Grave Graffiti

by the Curious Scribbler

Following my last blog, a reader  who goes on excursions with the Church Monuments Society has drawn my attention to another, much grander, chest tomb ornamented with footprints.

This is in East Yorkshire, in the 13th century church of St Nicholas, Hornsea.  Here the chest tomb of  Anthony St Quintin, a divine, who died in 1430, is densely ornamented with shoe outlines.  They were even easier to carve than those in Anna Maria Hughes’s slate slab, for this grand tomb is made of alabaster.

Interpretation in the church suggests that these are Puritan footprints, and that the shoe shapes are consistent with the time of Charles II.  Such an explanation does not help us with the footprints on the grave of a Welsh girl who died in 1777.

The alabaster tomb of Anthony St Quintin in St Nicholas, Church, Hornsea

 

Two other readers have mentioned not footprints but hand-prints in Wales. On a raised grave by the church door in Dolgellau are lots of children’s handprints of varying sizes, while there are life-size handprints around the top of the front boundary wall of the Quarry Hospital in Llanberis, Gwynedd.  There may be several different stories behind these marks by which ordinary people left traces of their identity.

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Footprints on her grave

At the east end of Llanychaiarn Church is a rank of five chest tombs, to members of the Hughes family of Aberllolwyn and of Morfa, in the Parish of Llanychaiarn,  ( Morfa Bychan as we now know it) The five slate stabs adjoin one another like tabletops. Together they tell the story of a couple of generations.  But the right hand slab is remarkable for a rare piece of naive artwork, the meaning of which intrigues me.

Graves of members of the Hughes family of Aberlllolwyn and Morva at the east end of Llanychaiarn Church

The slab reads ‘ Here lies the interred body of Anna Maria Hughes, second daughter of John and Elizabeth Hughes of Morfa, who departed this life the 24th of March 1777 in the 16th year of her life’.  Her epitaph reads:

Adieu blest maid, Return again to Dust,
The’ Almighty bids to him submit we must
These little Rites a Stone, a Verse receive
Tis all a parent, all a friend can give.

Hers was the first of the five burials. Next to her are the graves of her mother Elizabeth Hughes, her father John Hughes of Morva, her sister Elinor ( 1764-1845) and her uncle Erasmus Hughes, her mother’s brother.  It was Erasmus who occupied Aberllolwyn and died there, a bachelor aged 73  in 1803.  As his epitaph points out he spent his life much preoccupied with the hereafter.

His life was spent in meditation on the Holy Scriptures and resigned in the hope of Resurrection to immortal Glory through the Merits of his Redeemer whoom( sic) he steadfastly trusted.

What is remarkable is that in addition to the copperplate verse engraved on Anna Maria’s slab is a remarkable bit of graffiti, the outline of not one, but two footprints, in neat square-toed shoes.  The individual square headed nails securing the heel are each carefully inscribed. The positioning of the two footprints is informal, contrasting with the neat symmetry of the ornament and inscriptions.  I don’t believe they were done in the mason’s yard.

Footprint on the grave of Anna Maria Hughes who died in 1777

A second and different footprint at the foot of the grave

Who carved them upon young Anna Maria’s grave?  And why? or when?

The other day I came across a very similar footprint, drawn on paper, in 1824. This was an example of a forensic drawing of footmarks at a crime scene:

A paper cut made in 1842 of left footprints in a turnip field at Sanquhar, Dumfries and Galloway

The shoe seems of a very similar style.  What were shoes like in 1777?  or was this carving added 50 years after her death?

I would love to hear of any other examples of footprint graffiti similar to this.

The full text of the other four graves is as follows:

1. Sacred to the Memory of Erasmus Hughes late of Aberllolwyn Esq., who died 13 March 1803 aged 73 years. His inscription reads: His life was spent in meditation on the Holy Scriptures and resigned in the hope of Resurrection to immortal Glory through the Merits of his Redeemer whoom( sic) he steadfastly trusted.

