and Iâl were restored to John, in spite of possible claims of William’s baby son, also John, born in 1286.  When John de Warenne died on 27th September 1304, his grandson and heir, William’s son John was still a minor and became a ward of the king, with Bromfield and Iâl remaining in crown hands until 1306.

The history of Bromfield and Iâl was tied closely to the history of the village of Holt, which was also given to John Warren on Madog’s death, and which also passed to William.  John began the castle, which William subsequently continued to build.  Holt and its castle passed by marriage into the hands of the Earl of Arundel, who fell foul of Richard II and was executed.  After reverting to the crown and again being granted to the Earls of Arundel, Holt and its castle were granted by Richard III to Sir William Stanley, together with Chirk Castle the lordship of Bromfield and Iâl (now known as Yale) in 1484. It is this family that appear to have taken on the patronage of Valle Crucis.  Unfortunately Stanley was himself executed for treason in 1495.  Holt Castle next passed to William Brereton, who was apparently also a patron of Valle Crucis, before being executed in 1536 under Henry VIII for most foolishly tinkering with Ann Boleyn.  Bromfield and Iâl was then transferred to the crown under Henry VII and subsequently Henry VIII.

Sir William Stanley. Source: Wikipedia

In 1536 the Act of Union withdrew the special status of the Marcher lordships, and Bromfield and Iâl were incorporated into the new county of Denbighshire, together with Chirkland, Denbigh and Dyffryn Clwyd. 1536 was a momentous year for Bromfield and Iâl, and marked the dissolution of Valle Crucis.

After the death of Madog, with Bromfield and Iâl passing to John de Warenne, Valle Crucis had now of passed from the Welsh line to the English.  In spite of its location in the territory of Bromfield and Iâl, it is by no means clear whether Valle Crucis received any real material support from de Warenne or subsequent owners of the land.  On the other hand, it seems as though the descendants of the former Welsh ruler of Powys Madog still took an active interest in the abbey, and that local landowning patrons may have been involved with the abbey’s writing of Welsh history and its connection with Welsh poets, whom local gentry also supported.  The Trefor family, from whom two of the 15th century abbots as well as bishops of St Asaph were derived, is one example.

It was not until the arrival of Sir William Stanley in the picture that clear support for the abbey is once again demonstrated.  Whilst it is possible that the Stanley family may have continued to support the abbey on a private basis after Sir William’s death, it is more likely that reversion to the ownership of the crown changed the abbey’s circumstances yet again.  Eventually Bromfield and Iâl passed to Henry Fitzroy, duke of Richmond and Somerset, who became the patron of Valle Crucis and who was involved in untangling the problems that ensued, not long before the dissolution, under Abbot Robert Salusbury.

I suspect that there is a lot more to be said on the above, and hope to dig out some more details as I continue to look into Valle Crucis.

Abbots of Valle Crucis

One of the ways in which Cistercian standards were maintained was in the strict hierarchy of the abbey.  The senior position was abbot, who was supported by a prior and, at larger establishments a sub-prior.  Beneath them were the choir monks who made up the primary community of the monastery.  Although monks were in theory equal in status, many of them had particular responsibilities, and the requirement for self-sufficiency meant that these roles were very clearly delineated and were of importance to the smooth running of the abbey.  The monks assigned certain roles were called obedientiaries.  The monks will be discussed in part 5.

The role of the abbot

The remains of Strata Marcella, the abbey from which Valle Crucis was founded. Source: Coflein

The most important person in the abbey was the abbot (from the Greek abbas, father).  He would normally be assisted by a prior, the second in command.  The abbot was responsible for maintaining order according to the Cistercian regulations.  He was accountable to both the mother abbey, Strata Marcella in mid Wales, as well as the founding abbey, Cîteaux, for the abbey’s performance and adherence to Cistercian standards, as well as for internal morale and discipline.  An abbot could have been a prior or an experienced monk before being elevated to the most senior position within a new abbey.  He could be promoted internally from within his own abbey or another Cistercian abbey on the retirement, death or elevation of a predecessor. Alternatively, when a new abbey was established the mother house provided the abbot and monks, and the new abbot was responsible for managing not only the monks but also for overseeing the building of the monastery and its church, a process that could take 40 years or more.

Most importantly, the abbot was responsible for ensuring that salvation was ensured for all of of the monks under his authority.  Salvation could only be achieved by undivided focus on God, achieved by adhering to the Order’s rules, including obedience, commitment and remarkable self-discipline.  Individual breaches of internal order would be profoundly disruptive to the community as a whole and, depending on the nature of the transgression, could place the individual’s soul in jeopardy.  Even the most dedicated and devout might find frustrations and difficulties associated with such a life.  Maintaining strict discipline, albeit with compassion, empathy and care, was of fundamental importance for a community that lived together, usually for life, and the abbot was responsible for the wellbeing of both individual monks and the community as a whole, the father of his community.

Salvation.  God seated in glory with angels to either side, proclaims salvation; the archangel Michael fights the 7-headed dragon as devils are hurled by other angels from the sky.  From the Cistercian Abbey of Citeaux. Source: Wikipedia

The abbot was also responsible for the welfare of the monastery’s finances and its economic  self-sufficiency.  Each abbey received land and associated assets to ensure that it was self sufficient, but these resources did not manage themselves and, with assistance from key obedientiaries, the abbot was responsible for ensuring that the abbey achieved ongoing financial security.  Obedientiaries, monks with specific roles within the community, were each allocated a budget to finance their particular area of responsibility, and the abbot would have been responsible for overseeing how to allocate funds, and how these individual budgets, once allocated, were employed.  The running of a monastic establishment was equivalent to running a business, and the abbot was its managing director.

Each year, abbots were obliged to proceed to the heart of the Cistercian order, the New Monastery at Cîteaux, to attend a meeting called the General Chapter, which discussed matters of policy, changes to the rules and statutes, and disciplinary matters and ensured that standards were maintained. Sometimes abbots at lesser abbeys such as Cymer near Dolgellau, or abbeys going through economically rough patches, were forced to borrow the funds required for this long trip, which might place a heavy burden on the economic resources of the monastery.    

Abbots of Valle Crucis

The abbey took its tone from the abbot, and there were both successes and failures recorded at Valle Crucis.  Nothing much could be done about the war waged by Edward I on the abbey’s properties, and although reparations were made by Edward twice in the late 13th Century, the financial constraints and perhaps even some privation within the community may have been felt.  It would have been the job of the abbot at that time of these and other difficulties to mitigate the impacts of the worries and any challenges that the abbey experienced.

There are no likenesses of any of the abbots of Valle Crucis, with the possible exception of a stone effigy that may have been Abbot Hywel, shown below and discussed further in part 5.  The Cistercians did not believe in adorning their monasteries with art works, and even though later Cistercian abbots might have indulged themselves with portraits, during the dissolution of the monasteries, Henry VIII commanded that all the assets of the monasteries be sold or destroyed.  Only a few Cistercian portraits therefore survive, and none of them were from Valle Crucis.

Sculpted face at the far end of the slype. Source: Wikimedia

Valle Crucis, founded in 1201 with monks and an abbot, Abbot Philip, from Strata Marcella, received an annual visitation from the abbot of Strata Marcella, or his proxy, throughout its life to ensure that it was conforming to the rules and values of the Cistercians.  Nothing is known of Abbot Philip, except that his appointment as abbot of an important new house marks him out as a highly responsible and suitably motivated individual, in all ways suitable for the daunting task of bringing up a monastery and its economic infrastructure from scratch.  Certainly the architectural development of the abbey argues that Abbot Philip was very capable in at least that respect, but a statute issued early in his tenure refers to him rarely celebrating Mass or receiving the Holy Eucharist.  He was apparently not alone, as the Abbots of Aberconwy and Carleon were also found guilty of the same lax behaviour.   

There is mention of an an Abbot Tenhaer in 1227 and again in 1234.  Nothing about him is known, but three dates tie in roughly with his tenure.  In the mid 1225 and 1227 Valle Crucis was recorded as being in dispute with neighbouring monasteries Strata Marcella and Cwmhir respectively, probably in connection with grazing rights.  In 1234 the General Chapter recorded that the incumbent abbot had allowed women to enter the monastic precinct.  The name of the abbot is not given, so the guilty party could have been either Tenhaer or his immediate successor whose name is not recorded.

Between approximately 1274 and 1284 an Abbot Madog or Madoc is known, his name recorded in two notable documents.  The first was a letter to the Pope in 1275, in which seven of the Welsh Cistercian abbots defended the reputation of Llywelyn against charges made by Anian, Bishop of St Asaph. The other six abbeys were Aberconwy, Whitland, Strata Florida, Cwmhir, Strata Marcella and Cymer.  Valle Crucis is recorded in the same year as having only 5 monks.  The second document is a document dating to December 1282, which notes a loan from Prince Llywelyn ap Gruffud of £40.00 to “expedite and sustain Abbot Madog” on abbey business.  That was a substantial sum – the National Archives Currency Convertor estimates that today this would equate to £27,762.78 (or 47 horses, 88 cows or 173 stones of sheep wool) It may well have had something to do with Edward’s two major assaults on Wales in 1277 and 1282–83 respectively.  Edward’s generous compensations to Valle Crucis and other northern abbeys indicate the level of damage inflicted on the monastic establishments, allocated to Valle Crucis in 1283 and 1284 (£26 13s  4d and 160 respectively – the latter the highest sum paid to a Welsh Cistercian monastery).

Fragment of a gravestone, possibly from Valle Crucis and perhaps showing Abbot Hywel. Photograph by Professor Howard Williams. Source: ArchaeoDeath blog

An Abbot Hywel is mentioned in February 1294 and July 1295. The dates tie in with a record showing that Edward I placed the estates of Roger of Mold in the care of the abbey in 1294 (whilst Roger was on Crown work in Gascony), and then visited in person in in 1295, making oblations (religious gifts) of “two cloths.”  It is possible that he is the same Hywel Abbas shown in the fragment of a gravestone effigy showing a tonsured monk, first recorded in 1895 and now in Wynnstay Hall near Ruabon, which was on loan for a period to Llangollen Museum. A photograph of the effigy is shown left.  Professor Howard Williams and colleagues have researched the fragment, the style of which is consistent with the late 13th century, and believe that it probably came from Valle Crucis.  Whilst it may have been one of the choir monks, the investment in the carving of the slab argues that it was someone of more importance.  

Abbot Hywel was succeeded by a number of abbots about whom, again, almost nothing is known, but in 1330 Abbot Adam was appointed and is apparently mentioned on several occasions until perhaps January 1344.  It is thought that the inscription that remains clearly visible on the rebuilt gable on the west façade of the abbey church belongs to this abbot, claiming credit for the restoration work.  His inscription was not consonant with Cistercian ideas of modesty and humility, but this type of autograph was by no means unknown in the Cistercian Order.