2. Sacred to the Memory of Elinor Hughes, daughter of John Hughes Esquire late of Morfa in the Parish of Llanychaiarn who departed this life 28th of January 1845 aged 81 years

3. Underneath lie the remains of John Hughes Esq late of Morfa second son of John Hughes Esq of Hendrevelen who exchanged this life for a Blessed Eternity the 27th day of October1806 in the 80th Year of his age.  His epitaph reads:

Just upright merciful in all thy ways
In Christian meekness spending here thy days
Sweet sleep in Jesus thou dost now enjoy
Partaking happiness without alloy


4. Underneath lie the remains of Elizabeth second daughter of Thomas Hughes Esq late of Aberllolwne and wife of John Hughes Esq, of Morva both of this Parish who resigned her Soul to the Almighty giver the 12th day of November 1807 in the 71st year of her life.   Her epitaph reads:

Adieu and long adieu thou ever dear
Thou best of Parents and thou Friend sincere
May thy survivors imitate thy worth
And live to God as thou didst while on earth

They are an evocative series of memorials:  Erasmus Hughes was the only son of Thomas Hughes and Elizabeth Lloyd.   One of his sisters Mary, married Edward Hughes of Dyffryn-gwyn, Merioneth and another, Elizabeth, married John Hughes of Morva.  On Erasmus’ death the Aberllolwyn estate passed first to his sister Mary Hughes,  and then to his niece Elizabeth Jane, another of John and Elizabeth Hughes’  daughters.  It is noteworthy that all these Hugheses seem to have married men already bearing the name Hughes.

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Two special journeys on the Vale of Rheidol Railway

by The Curious Scribbler

I was privileged to travel free on the Vale of Rheidol Railway not once but twice in the month of June.

The first was on a Wedding Special on 2nd June.  Aberystwyth born Claire Lewis married Nick Lee in a charming secular ceremony at Nantyronnen station.  The groom and guests got on the train at Aberystwyth.  We all alighted at Nantyronnen to sit on hay bales, serenaded by a string quartet.  The bride arrived for the ceremony by vintage car and the couple and their guests  re-boarded the train for Devil’s Bridge,  sipping prosecco.  They then made their way to Mrs Johnes’ Garden at Hafod for the reception in a large marquee.

The string quartet awaits the bridal party

The train about to depart after the ceremony

Wedding marquee at Hafod

The railway is spick and span these days, a far cry from its racketty image back in the days of British Rail.  The shining brass work, the uniformed staff, and colourful station gardens make it an outstanding venue.  One or two of the London guests made a rapid bid to change carriages after the odd smut of soot wafted into the open carriage behind the engine, but this all added to the authenticity of the experience.

I had had a small part in the station garden display.  The preceding weekend I helped in the volunteer effort to replant the five great troughs on Nantyronnen Station  with colourful summer bedding, ready for the big day, and every other journey of the summer.

My second free ride came on 11 of June, as guest of the railway itself.  This special journey marked a number of recent milestones: the launch of the first of four carriages which allow disabled access, the restoration of a former weighbridge building at Devil’s Bridge, and the opening, within it, of an information display about the Pine Martin Reintroduction Project led by the Vincent Wildlife Trust. CEO Rob Gambrill, the man behind the railway’s phenomenal success, welcomed us all,  and at every station stop he roamed the platform chatting with guests and railway staff.  A man with a magnificent train set!

Rob Gambrill and railway staff at Aberffrwd station

As I have recorded on this blog, I was (many years ago when British Rail owned the railway) a passenger on the train which derailed spectacularly between Aberffrwd and Nantyronnen in 1986.  It was an early outing of the ill-fated Vista Coach which seated visitors stadium-style facing the view.  Pulled at the rear of the train on the return journey it tipped over on its face, bringing the train to a juddering halt.  It was a pleasing co-incidence to learn from the driver that the immaculately fitted open carriage on which I was travelling was none other than the Vista Coach, now re-designed with traditional seating.  There were no such crises on this journey.

Another reversion was that of our engine, Llewelyn, which until recently burnt oil, but now burns great chunks of anthracite.  The stoker, in true period style, was in contrast to the dapper guard, quite  black with coal dust. Standing at the station we could watch him shovelling coal into the furnace of the engine.  Those motes of soot  tormenting the wedding guests had real Thomas the Tank Engine authenticity.

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The Llandygwydd Font

It is easy to overlook Llandygwydd, a cluster of Victorian cottages on a minor road off the A484 east of Llechryd in the Teifi valley.   Its graveyard contains members of some significant local families from the nearby gentry houses of Blaenpant, Penylan, Noyadd Trefawr and Stradmore.  But of the church there is now little trace except for its font, wreathed in brambles and standing incongruously in the open air.  This is of itself surprising.  Fonts are a bit of a problem for the church – it is generally unacceptable to re-use them as garden ornaments, and strictly speaking even the fragments of a broken font should be preserved within the church.  Thus it is more usual to see superfluous and disused fonts from demolished churches sitting in the porch of an extant church in the neighbourhood.

The font at Llandygwydd stands out of doors on the footprint of the nineteenth century church

The church which until 2000 gave it shelter was a Victorian one, built to a design by the high church architect RJ Withers, in 1856-7.  Its fortunes, from construction to demolition have been recorded in detail by Gwynfor Rees in the journal Ceredigion Vol. XIV, no 4, 2004.    The local gentry, especially the Webley Parrys of Noyadd Trefawr and the Brigstockes of Blaenpant were staunchly Anglican at a time when  Nonconformism was growing among the local people, and it was felt important that the  existing parish church,(a humble structure built in 1804 to replace a late medieval one on the same site), should be replaced by a structure of Victorian splendour, commensurate with the fashionable style of the neighbouring recently-enlarged mansions. It is recorded that the little ‘calling bell’ dedicated to St Peter, and the font, both of 15th Century origin, were incorporated into the new church. Most uncharacteristically for these parts, it was to boast a tower on the south side, surmounted by a tall timber steeple.

Over the following  years the gentry families vied in endowing stained glass windows, an ornate reredos, a Caen stone and granite pulpit, and installed commemorative plaques recording their largesse.  The church was said to have some of the finest stained glass in the county.  In 1891 five new bells donated by the Webley Parry family of Noyadd Trefawr and  Maria Brigstocke of Blaenpant in commemoration of the marriage of her niece joined the old bell from the former church.

Maria Brigstocke stands in the centre behind the five new bells. On the left side of the picture is the old bell dedicated to St Peter, from the original medieval church. see  Ceredigion Archive

Sadly this impressive church had been built at ‘an extraordinarily cheap rate’ and proved structurally unsound, the timber  steeple warped and bent, and the tower, set on insufficient foundations, cracked alarmingly.  Within  twenty years it was deemed unsafe to ring the bells lest masonry fall from the edifice, and a survey by church architects Caroe and Passmore in 1913 predicted that the bent spire might collapse onto the chancel at any time.  That year the spire was removed, and the tower strengthened, but to no avail. In 1978, after several structural reports, the bells were sold to the foundry which produced them and in 1980 the entire tower was taken down.

The church was de-consecrated and demolished in 2000, leaving its foundations and some mature yew trees among the graves. In situ inside what was once the south door, stands the font.

It might be speculated that at the time of demolition the Llandygwydd font was perceived as mid-Victorian, of no great historic importance and therefore allowed to stand as a landmark in the footprint of the church.  But closer inspection reveals this to be far from the truth.  This is a large medieval font carved out of Dundry stone from near Bristol, a source of good carve-able stone which was worked out by the sixteenth century.  It is in the perpendicular style, with an octagonal base and bowl carved with a repeating four-leaved relief.  But Mr Withers and his masons have embellished it.  They sliced it into three horizontal layers and re-assembled them like a club sandwich with a narrow layer of oolitic limestone from Painswick  between each.  At the same time they repaired, as is common in old fonts, the various damages to the rim and stem with inset pieces of Painswick stone, quite different from the original Dundry.  Resplendently reassembled and about four inches taller, it would have had a fashionably polychromatic appearance, with the yellow-brown Dundry stone layered sandwich style with white oolite.

A later repair to the rim of the font

Today, forlorn and exposed to the weather, the newer courses of Painswick stone are badly weathered, and some of the inset repairs are falling out.  Chunks are crumbling away from the Dundry stone stem.  Moss and lichen colonize the surfaces, but as a further reminder of its antiquity, the close observer will find two daisy wheel patterns (a common medieval graffiti) lightly engraved upon the bowl.

The layers of Paiswick stone have weathered away to leave deep grooves.  To the left of the four leaf carving are two daisy wheel compass-scored devices on the medieval stone

I am intrigued at these devices.  The expert belief is that they are symbols to ward off witches or the devil.  They are very commonly found on fonts and the doorway arch or porch of ancient churches, though they may be found in more remote parts of the building too.  The six petal form is easy to scratch with a compass or perhaps a pair of shears.  You just score a circle, and then with one point on the circumference draw an arc within the circle  till it touches the circumference again.  Then move the point to the  intersection of  arc and circle and repeat.  Soon six neat petals are inscribed within the circle.