St Asaph Cathedral, which dates back to the 13th Century. Source: Wikipedia

Again there are some names or partial names recorded, but this was the period of the Black Death that arrived in 1349, when keeping up to date records was probably the last thing on most people’s minds, and it is not until Abbot Robert Lancaster that more details are again available.  Abbot Robert was installed as abbot of Valle Crucis in about 1409, the year in which the papacy was reunited under pope Alexander V after the Great Schism of 1378.  Shortly afterwards he was elevated to the bishopric of St Asaph.  He held the positions of Abbot and Bishop simultaneously, until September 1419.  His is an interesting case, although not unique.  In that same year, 1419, a petition to the pope records that he had undertaken repairs to the monastery following a fire possibly inflicted during the Owain Glyndŵr rebellion.  Another extension to his twin role was granted In June 1424 for another fifteen years.  The conflicting demands of St Asaph and Valle Crucis may have tested his leadership skills because there is papal correspondence to the monastery, reminding the monks of their vows of obedience to the abbot, implying that there had been at least one serious breach of discipline or a challenge to his authority.  Abbot Robert may have retained the abbacy of Valle Crucis up to the time of his death in March 1433.  It is somewhat ironic that 6 generations on from Madog ap Gruffudd Maelor, the founder of Valle Crucis, the damage inflicted on the abbey during the Welsh rebellion between 1400 and 1410, was lead by Madog’s own descendent Owain Glyndŵr.  This time, there was no compensation, and it is not known how Valle Crucis, under Abbot Robert, was able to fund its own recovery.

The English Richard or John Mason held the position of abbot, for a period period lasting between February 1438 and July 1448, which may have been a period of neglect, although the evidence for this has not been clearly stated.  Abbot Mason was English, which may have caused difficulties within a Welsh context.  Although 18 years after the end of Owain Glyndŵr’s rebellion, nearly a generation on, there must have been residual resentment and a sense of loss amongst the Welsh gentry of Powys Fadog, if not amongst those monks of the Valle Crucis community who retained a sense of Welsh identity.

Sculpted head at the far end of the slype. Photograph by Llywelyn2000 Source: Wikimedia

There is a gap of some seven years in the records, but the three abbots that followed, Sîon ap Rhisiart (John ap Richard, 1455-1461), Dafydd ab Leuan ab Iorwerth (1480-1503) and Sîon Llwyd (John Lloyd) seem to have engineered a turnaround in the fortunes of the abbey, which now came under the patronage of the Stanley family who have been discussed above.  Under these abbots, Valle Crucis became a centre for literature and poetry.  At the same time, it seems to have become a rather more gregarious establishment than in previous centuries, entertaining high profile guests in fairly lavish style, praised in verse by Welsh poets Guto’r Glyn, Gutun  Owain and Tudur Aled.

Abbot Sîon ap Rhisiart (John ap Richard) was abbot between c.1455 and 1461.  David Williams refers to him as an “abbot-restorer,” who was from an important local family, the Trefors.  He is best known for the enthusiasm with which his hospitality was received by the poet Gutun Owain who described Valle Crucis as “a palace of diadem.”

Abbot Dafydd ab Leuan ab Iorwerth seems to have become abbot in February 1484.  He may have come from the Aberconwy monastery, and was again a member of the important local Trefor family.  He too was being praised by the Welsh poet Gutun Owain for his hospitality, commenting, with hindsight somewhat ambivalently “how good is the lord who loves to store his wealth and spend it on Egwestl’s noble church.”  Owain also praised Dafydd’s architectural achievements, including a fretted ceiling in the abbot’s house.  The village of Egwestl was the one that Valle Crucis had supplanted, and the abbey was still known locally by the village name.  Abbot Dafydd became deputy reformator of the Cistercian Order in England and Wales in 1485, a position of considerable importance.  Between 1500 and 1503 he was raised to the position of Bishop of St Asaph in Wales which, like Abbot Robert Lancaster earlier in the same century, he held concurrently (in commendam) with the the abbacy of Valle Crucis.  He died in about 1503.

Abbot Sîon Llwyd (John Lloyd) became abbot in about 1503 and stayed in the position until about 1527.  He became one the overseers of the compilation of the Welsh pedigree of Henry VII, a royal appointment, and in 1518 he was described as “king’s chaplain and doctor of both laws.”  Like his two predecessors, he was praised in verse for his hospitality by a well known poet, this time Tudur Aled.  Although he was buried at Valle Crucis, his tombstone was moved after the suppression and placed outside the church of Llanarmon yn Iâl.

Henry Fitzroy, duke of Richmond and Somerset, and patron of Valle Crucis during the abbacy of Robert Salusbury and during the dissolution of the abbey. Source: Wikipedia

Unfortunately but interestingly, this relatively brief period of glory was followed by disgrace.  The richness of the abbey in its late years, and its comfortable lifestyle, seems to have attracted quite the wrong sort of abbot, of which more in the next post.  The member of a local family was appointed to the post of abbot, although it is far from clear how he was able to obtain the position.  The family was prominent and well respected, but Abbot Robert Salusbury, who held the position from 1528-35 has been implicated in a number of crimes and felonies and appears to have had no training as a monk.  As Evans puts it (Valle Crucis Abbey, Cadw 2008):  “He was a totally unsuitable candidate, who appears to have been imposed upon the abbey;  he was probably under age, never served a proper novitiate as a monk, and does not seem to have been properly professed or elected.” Five monks left, leaving just two behind, forcing Robert Salusbury to acquire seven more from other monasteries, who he paid to serve.  In February 1534, with matters clearly out of control at the abbey, Henry Fitzroy, duke of Richmond and Somerset, Lord of Bromfield and Iâl, and patron of Valle Crucis, sent a visitation (inspection) to Valle Crucis, headed by Abbot Lliesion of Neath (reformator of the Cisternian order in Wales), and accompanied by the abbots of Aberconwy, Cwmhir and Cymer.  Things were soon set in motion for change.  In June 1534, the abbey was put under the care of the Abbot of Neath. in 1534, assisted by the prior Robert Bromley.  Salusbury was sent to Oxford for re-education, with a generous allowance, but the order’s good intentions were wasted.  Salusbury was eventually imprisoned in the Tower of London for leading a band of highwaymen in Oxford.

Abbot John Herne/Heron/Durham had the unenviable task of succeeding Robert Salusbury.  He had been a monk of the Abbey of St Mary Graces, Smithfield, London. It must have been something of a culture shock transferring from one of the Cistercian order’s few urban locations to the rural splendours of Valle Crucis, especially as he found the finances in such a poor state that he was forced to borrow £200 to meet the expenses of his own installation.  He was abbot of Valle Crucis from June 1535 until August 1536.  He was abbot when the Valor Ecclesiasticus, Henry VIII’s valuation of all the abbeys in the  realm, was carried out.  All monastic establishments valued at less than £200.00 were listed for immediate suppression and and the abbey was closed accordingly in 1536.  Henry Fitzroy, patron of Valle Crucis, died in the same year, at the age of 17.  After the suppression of the abbey, it is recorded in March 1537 that Abbot John was granted a pension.
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Priors and sub-priors

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

The prior was secondary only to the abbot, was usually promoted from within the abbey’s own ranks and could rise to abbot of the same or another establishment, particularly a new, daughter establishment.  

The only prior to receive  attention in records associated with Valle Crucis is Prior Robert Bromley, who had been at Valle Crucis since about 1504 was passed over in favour of Robert Salusbury in 1528, a clearly very bad decision.  Williams says that he was given several privileges, perhaps as compensation for being passed up for the abbacy in 1528:  “He was now absolved from ecclesiastic censure due (if any) for not wearing the habit; he was permitted (because of infirmity) to wear linen next to his skin, long leggings of a decent colour (the monks were normally hare legged beneath their habit, and a ‘head warmer’ under his hood; he was allowed to talk quietly in the dorter [dormitory] . . . . and to eat and drink in his own (prior’s) chamber” (The Welsh Cistercians, p.68).  Such concessions were usually allowed only to the abbot.  When Salusbury was ousted by the Abbot of Neath in 1534, it was put in Bromley’s care temporarily, but he had no desire to become abbot of such a neglected establishment.  He too was a victim of the Valor Ecclesiasticus, and was respectably pensioned off.
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Final comments on part 4

Valle Crucis from the south

As I was trying to untangle the stories of Powys Fadog and Bromfield and Iâl with a view to determining how they impacted patronage of the monastery, and to see what sort of political world surrounded and incorporated the abbey, it became increasingly clear why there were peaks and troughs in its career.  Whilst there were  periods of investment in architecture and scholarly output, it was also clear, and perfectly understandable, that the abbey had been through periods of downturn and neglect.  

The Black Death of 1349 raised questions in secular minds about the value of the clergy and of monastic prayer, whilst the Hundred Years War between 1337 and 1453 and the Great Schism of 1378-1409 inevitably challenged more than the idea of a unified Cistercian identity, placing Britain and France (the homeland of the Cistercians), in opposing camps.  For the entire period of the Great Schism, the annual General Chapter at Cîteaux was cancelled, with a papal bull from Urban VI releasing the Cistercians outside France from their obedience to the abbot of Cîteaux.  The General Chapter resumed in 1411, but the tone of Europe, the perception of the Church and the character of the Cistercian order had changed. It was during the late 14th and 15th centuries that the abbots of Valle Crucis became more worldly, less committed to the original ideals of either St Benedict or the earliest Cistercians.

The penultimate abbot, Robert Salusbury, was clearly a very poor decision, but demonstrates how both the abbey’s current patron, Henry Fitzroy, and the Cistercian order mobilized together to resolve the undoubtedly embarrassing problem.  They might not have bothered had they known how soon their world was to come tumbling down.

Next

Part 5 is coming shortly, and will talk about the monastic community below the level of abbot and prior, and how the monks and their colleagues lived their lives.  All parts are available, as they are written by clicking on the following link: https://basedinchurton.co.uk/category/valley-crucis-abbey/
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Sources for part 4:

Tying in various bits of data would have been a lot more difficult without the excellent Monastic Wales website, a brilliant resource for all monastic establishments in Wales, which lists a number of abbot names mentioned in documents, highlighting gaps in the sequence and allowing a clear impression of what is and is not known about both the abbey and its abbots.  I used this as my starting point for reading about the personnel at Valle Crucis.  As usual, The Welsh Cistercians by David Williams (2001) and the booklet Valle Crucis Abbey by D.H. Evans (2008) have been invaluable.  