The daisy wheel design

They are lightly scratched, not typical of serious masons’ work and anyone could have done them.  I do wonder though whether the evidence for their role in repelling witches is a modern over-interpretation of past behaviour.

Equipped with a geometry set we all used to draw this device on our schoolbooks, because we could, and because without any great skill we could produce perfect symmetry.  When bored we often coloured them in too.  Will future historians conclude that 20th century schoolchildren all worked to repel the forces of evil during geometry lessons?  The scholarly name for these devices  on medieval structures is apotropaic graffiti.    But for me and my schoolfriends the same images were meaningless, but very satisfying,  doodles.

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A new era for Strata Florida

by The Curious Scribbler

Strata Florida Abbey

The west door,Strata Florida Abbey copyright John Ball http:                                 //www.jlb2011.co.uk/walespic/archive/990502.htm

 

Strata Florida, at the end of the side road out of Pontrhydfendigaid is possibly one of the least-visited Cadw sites in Wales.

On a normal day, one or two  visitors may be seen passing under the remaining arched romanesque west doorway of the Cistercian abbey church, and perhaps pausing to read the huge memorial slab reminding of us of the traditional belief  that the 14th century poet Dafydd ap Gwilim was buried here under a great yew tree in the graveyard.  Others come  to the adjoining parish church in search of a more recent grave marking the burial in 1756 of a severed leg, and part of the thigh, of  Henry Hughes, who was a cooper by trade.  What accident with an axe, or perhaps a great metal hoop led to this misadventure?  I have read that it was survivable and that the rest of this man was laid to rest in America.  Come the resurrection he would have believed in, his leg and the rest of his body would presumably be reunited over the Atlantic.

This weekend though were two most extraordinary days, in which the field was thronged with vehicles, tents and a marquee, and bands of enthusiasts of all ages gathered in the church for lectures or for tours of the abbey site, the adjoining  farm buildings and the wider landscape.  Just an echo perhaps of the daily bustle of the 12th century when Strata Florida Abbey controlled vast tracts of land, productive of farm produce, timber and minerals.  The event marked the launch of the Strata Florida Project, a concept which has been a twinkle in the eye of Professor David Austin for a couple of decades but now seems set to burst upon the world.

On Saturday morning he was surrounded by a densely packed throng of umbrellas as he explained the importance of the site.  Size alone of the excavated ground plan  shows that it had been a huge monastery, larger indeed than the famed Fountains Abbey in Yorkshire. Professor Austin explained the basis to believe that the abbey church was erected on a preexisting Christian site, and how the ambiguous structure in the centre of the nave floor, which is not quite correctly aligned with the axis of the church, is interpreted as a holy well incorporated, perhaps to honour older beliefs,  when the Cistercians set up a new house in this part of Wales.  The abbey enjoyed the patronage of the Welsh prince Lord Rhys of Deheubarth, and there are clues in the sources of the carved building stones, and in the celtic motifs on the west doorway that local Welsh tradition was not entirely subjugated by the incomers.

On Sunday a lecture by Prof Dafydd Johnston revealed a sense of the grandeur of these medieval buildings, and of the hospitality they offered.  The peripatetic poets of the day wrote praise poems to their hosts, abbots and fine landed  gentlemen, listing their assets, their buildings, farmlands, gardens, wives, offspring, fine food and general generosity.  The picture emerges of soaring oak beams on stone arches, stained glass windows,  a gleaming white tower, and lead so abundant it is described as encasing the church like armour.  These poets were quite literally singing for their supper, and may have exaggerated, but they are a good historical source, perhaps far better than the more introspective utterances of poets today.  In the early 15th century the abbey (which probably did supported Glyndwr’s rebellion) took severe punishment from the English army, who stabled their horses in the Abbey Church.  Abbot Rhys ap Dafydd  is praised for repairing the handsome refectory, and his successor Abbot Morgan for the beauty of the place.

We all know that Henry VIII brought the abbeys, quite literally, crashing down.  The lucky recipients of this redistributed land and buildings were often given  just a year to effectively destroy the monastic structures, perhaps adapting some parts of it for domestic use. Gentry houses thus emerged amongst the ruins.  At Mottisfont Abbey in Hampshire which I visited last week, the nave became  a long gallery, the core of a new gentry residence.  Here the great church was largely demolished and cleared away, built into walls and vernacular buildings for miles around, while the refectory became the basis of the 18th century farmhouse Mynachlog Fawr ( or the Stedman House) as it appears in the Buck print of Strata Florida in 1742, and still stands today.

Mynachlog Fawr  2011.   copyright Paul White
http://www.welshruins.co.uk/photo8244988.html

That farm has a story of its own, the last 150 years in the ownership of the Arch family of farmers.  Charles Arch, a cherubic octogenarian known to millions as  the announcer voice of the Royal Welsh Show treated a packed church to an elegaic description of his childhood growing up at the farm, and how as errand boy for his mother he would run the one and a half miles to the village, or be hauled from his bed at night by the local doctor to act as gate-opener for a house call to  distant cottages up the gated road across their land.  Most of the audience felt the tears well up as he described how as a young man he realised that the farm could not support three families and elected to seek his living elsewhere.  ” The day I sold the pony, and did away with my dogs – was the saddest day of my life”.  His brother’s family still farm the land, and since the 1970s have occupied a comfortable bungalow not far behind the old house.  With extraordinary patience the Arch family have waited and waited for Strata Florida Project to gain momentum and purchase the old family home and its farm buildings.

Richard Suggett illustrated the importance of this fine old building, barely touched by electricity or indoor plumbing, and with many period features of the 1720s.  There is a paneled parlour on one side of the front door and farm kitchen on the other, in which Charles recollects the bacon hanging from the ceiling and as many as 25 neighbours dining on Friday nights.  The parlour still has its buffet cupboard next to the fireplace (an antecedent of the china display cabinet) an  acanthus frieze painted on the ceiling above the coving, and a frightful didactic overmantle painting on wood above the fireplace.  It depicts youth choosing between the paths of virtue and vice:  the former rather staid and dull, the latter really nasty.  Charles found it chilling as a child.

The Strata Florida Project aspires to restore and interpret all these layers of history and the wider landscape it inhabits.  It reaches out to incorporate into the story every possible Welsh icon:  The Nanteos cup: claimed to have arrived there via Strata Florida Abbey, the White Book of Rhydderch:  possibly transcribed in the scriptorium of Strata Florida,  poet Dafydd ap Gwilim: putatively educated by the monks of Strata Florida.  This quiet backwater may soon become  a hub of historical and modern Welsh culture.

Sunday closed with a procession from the parish church to the putative holy well in the abbey nave led by Father Brian O’Malley, a former Cistercian monk who had yesterday enlightened us with an account of the daily routine of  Cistercian prayer.

Father Brian O’Malley leads the procession.
Photo copyright Tom Hutter

And displayed for the day in the adjoining ruined chantry chapel was the Nanteos Cup, on loan to its former home, courtesy of Mrs Mirylees the last inheritor of the Nanteos estate, who was also present with her daughter.  For those with a spiritual bent it was an evocative day.

Prayers at the putative Holy Well
Copyright Tom Hutter

For the rest there was costumed historic re-enactment, archery, pole lathe wood-turning, refreshments, stalls and much besides.

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Jesse Rust mosaics in Aberystwyth

by The Curious Scribbler

Last week I attended a Cadw Open Day at the Old College, where Dr Tim Palmer gave a lecture on the the building stones of which this Grade I Listed building is made.  The Old College has  suffered various set backs in its life:  the bankruptcy of its first owner, a devastating fire in the Chemistry department, the reconstruction of its south and middle sections, and the slow ravages of the erosive salt-laden winds.  We learned how new phases and different architects brought in different materials, so that the Old College now boasts at least nine different sources of stone.

Historically the most interesting work is that of J.P. Seddon, designer of the building destined to become Thomas Savin’s grand railway terminus hotel.  He used Cefn sandstone from Ruabon for the walling and  Box Ground stone from Bath for the carved window dressings and details.  Keen to achieve a vibrant range of colours he used Hanham Blue from Bristol for the exterior pillars which flank windows on the seaward side, and ornamental marbles from Devon and Cornwall for interior pillars in the Dining Room and Bar ( now the Seddon Room). The intricate gothic main staircase proves to be made largely of a long forgotten composite: Ransome’s Artificial Stone, which betrays its man -made origins only by its remarkably uniform texture.  Externally, when completing the upper storey of the building to the University College’s more parsimonious requirements, Seddon used dark concrete blocks, interspersed with diagonal bands of pale Dundry stone.