All sources for the series are listed in part 1.

 

The Roman Villa at Rossett #2 – Some background to the excavation

It is difficult to imagine this field as a beating heart of a villa complex life in northeast Wales, but here it is.

This short series focusing on the Rossett Roman Villa began yesterday with Part 1  – What is a Roman Villa? , which was an overview of Roman villas in general, looking at how they are defined, their key features, what is known about who lived in them, how they changed over time and how they are dated.

Today’s post, part 2, looks at the background to the decision to start excavating at the site, information assembled from press releases, the villa project’s Twitter releases (impressive!) and the information imparted by Stephen Grenter, Heritage Services Manager at the Wrexham Museum on the Open Day.  Part 3 describes the excellent Archaeological Open Day that took us through what was happening in the three big trenches opened in the last two weeks, as well as plans for the future.  Again, I just want to say huge thank-you for such a great tour of the site and the sheer amount of knowledge imparted in such a relaxed but professional way.  I have included some of the information communicated on the day in this post, and much of the rest is taken from Caroline Pudney’s posts on Archaeology Chester, with thanks to both of them for being so generous with the information, but of course any errors are my own.

The Rossett villa before excavation.  Source: Archaeology Chester

The strategically important legionary fortress at Chester means that a Roman presence in the surrounding area was almost inevitable, and it has been known for a long time that there was a civilian settlement south of Chester at Heronbridge, Roman industrial activity in Holt (a brickworks and tileworks) to the east and at Halkyn Mountain to the west.  Also in the west, Ffrith has produced Roman remains, but it lies under the village so not much is known about it.  Up until now, however, nothing concrete was known about Roman activity in the Rossett-Burton area.

The Rossett site is located to the west of Burton and is the first villa known from northeast Wales, making it of particular importance.  Prior to any major discoveries, the existence of a Roman presence of some description in the area had already been inferred by archaeologists who had found Roman objects in local ploughed fields.  Ploughed fields are excellent for field walking, as the action of ploughing draws artefacts from lower down up to the surface of the field, and they are often clearly visible against the dark soil.  When the field is recently ploughed, there are no distractions like crop stubble or weeds.

A site plan taken from the geophysical survey of Rossett villa. Source: Archaeology Chester

Confirmation that from the 1st Century onwards Romans had at least passed through the Rossett-Burton area came with a discovery made by a responsible metal detectorist who reported an important find:  an inscribed lead pig that turned out to date to the 1st century AD, the century in which the Romans first arrived.   All of a sudden, the Burton area was in the archaeological spotlight.  A survey and excavation of the ingot site followed, funded partly with a grant from the Roman Research Trust and carried out by archaeologists from Wrexham Museum, the University of Chester and Archaeological Survey West.  There was sufficient time and funding remaining after the ingot investigations had been completed for further geophysical survey work to be carried out in a nearby field and this revealed a beautifully delineated buried structure with the typical layout of a Roman villa, staggeringly clear on the survey image shown below.  Additional structures were evident, but not so easy to interpret, and some of those too are now under excavation.


Background

The Rossett Ingot

The first indication of a site near Rossett was the discovery of a lead ingot or pig.  A pig is a roughly rectangular bar of mined metal that is shaped to be convenient for transportation to a location where it can be processed.  Its discovery by detectorist Rob Jones, who reported the find to the archaeological authorities, was reported on the Archaeology Chester (University of Chester) blog:

Lead pig in situ. Portable Antiquities Service ID WREX-8D3982. Source: Archaeology Chester.

Our story begins in September 2019 when a lead pig (ingot) marked with the name of Trebellius Maximus, the Governor of Roman Britain from AD 63 to 69 was found near Rossett, Wrexham County Borough, Wales. A responsible, skilled, and knowledgeable local metal detectorist found an impressive metal signature while out detecting. He immediately contacted the local Finds Liaison Officer based at Wrexham Museum and the object was subsequently excavated with the help of staff at Wrexham Museum and the Clwyd-Powys Archaeological Trust.

The find generated a lot of interest in academic circles and was widely reported in the media, because this is the first inscription known in Britain that mentions Marcus Trebellius Maximus, who was the governor of the province of Britannia between AD 63 and 69 during the reign of the Emperor Nero, one of Britain’s first governors after the AD 43 invasion.   An administrator rather than a soldier, he made no push to gain more territory, placing emphasis on consolidation and economic growth.  He was unable to secure the respect of the military and in AD 69, after the death of Nero and a period of instability in Rome, a mutiny in Britain forced him to flee.  He was replaced by Marcus Vettius Bolanus who had the twin assets of being both a Roman Senator and a soldier.

One of Julian Baum’s stunning impressions of Deva, showing the
beginning of Watling Street West (Margary 6a) and the Dee
crossing linking to roads south and west. Source: Julian Baum, Take27 Ltd.

Although as a legionary fortress Chester was an important Roman centre, with roads radiating out of it towards other Roman sites in all directions,  northeast Wales itself has not provided much data to support the idea of a significant Roman interest in the area, so the find raised two important questions that led to the decision to carry out further surveys and excavations in the area.  The first question raised by the pig itself was about the extent to which the Romans were exploiting local mineral resources from early on during their occupation of Britain.  The second concerned how a major new Roman find might shed light on the Roman occupation of northeast Wales, data for which is extremely thin on the ground to the northwest of Wrexham and southwest of Chester.

Not the most ideal conditions for excavating the ingot site!  Source: Archaeology Chester

The initial fieldwork, phase 1 of the project, took part during partial lockdown with atrocious weather conditions during September and October 2020, with financial support from the Roman Research Trust, the University of Chester and Wrexham Museum.   Although the surveys suggested some promising features, excavation by a small 6-person team, battling with rapidly flooding trenches only revealed remains from mainly much later periods.  The absence of Roman period finds during the excavations was, however, informative:

The absence of Roman archaeology and confirmation of alluvial deposits highlighted the likely watery or marsh-like setting that existed during the Roman and later periods. In turn this tells us that the ingot is reflective (perhaps) of a stray loss since no evidence of deliberate deposition or lead processing could be found nearby. [Pudnesy 2021]

The conclusion is that the lead was mined elsewhere and was lost in transit on its way to its intended destination.  The analysis of the lead at Liverpool University, which hopes to narrow down a source, is still ongoing but initial work suggests that it may have been mined from elsewhere in northeast Wales, perhaps at somewhere like Ffrith, where Roman remains have been found, including indications of lead mining, or Minera:

That the Romans mined lead at Minera has long been inferred; the mineral veins would have been easily discovered at outcrop, a Roman road passes close by, and residues of lead smelting have been recorded in a Roman context only three miles distant. Proof
remains elusive though ancient working is inferred by the discovery of a stone mortar. [Peter Appleton]

No further archaeological remains were discovered at the site during excavation.

Lead ingot from a river jetty site at the edge of Chester racecourse dating to 74AD.  Source:  David Mason’s book Roman Chester, p.45.

Other pigs have been found in the Chester area.  David Mason shows one in his book Roman Chester, excavated with the remains of a timber jetty at the Roodee (Chester racecourse on the side of the river Dee) in 1886 dating to AD74.  The text is abbreviated but reads “[Cast] while the Emperor Vespasian Augustus was consul for the fifth time and Titus, acclaimed Imperator, consul for the third time.  On the side is another inscription that reads “Deceangl” meaning that it was mined on Deceangli territory.  The Decaengli territory of northeast Wales ran along the borders of the Cornovii territory that occupied what is now West Cheshire, and probably extended up the Wirral.

Wales in AD47. To the east of the Deceangli, in what is now Cheshire, was the tribal area of the Cornovii, who were based at Wroxeter.  Source: Emerson Kent

Britain’s mineral resources were amongs the properties of Britain that was extremely attractive to Rome, and the territory of the Deceangli had numerous stone and metal resources including lead. Lead was used in building projects, but some of it was also a source of silver when subjected to a process called cupellation.  Lead mines at Prestatyn were established in c.75AD.  Others have been found at Meliden, Pentre-Oakenholt, Halkyn and Ffrith. Clwyd and Powys Archaeological Trust describes an ore vein that runs east to west at Halkyn.   A Roman ‘pig’ or ingot of lead was found in 1950 inscribed with the letters C NIPI ASCANI, the abbreviated name of a private lead producer, C. Nipius Ascanius, the lead thought to have been mined and smelted on Halkyn Mountain.  Excavations in the Pentre Oakenholt area of Flint have provided evidence of lead smelting, presumably from ores from Halkyn Mountain. Roman domestic buildings at Pentre Farm, Flint may have been the home of a mine supervisor.

Magnetometry results at Rossett Villa. Source: Archaeology Chester

There was sufficient funding from the Roman Research Trust grant left over for additional geophysical survey.  Stephen Grenter had visited the field in which the villa was found at an earlier date because pottery sherds and other small finds had been made there, and found additional objects that suggested that it would be worth carrying out additional fieldwalking and geophysical survey, so this was carried out.

The field walking recovered a total of 181 artefacts from the ploughsoil. A large proportion of artefacts were ceramic, including brick and tile (CBM).  A total of 76 sherds of pottery, 23 fragments of worked stone, 4 metal objects, 5 fragments of glass and one fragment of animal bone were also retrieved. Together with fragments of painted plaster and opus signinum, the assemblage reflected the likely presence of a Roman building, but potentially of higher status than we’d initially suspected. [Pudney 2021]

Geophysical survey (magnetometry) followed.  Geophysical survey results can be remarkably difficult to interpret, but the amazing scan of the villa’s foundations, was phenomenally clear, showing the perfect layout of a wing and corridor villa with rooms behind.  Other features suggested by the geophysical survey were not nearly as clear, and some of those are now under excavation.

The Rossett Villa

To the west of Burton Green, the villa is described as  Rossett Villa.  Clear evidence of Roman occupation in the immediate area had been indicated by objects produced in the process of agricultural ploughing as well as metal detecting.  These items included pieces of samian ware (terra sigillata, a Roman luxury ceramic), box tiles,  fragments of mortaria (food preparation mortars) and quern stones.   Other Roman objects  found in the general vicinity had been registered with the Portable Antiquities Scheme including Roman brooches and coins.  The presence of a villa had not been suspected as they are extremely rare in the northeast Wales/Cheshire areas.