The rather austere central block by Ferguson uses a different stone, Grinshill sandstone from near Shrewsbury, while 20th century restorations brought in a sandstone from Durham, which is weathering as severely as the Bath stone which it replaced.

When rebuilding the southern wing of the College  as the Science Wing in 1887, Seddon commissioned his former pupil C.F.A.Voysey to design the distinctive triptych mosaic which still adorns the curved end of the building, looming over the crazy golf and the castle.  It depicts pure science being respectfully presented with the fruits of applied science ( a train and a ship) by two acolytes.  Seddon recorded in 1898  that some months after the mosaic was installed, the college authorities objected to  Voysey’s religious symbolism in the central panel, which ‘suggested a conflict between science and dogma’. Seddon was obliged to alter the finished mosaic, such that Science now sits on an unadorned wall.

The tryptych on the South wing Copyright Dr Tom Holt, UA

The tryptych on the South Wing, Old College Aberystwyth
Copyright Dr Tom Holt, Aberystwyth Univeristy

But the actual manufacturer of the mosaic is not generally known.  Tim Palmer drew our attention to another of J.P. Seddon’s commissions in Aberystwyth, the restoration of the ancient church of St Padarn, in Llanbadarn Fawr in 1878.  Visitors  “in the know” can peel back the red carpet in the crossing to reveal the extensive mosaic floor, in which geometric designs of tiny 1/2 inch tesserae frame regularly placed encaustic tiles depicting saints and angels.  Adjoining the red marble steps to the chancel, the mosaics take more fluid naturalistic designs of leaves and flowers.

Mosaic floor by Jesse Rust, St Padarn's Church, Llanbadarn

Mosaic floor by Jesse Rust, St Padarn’s Church, Llanbadarn

An encaustic tile depicting an angel, wet in mosaic floor

Encaustic picture tiles depicting a saint offering his crown, set in mosaic floor, St Padarn’s Church

The church records held at the Ceredigion Archive  show that these mosaics were the work of Jesse Rust of Battersea, who used recycled glass and ceramic pigments to create a rainbow range of tiles and tesserae.  The actual designs were assembled in the workshop, with the upper face stabilised on glued paper, which was stripped away to reveal the picture once the sections were stuck in place on the church floor.

Tim Palmer drew our attention to the strong likelihood that Voysey’s mosaic on the Old College was also manufactured by Jesse Rust of Battersea.  Juxtaposing the colourful image of Science  with the design sample held by the Victoria and Albert Museum, showed a very good correspondence with the palette of colours his firm offered.

Jesse Rust samples in V &A set beside CFA Voysey's triptych

Jesse Rust samples in V &A ( left) set beside CFA Voysey’s triptych, Aberystwyth

A bit of reading around the topic shows the prominence of Rust’s elaborately decorative mosaics in the late 19th to early 20th century.    There is a  Listed Grade II astrological mosaic by Jesse Rust at the foot of the Marble staircase in the Hotel Russell, (built 1898) in Russell Square, London, and another  at the old London, Edinburgh and Glasgow Insurance Company offices at 194 Euston Road.

The Mosaic by Jesse Rust at the foot of the marble staircase in the Hotel Russell

The Mosaic by Jesse Rust at the foot of the Pyrenean marble staircase in the Hotel Russell

There is a very colourful floor, with flowers, animals and bees,  recently restored in the foyer of Battersea Old Town Hall and a  World War I memorial floor in John Nash’s circular church All Souls, Langham Place.

Other Jesse Rust work was more functional and by the early 20th century his glass tiles were particularly favoured for lavatories.  Fine examples survive in the painstakingly restored  Sanitary Court at Peckham Rye station. http://www.benedictolooney.co.uk/peckham-rye-station-north-wing-sanitary-courts/

The Sanitary Court, Peckham Rye Station

The Sanitary Court, Peckham Rye Station

A report in the Times 16 June 1904 shows that he provided the floors for its 150 bathrooms and lavatories, and the floor-to-ceiling tiling in the refrigeration rooms in the Savoy Hotel.

Prior to the rebuilding of the Old College Science wing in 1887 there are a number of instances of Seddon and Rust working together.  In 1875 Rust supplied J.P. Seddon with mosaics for a new Victorian Gothic church at Ayot St Peter, Hertfordshire which he designed in contrasting shades of red, blue and white brick.  Jesse Rust supplied a particularly jolly mosaic font in the interior, and even a blue mosaic clock face on the church tower.