Primary areas of villa occupation in Roman Britain. Source: Rowe, J.E. 2015.  Roman Villas of Wales.  M.A. Thesis, University of Regina, Saskatchewan

The Rossett villa is unusual in that its location is outside the main distribution area of villa sites.  The densest concentration of known villas is in the south of England.   Rossett is only one of two villas known in the area that potentially fell under the influence of the Chester legionary fortress, the other being located at Eaton-by Tarporley.  The discovery of signs of a hypocaust at Crewe-by-Farndon have led to suggestions that there may have been another a third one in that area (mentioned in the the Farndon Archaeological Assessment).  The nearest villa in Wales is at a substantial distance from Rossett, in a remote part of Ceredigion, near to Trawsgoed Roman Fort.

Some of the sites in the Chester area are connected to one another by the Roman road network, but it is not yet fully understood how northeast Wales was reached from Chester and how it was connected to west Wales, including the sites at Ffrith and Halkyn.

The wing and corridor villas at Sparsholt (top) and Lullingstone. These artists’ impressions are intended to provide an idea of what a villa might have looked like above the level of the foundations.  Source of Sparsholt image: Johnston, D.J. 1991 (cover photo).  Source of Lullingstone image:  English Heritage Lullingstone website)

The Rossett villa is located just off the proposed route of a potential Roman road from Chester. It has been suggested that the road may have run south from the fortress, across the bridge shown in Baum’s reconstruction of Chester above, before turning southwest and passing through Ffrith, where there is plenty of evidence both for Roman settlement remains and a stretch of Roman road, before proceeding via Bala to the fortlet at Brithdir to the south of Dolgellau.  This presumably also connected with the Cefn Caer fortlet at Pennal (about which I posted on another blog here), which guarded a crossing over the river Dyfi, connecting north and south Wales.  It is hoped that future LiDAR research will clarify the location of the road.  It worked a treat with clarifying Roman road 6A (also known as Watling Street West) that runs south from Chester via Aldford and Malpas to Whitchurch and beyond to Wroxeter (about which I have posted here).

The nearest villa to Rossett, as the crow flies, was actually at Eaton by Tarporley in Cheshire, excavated 1980-81 and again in 1982.  As far as I know, it remains Cheshire’s only known Roman villa, as reported by Morris in 1982 and 1983, and summarized  on the Heritage Gateway website.  The summary is copied here because it provides a useful illustration of the often multi-period character of villas:

Excavations of Eaton-by-Tarporley Villa. Source: Morris 1982 and 1983

During the laying of the Lake Vyrnwy-Liverpool water main in 1886, Roman tiles, mortar and a coin of Marcus Aurelius were found on the western fringe of Eaton-by-Tarporley (a). A field-walking programme in 1980 to investigate the context of these finds, led to the discovery at SJ 57176341 of a Roman winged-corridor villa, the first villa to be identified in Cheshire. Excavations were conducted on the site from 1980-82. These revealed 4 Roman phases.
Phase 1. Only two post-holes were found relating to the primary occupation of the site, perhaps beginning c. AD 150. The building was probably short-lived, quickly succeeded by the phase 2 construction on a different alignment.
Phase 2. A timber building was erected delimited to W and N by ditches perhaps serving to convey water to the site from a nearby spring rather than for drainage. Again the building seems to have been short-lived, this time destroyed by fire.
Phase 3. About the last quarter of the 2nd century, the first stone-built villa was constructed, of winged-corridor plan and of a single storey only. The S wing formed a baths suite. All rooms in the main range were decorated with painted wall-plaster and had floors of opus signium or mortared pebbles. One room here was heated, plus two in the N wing.
Phase 4. c.AD 350 the villa underwent thorough reconstruction. The colonnade was demolished and the living space extended out to this line. Thickening of the walls indicates a second storey was added at this time. No evidence survived for the destruction/abandonment of the villa due to Medieval stone-robbing and PM ploughing.
Medieval. Large numbers of pottery wasters were recovered from the villa, and excavation SW of it located a complex of 14th century pottery kilns. At some later date but still within this period, a building of unknown function was erected out of re-used Roman materials over the SW corner of the villa.  

The villa included a bath suite including a calidarium and tepidarium sitting over hypocausts (raised floors on short pillars, the spaces created heated with fires), and a frigidarium for cooling off.

Two different ideas about the appearance of Abermagwr in Ceredigion, a small villa dating to c.AD 230, both views drawn by one of its excavators, Toby Driver.  This demonstrates that although foundations may look much the same from one villa to the next, the actual appearance may differ considerably.  The two interpretations also usefully suggests that the survival of inorganic building materials, particularly wood, may potentially offer an alternative interpretation. Sources: RCHAMW (top) and Wales Online (bottom)

In Wales itself, the only other villa site known north of south Wales is in Ceredigion, less than a mile from Trawsgoed Roman Fort, and in a very remote area.  Abermagwr villa was first identified from aerial photographs taken during the drought of 2006, was subjected to geophysical survey in 2009 and was partially excavated in 2010 by by Jeffrey Davies and Toby Driver.  Described by its excavators as “a comparatively modest late third- to early fourth-century AD house,” was established around 230AD, which is interestingly around a century after the Trawsgoed fort was abandoned, and it is suggested that building material from the fort’s bathhouse was used to build the villa.  It had a very fine slate roof, and finds included pieces of a remarkable glass bowl that was made in Germany’s Rhineland. The villa burned down in c.330AD, and was abandoned.

This is a very poor showing for villas in northeast, northwest and mid Wales, and for Cheshire as well.  The scarcity of villas in this area seems to require an explanation, particularly as Chester was such an important fort, there was a civil Roman settlement at Heronbridge just to the south of Chester near Ecclestone, a tile and pottery manufacturing base was located immediately to the north of Holt and there was another pottery production centre at Plas Coch on the outskirts of Wrexham.  This was an area of prime agricultural land that one would have thought would be ideal for the establishment of one or more potentially profitable estates.  There are two primary reasons why sites do not occur on distribution maps. The first is because they were simply not built in certain areas, and the second is that they have not yet been found.  There are more reasons too, such as sites that have been completely destroyed, or those that whose building materials were robbed for the building of other buildings, but a complete absence of evidence in an area tends to fall into one or other of the first two categories.  In practical terms, this means that a gap on a distribution map is a question mark, not a sign that nothing was build there.  This is perfectly demonstrated by the Eaton-by-Tarporley, Abermagwr and Rossett villas, all of which turned up in places that were empty patches on villa distribution maps.   With more grants for future research, a lot more field work and a bit of luck thrown in, the Rossett and Burton areas may reveal more previously unrecognized archaeology, including that from both previous and later periods. Indeed, Toby Driver has recorded cropmarks at Rossett similar to those at Roman villas in other parts of Wales (noted on the Coflein website).  However, with the discovery of the Rossett villa, it seems likely that others will now turn up.

 

Conclusions

Findspot at the Rossett Roman villa excavation.

Even before I went to the Open Day, the team had made it clear in their reports that the Rossett and Burton Green finds are exciting hints of a greater Roman presence to the southwest of Chester than had previously been suspected.  Both the original discoveries and the work that has since taken place will hopefully form a platform for the launch of future survey and excavation work that will help to clarify how northeast Wales fits into the bigger Roman and Romano-British picture.  The team is hoping to reconvene next year for a six week dig, assuming that funding is forthcoming.

The last words today go to Dr Caroline Pudney:

Both the lead pig and the villa whisper to us of great potential. The prospect that this villa complex does not exist in isolation is very real. There are not many Roman villas known across north Wales. North east Wales specifically, was until now, yet to reveal one buried beneath its soils. Who knows how many more lurk beneath the surface? There are also a surprisingly low number known further west and south into Cheshire and Shropshire. This is strange considering the presence of a whacking great Roman fortress (Deva Victrix) and the civitas capital at Viriconium (Wroxeter). One would surely expect a richer character of rural settlement in this area than is presented in the known archaeological record to date.  [Pudney 2021] 


Follow the Roman Villa excavations, their post-excavation findings and their news about future work on Twitter using the hashtag #rossettvilla.  

You may also be interested in my two posts about the Roman Road
that once ran east of Churton and Holt


Sources:

The main source of information about the Rossett discoveries is Dr Caroline Pudney’s report on the Archaeology Chester (University of Chester) website, which has been quoted extensively above:  The highs and lows of archaeology: In the footsteps of Trebellius Maximus. By Dr Caroline Pudney, 16th Apr 2021
https://archaeologychester.wordpress.com/2021/04/16/the-highs-and-lows-of-archaeology-in-the-footsteps-of-trebellius-maximus/

Additional background information as well as some notes about the villas in Cheshire and Ceredigion have been sourced as follows:

Books and Papers:

Clark, J. 2003.  Cheshire Historic Towns Survey.  Farndon. Archaeological Assessment.  Environmental Planning, Cheshire County Council
www.cheshirearchaeology.org.uk/wp-content/uploads/2013/06/HTS_Arch_Assess_Farndon.pdf 

Clark, J. 2003.  Cheshire Historic Towns Survey. Tarporley. Archaeological Assessment.  Environmental Planning, Cheshire County Council
http://www.cheshirearchaeology.org.uk/wp-content/uploads/2013/06/HTS_Arch_Assess_Tarporley.pdf

Greene, K. 1986.  The Archaeology of the Roman Economy.  Batsford

Johnston, D.E. 1994.  Roman Villas.  Shire Archaeology

Mason, D.J.P. 2007 (2nd edition). Roman Chester. City of the Eagles. Tempus

Morris, M.G. 1982.  Eaton By Tarporley, SJ57176341. Cheshire Archaeological Bulletin 8, p.49-52
http://www.cheshirearchaeology.org.uk/wp-content/uploads/CAB-Vol-8.pdf

Morris, M.G. 1983.  Eaton By Tarporley, Roman Villa. Cheshire Archaeological Bulletin 9, p.67-73
http://www.cheshirearchaeology.org.uk/wp-content/uploads/CAB-Vol-9.pdf

North, F.J. 1962. Mining for Metals in Wales. National Museum of Wales
https://www.aditnow.co.uk/documents/personal-album-128/Mining-for-metals-in-Wales.pdf

Pudney, C. 2021.  The highs and lows of archaeology: In the footsteps of Trebellius Maximus.  Archaeology Chester, 16th Apr 2021
https://archaeologychester.wordpress.com/2021/04/16/the-highs-and-lows-of-archaeology-in-the-footsteps-of-trebellius-maximus/

Rowe, J.E. 2015.  Roman Villas of Wales.  M.A. Thesis, University of Regina, Saskatchewan
https://ourspace.uregina.ca/bitstream/handle/10294/5853/Rowe_Jennifer_200205672_MA_HIST_Spring2015.pdf?sequence=1


Websites:

Aberdovey Londoner
Cefn Caer, the Roman auxiliary fort at Pennal.  By Andie Byrnes. 3rd February 2019
https://aberdoveylondoner.com/2019/02/03/cefn-caer-roman-auxiliary-fort-pennal/