Ayot St Peter, Hertfordshire, designed by JP Seddon

Ayot St Peter, Hertfordshire, designed by JP Seddon

Clock face mosaic by Jesse Rust, at Ayot St Peter

Clock face mosaic by Jesse Rust, at Ayot St Peter

The Llanbadarn Church floor dates from 1878.   Seddon also did work designing stained glass for Rust, and he designed the front facade of his Battersea premises.

Many of Rust’s functional mosaic floors have probably been cleared away and replaced, for with the passage of time individual tesserae become detached and come away with the sweepings, leaving flaws in the design and dirt traps in the floor.  Llanbadarn Church needs substantial grants to return the mosaic to its former glory, and then dispense with the protective carpet.   But it is pleasing to believe that the Old College building  boasts  probably the most westerly Jesse Rust mosaic. Further research may even reveal the invoice in the University archives.

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Storm Frank

Not a lot of time for blogging during a family Christmas, but I managed to get almost all the guests out of the house at high tide this morning to enjoy the spectacle of Storm Frank.  Not as destructive as the un-named storm which devastated the prom two years ago, but impressive none the less.

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The Aberystwyth seafront on 30 December 2015

Huge waves break on the bath rocks

Huge waves break on the bath rocks

The Aberytswyth seafront on 30 December 2015

The Aberystwyth seafront on 30 December 2015

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We also went to the harbour, where great bursts of water shot up into the air, and flooded across the breakwater.

Aberystwyth harbour

Aberystwyth harbour

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Lastly to my favourite haunt, Tanybwlch beach,  where the suction of the huge waves grinds and stacks up the dark cobbles on the strand.  Water broke over the whole length of the jetty and streaming in an unbroken sheet over its surface.

Tanybwlch beach pounded by Storm Frank

Tanybwlch beach pounded by Storm Frank

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So unlike the idyllic waves of Christmas Day.

Tanybwlch beach on Christmas day

Tanybwlch beach on Christmas day

 

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Two Thomas Weavers of the 19th century

by The Curious Scribbler

In my last entry I reflected upon the phenomenon whereby volunteer organisations seem to be prone to particularly vicious in-fighting.

Seeking respite from the present I found myself in the library looking for evidence of the long-deceased animal painter, Thomas Weaver 1774–1843. Weaver painted handsome four square portraits of  sheep and cattle with tiny heads and a sturdy leg at each corner.   Unpublished correspondence also shows that Col Phelp of Coston, the father of Laura Powell of Nanteos, would have liked to get Weaver, who lived at Shrewsbury, to paint his daughters.  I did not find any evidence that he actually did so, but, through one of those plausible false alarms I found myself reading the obituary of another gentleman of the same name, a certain Thomas Weaver who died in 1852,  who appears in a bound collection of published sermons on microfilm at the National Library of Wales.  This Thomas Weaver, who was buried at Shrewsbury had served as a clergyman for 53 years.

Much of the sermon was to, 21st century readers, almost intelligible, drawing upon references to very obscure aspects of the old testament, and with a fine rolling oratorial style which made it even more difficult to follow.

However when we got to the biographical part it was far more illuminating.

He obtained his ministerial education at Hoxton College in London: and upon receiving a cordial invitation from the church assembling in this place he settled among them as their pastor in the year 1798: not, however, till after some hesitation about such a step, arising from the depressed nature of the congregation, and the somewhat repulsive aspect, spiritually viewed, of some of its members.  His decision seems to have been made under the advice of a ministerial friend, who, in reference to some of those who were least attractive to him, quaintly and quietly said ” Death will soon help you there”.

His ministry, commenced under such disadvantageous circumstances, proved, by the blessing of God, successful.

Did the funeral congregation allow themselves an approving chuckle at this ‘quaint and quiet counsel’? We seem to be far more reluctant, these days, to publicly count our future blessings in the form of the anticipated death of those of whom we disapprove. How, after all, could the Revd Thomas Weaver be confident that the population of Hoxton would not be swelled by an  equal number younger and healthier, yet equally spiritually repulsive individuals,  perhaps even the spawn of his old adversaries?

Judged with hindsight, it seems to me that to leave posterity with a really nice portrait of a foursquare cow is probably a more enduring form of immortality than ministering to the residents of Hoxton.