Based in Churton
A touch of Rome just east of Churton #1 – Background to the Roman Road. By Andie Byrnes. 3rd April 2021
https://basedinchurton.co.uk/2021/04/13/a-touch-of-rome-just-east-of-churton-1-background/

Coflein
The Abermagwr Roman Villa, Cerdigion
https://coflein.gov.uk/en/site/405315/
Lane Farm Cropmarks, Rossett
http://www.coflein.gov.uk/en/site/409231/details.html

CPAT Regional Sites & Monuments Record
PRN 100020 – Ffrith Roman site (multiple site). Scheduled Ancient Monument FL164(FLT)
https://www.cpat.org.uk/ycom/ffrith/100020.htm
PRN 86912 – Ffrith, Roman Road
https://www.cpat.org.uk/ycom/ffrith/86912.htm
Holywell Common and Halkyn Mountain
https://www.cpat.org.uk/projects/longer/histland/holywell/hoindust.htm

Heritage Gateway
Historic England Research Records – Monument Number 71430 (Eaton by Tarporley villa)
https://www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=71430&resourceID=19191

Royal Commission on the Ancient and Historic Monuments of Wales
The Roman villa that made history: Abermagwr Villa, Ceredigion. By Toby Driver, 24th July 2020
https://rcahmw.gov.uk/the-roman-villa-that-made-history-abermagwr-villa-ceredigion/

U3A Ruthin and District
Mineralisation and Mining at Minera, North Wales.  By Peter Appleton.  Date unknown.
https://u3asites.org.uk/files/r/ruthin/docs/mineralisationandminingatminera.pdf 

Wrexam.COM
Rossett Roman villa dig underway in ‘history-changing project. 6th September 2021
https://www.wrexham.com/news/rossett-roman-villa-dig-underway-in-history-changing-project-208603.html

Wrexham County Borough Museum and Archives
The Rossett Lead Pig
www.wrexhamheritage.wales/explore/#rossettpig

 

Rossett Roman Villa #1 – What are Roman villas and who lived in them?

A site plan taken from the geophysical survey of the winged-corridor villa to the west of Rossett.

In this and the next two posts I will talk about the Rossett Roman villa.  Part 2 talks about the legwork, geophysical surveys and discoveries that built up to the Rossett Villa excavation, and part 3 will describe the truly excellent Rossett Villa Open Day on Saturday 18th September 2021, what visitors learned about what has been surveyed and excavated at the site to date, and what the plans are for the future.  Parts 2 and 3 will be posted early next week.

In Part 1 today, I simply want to look at what a Roman villa in Britain actually was and what we know about them in general terms.  I am far from being anything resembling a Roman expert, so this is intended to provide  a top-level context for the discussion of the Rossett villa itself.  Obviously this is a very short summary of an complex subject, so in Sources at the end, I have highlighted in orange the books, papers and websites that might be most of use to those wishing to read more about British Roman villas.

The archaeologist who guided us so excellently on the Open Day was Stephen Grenter, Heritage Services Manager at the Wrexham Museum, who balanced a natural gift for delivering information to a mixed crowd, with an encyclopaedic knowledge on the subject.  He was great.  Only a few points from his talk have been repeated here because most of his excellent explanations are incorporated in parts 2 and 3, but I just want to start with a huge thank you for such a great tour of the site, the enthusiasm with which so much information was imparted, and the friendly clarity with which the visitors’ many questions were answered.  For those wanting to keep an eye on the Rossett villa excavation, its aftermath and future plans, use the hashtag #RomanRossett on Twitter to keep you updated.

This is a very long post, something of an essay, so if you might find it easier to save it or print it off.  The entire post can be downloaded as a PDF here:  Rossett Roman Villa #1 – What are Roman Villas

This page is divided up into the following short sections:

  • The arrival of Rome in England and Wales
  • Rome in the ground
  • What is the purpose of a Roman villa?
  • What features make up a Roman villa?
  • Who lived in a Roman villa?
  • Dating Roman villas
  • Conclusion
  • Sources


The arrival of Rome in England and Wales

The emperor Claudius. Source: Encyclopaedia Britannica

The Roman Empire first dipped its toe into Britain’s Iron Age waters in 55BC, when Julius Caesar mounted an expedition to Britain.  It was not, however, until AD43 that the Emperor Claudius decided to expand the empire and shore up his precarious position by providing himself some kudos as a military leader, and sent in the legions once again.  This time, Rome came to stay for a very long visit, not leaving until the early 5th Century.  That, as author David Johnston evocatively points out, is as long as the time between Queen Elizabeth I and the present day.  For many generations life under Roman rule was simple normality.  400 years of Roman presence in Britain left an indelible stamp in the form of hundreds of archaeological sites, assemblages and individual objects, all connected by a phenomenal network of roads.

Aulus Plautius was the chosen commander of Emperor Claudius.  He was the man who led an invasion force to Britain and  landed in the southeast before expanding throughouth southern Britain.  Aulus Plautius first found himself in the territory of the prosperous and sophisticated Catuvellauni tribe, whose reach extended from Essex to Surrey under the leadership of Caratacus and his brother Togodummus.  Caratacus and Togodummus were defeated when confronted with the 40,000 men in four legions and supporting auxiliary forces.  Caratacus abandoned his family and fled to the Silures tribe in southeast Wales to rethink his strategy.  An alliance with the Ordovices was struck.

It was not until AD 47 that the Romans felt the need to turn their attention to the tribal areas of what is now known as Wales. Wales had many benefits from a Roman point of view, including rich mineral resources, fertile valleys and a long coastline. It would also have been a good source of manpower via voluntary enlistment or conscription. Perhaps most important, strategically, without peace in rebellious Wales, all Roman-controlled land to its east was potentially under threat. The first period of military hostilities between Rome and Wales lasted between AD 47 and AD 60, with multiple campaigns against the Marches and Welsh communities, starting in the southeast.

A gold stater (coin) of Caratacus, showing him on horseback in suitably fearsome mode. Source: Sunday Times

A significant event was the Battle of Caer Caradoc in AD 50, where Caratacus led armies composed of the Ordovices and Silures against the Roman military. In spite of the strategic advantage of Caratacus and his armies, holding the high ground, the Roman forces under the governor Publius Ostorius Scapula had weaponry, body armour and military experience that outclassed Silurian and Ordovician resources. Caratacus was defeated and ultimately taken into custody and carried to Rome where the Roman senate were sufficiently impressed by his speech that he earned a pardon from Claudius and lived out his life in Rome.

During the later 1st Century Rome began to expand out of the south of England towards the north.  Towns were expanded and administrative civic centres were established.  As well as soldiers, other professionals began to arrive from elsewhere in the empire, including officials, professional classes, traders and craftsmen, slaves and freed slaves.  Some of these arrivals may have brought their families with them.  Some of these newcomers stayed only on a temporary basis, others will have settled permanently, and all beginning to change the character of many areas of Britain.

The Romans did not have it all their own way.  For example, the Silures went on to defeat a Roman legion in AD 52, and there was a brief respite for British dignity when the Boudiccan rebellion in East Anglia in AD 60 required the redeployment of troops, including those stationed in Wales. Full-scale invasion of Wales was temporarily abandoned and a strategy of containment was practised in Wales, with all of the only permanently occupied military bases lying along the border. David Mason, in his book Roman Chester, argues that “while there is no evidence of military activity at Chester in this period, the whole of Cheshire and the neighbouring portions of north-east Wales was undoubtedly in the firm grip of the Roman Army by the mid-50s” and that Roman forces had been active in the area for more than 20 years before the fortress was founded at Chester.

Wales in AD47. To the east of the Deceangli, in what is now Cheshire, was the tribal area of the Cornovii, who were based at Wroxeter.  Source: Emerson Kent

In AD 73 under the Emperor Vespasian, Sextus Julius Frontinus was appointed Governor of Britain (AD 73-77), and it is during his tenure that much of Wales was fully conquered. Three legionary fortresses were established as campaign bases, at Caerleon (Isca Silurum), Wroxeter (Viroconium Cornoviorum) and the port of Chester (Deva Victrix) the latter on the river Dee, navigable at that time to the Irish Sea.  A number of temporary camps were also set up within Wales itself, setting the scene for “a network of garrison posts, incorporating fortlets and watchtowers, eventually linked by an all-weather road system” [Arnold and Davies] which was used to maintain control over rural areas.  David Mason comments on the strategic value of Chester’s location: 

Although of limited strategic importance during the initial phases of Roman penetration into the region, Chester came into its own with the expansion of the province in the AD 70s.  The occupation of the Cheshire Plain as a means of driving a wedge between the Ordovices and the Brigantes had long been recognized and in the period of consolidation following their subjugation it made sense to exploit this natural advantage by installing a legion in the area.

Northeast Wales, in which Rossett and Burton are located, was the territory of the Deceangli whose territory abutted that of the Cornovii in what is today West Cheshire.  Although there are a number of Iron Age hillforts in their territory, particularly along the Clwydian Range, there is no sign of conflict.  Unlike other areas of Wales it seems as though the Deceangli offered no significant resistance to the arrival or Rome, and probably functioned as a useful buffer zone between the Ordovices and the troublesome Brigantes in the northeast.  

Plan of the Chester legionary fortress at around AD75 showing the main features, including headquarters (principia), barracks (centuriae), the legionary commander’s residence (praetorium), workshops (fabrica), granaries (horrea), and baths (thermae). Source: Mason 2007, p.50, fig 20a

The establishment of the legionary fortress at Chester, the appearance of Roman roads and the presence of soldiers would probably have been seriously alarming to local inhabitants.  A legion was made up of around 5500 men but together with slaves, servants and ancillary personnel this could have reached a number in excess of 6600.  In addition, there were those who followed the legions, civilians who supplied the legions with the small luxuries of everyday life, as well as inamorata and unofficial families.  How this impacted the Deceangli residents is impossible to assess at the moment because no Iron Age homes or villages have been found in northeast Wales.  If Iron Age farms and/or villages had existed, It is difficult to assess whether any impacts caused by the legionary fortress would have been good or bad for local livelihoods.  It is possible that local villages could have benefited from opportunities to sell their goods, because food would have been an urgent and ongoing requirement for the Roman fortress in Chester, and farming communities would have supplied it, probably via middlemen who lived in the sprawl of buildings that grew up outside forts.  It is, however, also likely that the countryside was scoured for recruits to be pressed into the army, and taxes would have been imposed, which would not have been popular. The arrival of the Roman legion was always going to be a mixed blessing.


Rome in the ground

Chester Roman Amphitheatre.  Source:  English Heritage

Some of the structural remains of Roman buildings in Britain are visible above ground level, like bits of Roman walls in Chester that were later repaired and expanded in the Middle Ages, and still visible when you know where to look.  Some of Roman Britain was below ground until excavated and is now on permanent display, like the Chester amphitheatre.  Some sites have been excavated and reburied to preserve them, and others are currently under excavation.  Other buried sites have been identified via aerial photographs or geophysical surveys, but have not yet been excavated, and there must be dozens of sites that have not yet been recognized.   One of the most complete sites in Britain, under excavation for decades, is the walled town of Silchester (Calleva Atrebatum) in Hampshire, which is remarkable for not having been built over in modern times, apart from one or two farm buildings.  It is a complete Roman town, in the middle of farming country (and it was my first ever dig!).

Fortunately, even if you can’t see the remains of buildings in the field, you can learn about Roman Britain via its objects.  Finds from Roman sites fill museums throughout Britain, including the Wrexham Museum and Chester’s Grosvenor Museum.  The current Hidden Holt exhibition at the Wrexham Museum (open til January 2022), which I reviewed on an earlier post, is a brilliant example of how objects and information boards based on surveys, excavations and ongoing research can continue to illuminate Rome’s impact on Iron Age Britain.

Rome’s impact on Britain, dotted all over the urban and rural landscape and preserved either in the ground or in museums and excavation reports, is remarkable.


What is the purpose of a Roman villa?

Artist’s hypothetical reconstruction of Sparsholt villa in Hampshire under construction. Source: Johnston, D.J. 1991 (cover photo)

A simple definition would state that villas are essentially rural farms or farming estates, with residential facilities, which were common to many areas of the western Roman empire.  Villas are usually associated with well-watered lowland areas suitable for agricultural exploitation.  Buildings described as villas were dotted through the landscape at reasonable distances from one another to avoid conflict over land.  

Kevin Greene in his book The Archaeology of the Roman Economy (p.89), makes it clear that defining a Roman villa in terms of its job description is by no means straightforward:

Most British archaeologists would agree about the definition of perhaps 80 per cent of supposed villa sites in Britain, and will entertain no doubts about those endowed with fine mosaic floors and bath-houses.  The problem arises over borderline cases – when does a farm become a villa?  Excavation in Italy, Germany and Britain has demonstrated that many indisputable villas had humble origins, and developed gradually over several centuries from pre-Roman ‘native’ houses to rectangular buildings, first in timber and then in masonry or half-timbering. . . . At what point did they become villas rather than Romanised farmhouses?

It is a similar problem with much later landed estates, from the Middle Ages to the present day.  When does a wealthy farm become a grand estate?  Often so-called stately homes have rather more humble beginnings, sometimes as farms, and some of them have burned down by accident or have been deliberately demolished and, in both cases, rebuilt more than once over the centuries. 

An artist’s impression of the Roman villa Latimer in Buckinghamshire, showing some of the main external features of a winged corridor villa. There is always a lot of guesswork in reconstruction pictures, because all that is left are the foundations of the buildings, and some post-holes of wooden structures if lucky.  It is a useful way of visualizing what a building might have looked like, a way of imagining the past, rather than a set-in-stone vision of what it actually did look like, which is impossible to recreate.  Source: Johnston 1994, p.35

There are at least three ways of answering Green’s question.  The first is to say that all rectangular homes consisting of a run of rooms arranged along the horizontal axis are villas, whether simple or complex.  That certainly makes life simple, but function.  Another way of defining them is to say that they are Romanized rural homesteads attached to specific economic activities, made to a model that re-used a basic idea that was elaborated over time (i.e. the started off simple and became more complex).  Ken and Petra Dark distinguish between the more luxurious villa  and four types of “non-villa,” the latter defined as enclosed farms, unenclosed farms, dispersed settlements and villages.  

Greene makes the point that not all villas were built for agricultural enterprise, but could be associated with other economic activities and that still others might have very little to do with income generation, but were built where they were because they were nice places for non-resident owners to visit.   All these types of activity are very recognizable in today’s society.  This is explored below in Who Owned and Lived in Roman Villas?

Two different ideas about the appearance of Abermagwr in Ceredigion, a small villa dating to c.AD 230, both views drawn by one of its excavators, Toby Driver.  This demonstrates that although foundations may look much the same from one villa to the next, the actual appearance may differ considerably.  The two interpretations also usefully suggests that the survival of inorganic building materials, particularly wood, may potentially offer an alternative interpretation. Sources: RCHAMW (top) and Wales Online (bottom)

If the purpose of a villa is essentially analogous to a farm, or as a base light industry, like pottery manufacture or metalworking, one would expect the internal rooms of the villa to reflect the way in which people lived in them.  In the case of the more elaborate villas, some of the rooms can be understood as reception rooms because they have walls covered with decorative painting, and floors covered with sophisticated mosaics, but these were confined to the homes of the wealthy.  Sadly, most of the time, the archaeologist is left with rubble and rubbish, and these scattered remains rarely make it easy to decide which room was allocated to which everyday function.  As well as reception rooms, there will have been bedrooms, a dining area, a kitchen and storage areas, but it is not always possible to determine which room corresponds to which function.

Roman villas arrived rapidly, first appearing in southeast England during the 1st Century AD.  Various types are known, and most correspond to areas where there was fairly dense occupation during the late Iron Age, where tribal elites were in power, and with whom sophisticated material remains were associated.  Some villas were built over the top of Iron Age structures.  In south Wales, Whitton in Glamorgan is a particularly good example of an Iron Age farm that developed into a simple villa within the enclosure that had defined the earlier building.  Unless the Rossett Villa excavation reaches levels below the villa itself that change the picture (which would be terrific) no Iron Age sites are known in the immediate area, in spite of its water sources and excellent agricultural potential.

What features make up a Roman villa?

Villas are usually understood only from the surviving foundations of the building.  Most were robbed of their walls for other building projects, and wood has mostly rotted into oblivion.  There are very few clues about the appearance of internal and external walls.  Gaps in walls indicating doorways may provide evidence of  points of access and the width of a given doorway, but give no indication of what the doors looked like or how impressive they may have been. The location, size and character of window openings is only rarely preserved.  Furniture almost never survives.  

Of the four types listed by Ken and Petra Dark, aisled houses are shown at the top, and winged corridor villas (like Rossett villa) are shown beneath. Source: Dark and Dark 1997, p44-45

The foundations, however provide a lot of information, including the layout, scale and complexity of a building, and sometimes the floors and bits of fallen external and internal wall are preserved.  Thin outer walls sometimes suggest a single storey building whilst wide walls suggest that two storeys may have been present, although de la Bédoyère points out that even thin lower walls could support a second storey superstructure built of wood.  Imbrex and tegulae, Roman roofing tiles, found in amongst the rubble will suggest a tiled rather than thatched roof, but how the roof was built and what it looked like are rarely entirely clear.  It is worth remembering that buildings with similar floorplans may actually have had very different appearances above ground level.    

Ken and Petra Dark, building on the foundational work of the archaeologists R.G. Collingwood and I.A. Richmond from the 1960s, describe four main types of villa, based on the layout of the ground plan.  A simple “cottage villa,” a simple rectangle subdivided into rooms with no corridors or wings.  The “aisled house” was a slightly more refined version, with parallel internal walls or columns running the length of the rectangle to create parallel aisles, much like many churches today.  Most common in Britain is the “winged corridor” villa like Rossett villa, which includes a separate corridor or veranda running along the rooms, and has two or more protruding rooms that form the wings.  A “courtyard villa” extends the wings to create a u-shaped plan in which the house and its wings frame a square or rectangular space.  A “corridor house” is the same as a winged corridor villa, but minus the wings.  As with all typologies, these are just the basic forms, but of course there were many variations on these basic layouts.

The fully evolved villa shares some or all of the following features that are combined to make a recognizable entity:

  • A rectangular house consisting of a row of rooms.  The more elaborate buildings had a long corridor at the back of the rooms, and a wing at each end, sometimes a long veranda at the front
  • Located in a rural area, usually lowland, often floodplains
  • Consisting of a number of rooms separated by internal walls, usually including reception rooms, dining rooms, bedrooms, and a food preparation area
  • Thatched, slated or tiled roof
  • Stone walls with doorways and windows.  Windows were rarely glazed due to the expense
  • Plastered interior walls (the wealthiest of which were painted with patterns or scenes)
  • Floors that could be surfaced in a number of ways (the most luxurious of which were mosaics, but which were usually a lot simpler)
  • Storage areas, including under-floor storage (a cellar)
  • Internal columns and sculpted stonework
  • Use  of decorative stones like imported marble (for very wealthy owners)
  • Underfloor heating in the main reception rooms or just a central brazier to provide warmth (you would require something in Wales!)
  • A central courtyard around which other structures were built
  • Garden / kitchen garden / orchard
  • Ancillary buildings, sometimes including bathing facilities that included of one or more heated rooms on raised floors, but also including storage facilities and stables
  • High quality objects found within the confines of the villa building
  • Fields surrounding the villa

Some houses were very simple and included only a few of these features whilst others could be very elaborate.  Most lay somewhere in between, and no two were precisely alike.  Some began as a simple row of rooms, and were later modified with the addition of a corridor to allow rooms to be accessed individually.  Wings were often included in the original design but they too could be added later as the family grew, or the owner acquired more wealth and wanted to make the villa more impressive. Some villa complexes included outbuildings that created a courtyard, and some grew to include a second courtyard.  These elaborations simply extended the original concept of the villa, and did not re-invent it.  Even the so-called palace of Fishbourne in West Sussex is still recognizable as a villa, albeit a very ambitious one.

An undecorated tesselated floor made with chunky stone pieces under excavation in Bath. Source:  Wessex Archaeology

Looking a little more closely at some of the features that often survive, there are many that tell us a lot about how villas were built, as well as what sort of financial resources the villa owners had available to them.

When one thinks of Roman flooring, the word “mosaic” springs immediately to mind, but even in the most impressive of the villas like Bignor, mosaic floors were restricted to only a few rooms.  A mosaic floor is made up of up to thousands of individual pieces of stone called tesserae.  Ornamental mosaics made of very small tesserae in different colours are arranged in complex patterns to form patterns or scenes.  Very beautiful, these are works of art, and were correspondingly expensive, unambiguous indicators of wealth and status as well as good taste.  The costs involved in the creation of individual pieces of the right shape and colour, the copying of patterns and scenes, and the laying of the pieces to create the required scene must have been enormous.  There are much simpler versions as well.  Some tessellated floors are very simple arrangements of blocks of about two inches (5cm) square and all of the same local stone.  Nothing like the expense of an ornamental mosaic, they were still a significant investment.   More common were floors of opus signinum (a mixture of mortar and crushed pottery sherds or stone).  Examples of opus signinum have been found at the Rossett villa site.  

Imbrex and tegula tile arrangement. Source: Wikipedia

Roofing tiles, called imbrex and tegula (plural imbrices and tegulae), worked.  The arched imbrices, sit snugly over the upright edges of two facing tegula tiles, as shown in the above photograph, and the the triangular antefix tiles were placed to cover the ends of the imbrex.  Less wealthy homes could thatch their villas.

In some of the rooms that would have been used for receiving visitors and entertaining, where mosaics would have been laid, plastered walls were sometimes painted with either patterns or scenes derived from Rome.  Again, this represents a serious investment.  A piece of painted plaster was discovered at the Rossett villa, but no details about it have yet been released.

Screengrab of a YouTube video of the hypocaust at Brading Roman Villa on the Isle of Wight, showing how their hypocaust works to heat a room. Arrangements could be different, with the heat delivered by pipes instead. An excellent way of visualizing how a hypocaust worked.  Well worth a look – and there are other excellent animations on the Brading YouTube channel. Source:  Friends of Brading Roman Villa YouTube Channel

Under-floor heating was a sign of wealth.  Some homes were heated only by braziers in the main rooms, but under-floor heating (a hypocaust) was a sign not merely that the owner had the wherewithal to afford its installation, but sufficient slaves to maintain it.  See the animation to the left from Brading Roman Villa on the Isle of Wight to show how a hypocaust works.

Bath houses, operating in the same way as under-floor heating, were common even in some of the simpler villas.  They consisted of up to three rooms:  a hot room, a warm room and a cold room.  The floors of the hot rooms were built on short pillars called pilae, creating a space beneath the floor.  The space was heated by creating a fire in a furnace, the heat from which was passed through a short arched tunnel or pipes into the underfloor space before being expelled through the walls.   A separate bath building and, again, the slaves necessary to keep the heat coming, were indications of wealth, and was probably used to puff off a villa’s status.  It is thought that a side-building at the Rossett Villa may have been a bath house, but this has yet to be confirmed through more excavation.

Samian ware (terra sigllata) found at Vindolanda on Hadrian’s Wall. Source: Vindolanda Charitable Trust website

Pottery is usually found in large quantities at Roman sites, and villas are no exception.  Pottery was used for preparing food, cooking, eating, drinking, storing, transporting, and at the top end, was displayed for its decorative properties.  The most prestigious of Roman pottery is terra sigillata (or samian), which was imported from what is now France (eastern Gaul) and often featured beautiful decorative motifs in relief.  These are often very complex and detailed patterns and would have been much-valued by their owners.  Another form of pottery, black burnished ware, is a very common in sites in southern Britain because it was manufactured in Dorset, but it is also found on sites in the north, where it must have been imported because of its desirable properties.  Sherds of both have been found on the Rossett site, together with other types as well.


Who owned and lived in Roman villas?

Whether they were simple or elaborate, villas were built by people who had ideas about what they wanted out of a building that would be both a home and a base for whatever commercial activity they were engaged in, usually on agricultural land, sometimes incorporating light industry, and were usually located in rural lowland areas. But who were the people building them?

Museum of London hypothetical but informed reconstruction of a villa room, including the original mosaic, from Bucklesbury villa. Source: Archaeology Travel

Guy de la Bédoyère comments that as well as having no names of any villa owner in Britain, we do not even know if a house remained with one family throughout its occupation, whether it was owned by one person and rented to another, whether a town resident employed a manager to care for the operation, or whether, in the bigger and more complex arrangements of multiple buildings, multiple families occupied the villa.  It is not even known whether villas were inherited by family members on the death of the owner, although it is assumed that this must have been the case, unless the villa was built with a financial loan, in which case it may have reverted to whoever had made the loan.  There’s no single answer to who owned both the villa and the surrounding land, but archaeology is always the realm of multiple possibilities.

Holme House villa in Yorkshire. Source: PJO Archaeology

First of all, building a villa required wealth.  Coinage was in use, but payments could be made in the form of farm produce (e.g. barley, wheat and oats), livestock (e.g. cattle, sheep and pigs), manufactured goods, and anything else that builders and craft specialists particularly required.  The arrival of Rome probably created wealth amongst the best-positioned farmers and craftsmen.  As the requirements of the Roman army and Rome’s administrators became clear, middlemen will have thrived, and certain craft specialists will suddenly have become important suppliers.  Farmers produced the food that fed the army.  There were doubtless many downsides to the arrival of Rome, but for those in a position to take up the opportunities offered, there was the chance to become very wealthy very quickly.  The opportunity to contribute to an organized economy, may have created layers of wealth in the areas around forts and towns.  “Romanization” of British people, at first a tactic, will have created its own momentum, and as this happened the once alien styles of Roman life were copied. 

I bought this piece of willow pattern china on eBay for £2.99 for a post I am writing about objects that I dig out of my garden. No-one would mistake it for a piece of 17th or 18th Century Chinese porcelain because for one thing it’s not porcelain (it is dishwasher proof, microwave proof and a very solid piece of crockery) and it is clearly not hand-painted. Finally, willow pattern was invented in Britain, not China.  It illustrates how something exclusive, prestigious and elite will always eventually find a path to the lower echelons in the form of something with a similar appearance but much less refined in all its elements.

Whether looking at buildings or objects, it is worth remembering that grand cultural innovations, originally exclusive to invaders or the super-rich, inevitably trickle down from the wealthiest upper echelons to those further down the status ladder as cheaper versions become available.  The process of fashion tied in with social ambition is an ancient phenomenon, but a useful analogue is Chinese porcelain in the 17th and 18th Centuries.  At first only the super-wealthy could afford Chinese porcelain, but as it became popular in Britain, local potteries began to make inferior copies and cheaper ways of producing it were invented, making it even more affordable.  Eventually, tea-sets and dinner sets that looked like Chinese ones were fashionable in all but the most impoverished households.  It’s the same with imported foods, like exotic spices and interior design.  As Rome became part of everyday life, and the wealthy, whether Roman or Romano-British, conspicuously differentiated themselves from the poor by their adoption of Roman ideas and designs, those who could eventually afford to copy the rich, even in small, simple ways, would do so, differentiating themselves from their own social inferiors.  Quality and integrity of concept was usually compromised in this process, but a degree of  the original idealized vision would be reproduced.

Gorhambury villa, near St Albans, was built within an Iron Age enclosure. Source: Neal et al 1990 (cover image)

Some of the villas were probably built by what are known as Romano-British landowners on their own land.  Romano-British is a term used to describe indigenous British people living under Roman occupation.  Rossett and Burton were on the land of the Deceangli, who were mentioned above.  Although not much is known about them, the absence of any records of conflict implies that the transition to a life under Roman rule was relatively painless, with life continuing much as it had before.  Still, the influence of Rome filtered within a generation into many areas of life, and villas began to spring up in the landscape.  Sometimes rectangular villas are built over the remains of circular Iron Age roundhouses, which suggests that they were built by local people rather than Roman opportunists and may have had something to do with the relationship between these villa builders and the Roman economy.   

Julian Baum’s reconstruction of the fortress at Chester and the outer buildings in the mid 3rd Century.  Source: Take27 Ltd

Where a villa does not appear to have been built on the site of an earlier Iron Age farm, this may have been the result of new opportunities being taken up by Romano-British entrepreneurs in the vicinity of major Roman centres.  Urban areas were a new concept in Britain in the 1st century AD, and they will have changed the economic landscape of Britain where they were established.  Agriculture and livestock herding, once exclusive to the support of families and the local elite would now be feeding the Roman army, and although there may have been tensions about how this happened early on, some form of commercial arrangements must have been arranged as time went on, and this could have lead to considerable improvements for farmers who could take advantage of such arrangements.  As discussed above, some of these new opportunities may have been converted into wealth-producing commercial ventures, and the role of middle-men in these commercial times would have been conspicuous.  Perhaps they too invested some of their newfound earnings into the building of villas where they could emulate Roman traditions, entertain in style, and display their growing status.

Artist’s impression of Great Witcombe Roman villa, Gloucestershire, in the 4th century. Source: English Heritage

Other villas may have been established by Roman arrivals, long term occupants of Britain such as retired legionnaires who wanted to remain, perhaps because they had families.  As mentioned above, legionnaires were not permitted to marry, but there was little to stop them forming unofficial relationships with local women and having families.  The illegitimate children of such alliances were given Roman citizenship if they enlisted in the army.  So in some cases, retired legionnaires may have wanted to stay either to remain with their families or because they could see a viable way of making a living, and in doing so incorporated Roman cultural and aesthetic ideals into their new homes or investments.

Villa owners would have shared the landscape with other Romanized sites such as burials and small temples, as well as more traditional farmsteads that owed more to Britain’s Iron Age past than Rome’s arrival.  In the Rossett area none of these have been discovered, but the discovery of the villa suggests that many more sites, of various periods, have yet to be located.  It is not known what sort of relationship, if any, villa owners will have had with more traditional neighbours.

Whilst we have no idea who lived in these villas, or even if they were all lived in on a full-time basis, they represent a considerable investment of money and time, and they were clearly highly valued as places of relaxation, commercial activity and social display.

Dating Roman villas

A reconstruction of how the early villa at Sparsholt may have looked, based partly on excavations. Source: Wikipedia

Although the earliest villas were simple, and the most complex appear only in the 3rd and 4th centuries, there is no straightforward progressive model that leads us from simple=early to complex=late, because although the earliest types are simple forms, the building of simple forms continues throughout the Roman occupation of Britain.  As complex villas were built over a period of two centuries, being able to state that they were “later” than more simple ones is not actually particularly helpful.

Size, internal complexity, external flourishes, the presence of mosaics and painted plaster, underfloor heating, and a separate bath house, sometimes very large, would be examples of wealthier villa complexes.  These may have been ambitious from the start, but more usually they grew in scope over time either as their owners became wealthier, as new generations tried out new ideas, or for that matter, as they changed hands.   Putting villas into their correct chronological, social and economic context therefore requires more than a simple model of progression. Small and simple villas were built at the same time as complex villas and so, it should be remembered, were traditional round houses. 

A selection of pottery found in Roman Britain showing some of the variety  of shapes and styles available. The British Museum display includes Black-burnished ware jars, a Rusticated Ware jar, a Central Gaulish Colour-Coated Ware beaker, Trier Black-slipped Ware with white trailed decoration, Nene Valley Colour Coated Ware, a coarse ware cheese press and other fine wares. Source: Wikipedia. Photograph by AgTigress

For most archaeological structures, typology is a useful analytical tool for describing structures, but in order to place villas in a chronological sequence additional information is required.  The objects found within the villa during excavation are much better indicators of date than the building itself, and can help to build up an idea of not merely when a building was first erected, but what happened to it through its life, and how long it was occupied for.  Some objects are more diagnostic than others.  Coins are invaluable, as they were produced during fairly narrow date ranges, which are known.  The value of pottery to dating depends on the type and the style.  Some pottery types were found throughout the Romano-British period, whilst others were specific to certain time ranges and are more useful.  Mosaics, where they appear, may be used to help date a building, thanks to research that has focused on putting known mosaics into a chronological framework.

At the top is Lullingstone villa in Kent in the 1st Century, in the middle is Lullingstone villa in the 4th century (both from the English Heritage Lullingstone website, and the photo at the bottom is Lullingstone as it is today, from Guy de la Bedoyere’s book Buildings in Roman Britain.

One of the best known villa sites is Lullingstone villa.  It is extremely useful for demonstrating the multi-period nature of some of these sites, and the odd things that can happen on their route from one state to another.  It was apparently built in the decades immediately following the Claudian invasion, in the 1st Century A.D. 

  • The earliest phase was very like the Rossett villa, a winged-corridor construction, with a row of rooms backed by a linking corridor and two short wings.  One wing contained a single room, beneath which was a late 2nd century cellar, that has sometimes been interpreted as a cult room.  Unfortunately, later modifications of the building have eliminated more information about the earliest phases.  Little is known about this phase of the structure as it is obscured by later modifications and reconstructions.
  • In the early 2nd Century another building was added to the north of the house, an unusual circular shape that may have been a shrine.
  • In the later 2nd century, a number of improvements were made, suggesting either that the owners were doing rather well for themselves, or that the villa had changed hands.  A bath suite was built onto the side of the house, with an external door at the far end, perhaps indicating that it was used by visitors rather than the owners.  The cellar, whatever its use in the past, was now unambiguously a cult room, decorated with wall paintings.  Again, external access was provided.
  • The most elaborate and luxurious version of the villa dates to the mid-4th century when gorgeous mosaics, a clear indication of wealth, were put down.

The greatest and best known of the villas are in southern Britain, and are deservedly regarded as the most impressive of Rome’s contributions to British cultural life.  These include Bignor, Woodchester and Fishbourne (the latter built on top of the remains of an early Roman military installation).

Screengrab of a YouTube animation of the Roman villa at Brading on the Isle of Wight, complete with mosaics and painted internal walls.  Even though this is a late villa, in the 4th Century AD, it is a simple wing and corridor type. Source: Friends of Brading Villa YouTube Channel

The Rossett villa appears to be along the simpler end of the scale, a step up from a simple aisled house, and typical of the winged corridor type that make up the majority of the villa types found in Britain.  Pottery from the 2nd to 4th Centuries has been found.  If Trench 1 turns out to be a bath-house, this would indicate an additional level of comfort and display, although I personally wouldn’t fancy the short walk from villa to bath-house on a typical Welsh wet winter day 🙂  Stephen Grenter was saying on the Open Day that surprisingly little pottery has been found, but as the dig continues, both this week (its final week in 2021) and next year, when they hope to open the site for another six weeks, hopefully a lot more diagnostic material will be pulled out to help to define more clearly both the date (including duration) and the character of the villa and its surroundings.

A final word

Flower mosaic from Sparsholt Roman villa in Hampshire. Source: Hampshire Cultural Trust

The winged corridor villa’s footprint is so familiar that it is almost an icon in books about Roman Britain, but at the same time villas are not well understood.  It is not known what most of them looked like, from the ground up, and they could have looked very different from one another in spite of the similarity of floor plans.  It is not known who lived in them or for how long, and although it is generally thought that they were owned by their inhabitants, exceptions may have occurred and there are few indicators to suggest which were owned, which rented (if any), whether there were absentee owners who left managers in charge, how often they changed hands, and what they cost to build or buy.  It is not even known how they relate to the local and Roman economies.  In spite of all the unanswered questions, archaeologists have done a great job of building what is known from the clues within and surrounding the villas distributed across Britain.

I would like to leave the very last words with an expert, so here are Ken and Petra Dark’s conclusions about villas and the landscape in which they existed:

Through the Roman period both the villa landscape and its extent changed and acquired new attributes.  Likewise, the social and cultural system that produced it, and was enacted through it, changed.  However, the villa landscape never came to cover the whole of Britain, despite its centrality to the society and economy in those areas in which it was established.  In other parts of Britain other landscapes continued to co-exist with it, whether the ‘barbarian’ native region to the north of Hadrian’s Wall . . . or the ‘native’ landscape of the north and west [Dark and Dark. p.75]

Hopefully, the Rossett villa will contribute more to our developing understanding the landscape of northeast Wales.

For those wanting to keep an eye on the Rossett villa excavation, its aftermath and future plans, use the hashtag #RomanRossett on Twitter to keep you updated

 

Sources (for parts 1 – 3):

Good further general reading about villas are highlighted in orange


Books and Papers:

Arnold, C.J. and Davies, J.L. 2002.  Roman and Early Medieval Wales.  Sutton Publishing

de la Bédoyère, G. 2001.  The Buildings of Roman Britain.  Tempus

de la Bedoyere, G. 2003.  Defying Rome. The Rebels of Roman Britain. Tempus

Clark, J. 2003.  Cheshire Historic Towns Survey.  Farndon. Archaeological Assessment.  Environmental Planning, Cheshire County Council
www.cheshirearchaeology.org.uk/wp-content/uploads/2013/06/HTS_Arch_Assess_Farndon.pdf 

Clark, J. 2003.  Cheshire Historic Towns Survey. Tarporley. Archaeological Assessment.  Environmental Planning, Cheshire County Council
http://www.cheshirearchaeology.org.uk/wp-content/uploads/2013/06/HTS_Arch_Assess_Tarporley.pdf

Collingwood, R.G. and Richmond I.A. 1969, 2nd edition.  The Archaeology of Roman Britain. Methuen

Dark, K and Dark, P. 1997.  The Landscape of Roman Britain.  Sutton

Davies, J.L. and Driver, T. 2018. The Romano-British villa at Abermagwr, Ceredigion: excavations 2010–15. Archaeologia Cambrensis, Vol. 167 (2018)

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

Greene, K. 1986.  The Archaeology of the Roman Economy.  Batsford

Johnson, P. 2002 (fourth edition). Romano-British Mosaics. Shire

Johnston, D.E. 1994.  Roman Villas.  Shire Archaeology

Mason, D.J.P. 2007 (2nd edition).  Roman Chester. City of Eagles.  Tempus.

Morris, M.G. 1982.  Eaton By Tarporley, SJ57176341. Cheshire Archaeological Bulletin 8, p.49-52
http://www.cheshirearchaeology.org.uk/wp-content/uploads/CAB-Vol-8.pdf

Morris, M.G. 1983.  Eaton By Tarporley, Roman Villa. Cheshire Archaeological Bulletin 9, p.67-73
http://www.cheshirearchaeology.org.uk/wp-content/uploads/CAB-Vol-9.pdf

Neal, D.S., Wardle, A., and Hunn, J. 1990.  Excavation of the Iron Age and Medieval Settlement at Gorhambury, St Albans.  English Heritage
https://archaeologydataservice.ac.uk/archiveDS/archiveDownload?t=arch-1416-1/dissemination/pdf/9781848021464.pdf

Richmond, I.A. 1969. The plans of Roman Villas in Britain.  In Rivet, A.F.L (ed.) The Roman Villa in Britain.  Routledge

Rowe, J.E. 2015.  Roman Villas of Wales.  M.A. Thesis, University of Regina, Saskatchewan
https://ourspace.uregina.ca/bitstream/handle/10294/5853/Rowe_Jennifer_200205672_MA_HIST_Spring2015.pdf?sequence=1

Salway, P. 1984, 2000. Roman Britain. A Very Short Introduction.  Oxford University Press

Websites:

Aberdovey Londoner
Cefn Caer, the Roman auxiliary fort at Pennal.  By Andie Byrnes. 3rd February 2019
https://aberdoveylondoner.com/2019/02/03/cefn-caer-roman-auxiliary-fort-pennal/

Based in Churton
A touch of Rome just east of Churton #1 – Background to the Roman Road. By Andie Byrnes. 3rd April 2021
https://basedinchurton.co.uk/2021/04/13/a-touch-of-rome-just-east-of-churton-1-background/

Brading Roman Villa YouTube Channel
https://www.youtube.com/channel/UCuFMK_4SltShKivk0P1VG2g

Coflein
The Abermagwr Roman Villa, Cerdigion
https://coflein.gov.uk/en/site/405315/
Lane Farm Cropmarks, Rossett
http://www.coflein.gov.uk/en/site/409231/details.html

CPAT Regional Sites & Monuments Record
PRN 100020 – Ffrith Roman site (multiple site). Scheduled Ancient Monument FL164(FLT)
https://www.cpat.org.uk/ycom/ffrith/100020.htm
PRN 86912 – Ffrith, Roman Road
https://www.cpat.org.uk/ycom/ffrith/86912.htm

English Heritage
History of Lullingstone Roman Villa
https://www.english-heritage.org.uk/visit/places/lullingstone-roman-villa/history/

Heritage Gateway
Historic England Research Records – Monument Number 71430 (Eaton by Tarporley villa)
https://www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=71430&resourceID=19191

RCHAMW
Abermagwr: The remote Welsh Roman villa which produced a unique cut-glass bowl and early evidence for the slater’s craft in Wales
https://rcahmw.gov.uk/abermagwr-the-remote-welsh-roman-villa-which-produced-a-unique-cut-glass-bowl-and-early-evidence-for-the-slaters-craft-in-wales/

Royal Commission on the Ancient and Historic Monuments of Wales
The Roman villa that made history: Abermagwr Villa, Ceredigion 
https://rcahmw.gov.uk/the-roman-villa-that-made-history-abermagwr-villa-ceredigion/

U3A Ruthin and District
Mineralisation and Mining at Minera, North Wales.  By Peter Appleton.  Date unknown.
https://u3asites.org.uk/files/r/ruthin/docs/mineralisationandminingatminera.pdf 

Wrexam.COM
Rossett Roman villa dig underway in ‘history-changing project. 6th September 2021
https://www.wrexham.com/news/rossett-roman-villa-dig-underway-in-history-changing-project-208603.html

Wrexham County Borough Museum and Archives
The Rossett Lead Pig
www.wrexhamheritage.wales/explore/#rossettpig