A Brindled shorthorn cow bred at Calke.  1831 Thomas Weaver, artist

A brindled shorthorn cow bred at Calke.
1831 Thomas Weaver, artist.    National Trust.

 

 

 

 

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Prohibition on Play at St Marcella’s

by The Curious Scribbler

Here is a handsome notice which stands at the entrance to St Marcella’s (Llanfarchell) Parish Church on the outskirts of Denbigh.  So what is so wrong with play?  Any sort of play?  Indeed what is wrong with enjoyment on consecrated ground?

Forbidding sign in St Marcella’s Churchyard, Denbigh exhorts: DO NO HARM. DO NOT PLUCK THE FLOWERS. DO NOT ALLOW ANYONE TO PLAY

 

St Marcella’s Parish Church, also known as Whitchurch or Eglwys Wen is just east of the fortified town of Denbigh

 

It is well worth overlooking this bleak notice to penetrate this, the grandest of Denbighshire’s medieval churches.  Inside its double nave are reminders of Elizabethan exuberance and of the wealthy and fecund family whose tendrils extend to Cardiganshire, to London and to Chirk Castle. Here is a monumental brass plaque portraying Richard Myddlelton ( who died in 1575) along with his wife and their seven fashionably dressed daughters and nine sons. They are of interest to Cardiganshire historians because one of these sons, Hugh Myddleton was the first great exploiter of the Cardiganshire Mines through leases granted to him in 1617 by James I. Sir Hugh Myddleton had attracted the King’s patronage through an extraordinary civil engineering project, the construction of ‘The New River’ a 38 miles canal cum aqueduct which brought clean water into London from springs at Chadwell and Amwell through Stoke Newington and Hackney to Clerkenwell. Sir Hugh leased Lodge Park, the Gogerddan hunting lodge from Sir John Pryse, and died there in 1631.

One of Hugh Myddleton’s daughters, Hester,  became wife of Sir Richard Pryse of Gogerddan, who was made 1st Baronet in 1641. (Also see letterfromaberystwyth May 14, 2013)

Another Myddleton woman, Jane, had married the powerful Sir John Salusbury and they are commemorated after his death in 1578 by a magnificent painted alabaster tomb celebrating their fecundity.  On one side of the box-shaped tomb are nine sons, eight in armour and one a cleric, while the other side shows four daughters: two fine ladies in ruffs and two swaddled, to indicate their death in infancy.

Alabaster tomb of Sir John Salusbury and his wife Jane

The four daughters of Sir John and Lady Jane Salusbury, two represented as grown women, two swaddled.

The life-size figures lying on the top of the tomb are meticulously represented.  Sir John in armour is equipped with sword on the right, and gloves and helmet at his feet. The hunting knife at his left is complete with a miniature knife and fork set nestled in its scabbard a sort of Elizabethan Swiss army knife!  His wife in her high ruffed dress lies like a doll, the soles of her feet neatly framed by the ruffles of her voluminous petticoats.

Lady Salusbury’s feet

 

Two very disreputable fat little male nudes support the crest in the panel at her feet.  I’d like to know more about what these figures represent.  They look very playful ( and not at all holy)  to me. Perhaps someone among my readers can throw more light upon these ugly little men.

At the foot of the tomb, the family crest is supported by two fat frolicking hominids

 

More images may be found at  http://medieval-wales.com/site_31_denbigh.php

 

 

 

 

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Judging at a local Show

by The Curious Scribbler

Before the show opens, stewards calculate the number of points scored by winning contestants at the Llanfarian Show

 

The Vegetables occupy a separate tent

This is a part of the world where, bucking the trend, the Village Horticultural Show is alive and well, as it has been for most of the last century.  It is an extraordinary co-operative effort which unites communities.  Everyone has a vital part to play: Committee, competitors, judges, spectators.  For just two hours or so a thousand or more exhibits are collected under a marquee or village hall roof, and then, tea taken,  the prizes distributed, and old friendships renewed, the whole is dispersed once again leaving no imprint other than the carefully assembled list of winners in the following week’s paper.

I judged the Flowers at Llanfarian Show last Saturday.

It is a heavy responsibility.  For me the morning began at 11-30am when I presented myself at the primary school to join eleven other specialist judges, many accompanied by their husbands or wives.  We sat on the miniature pupils’ chairs and consumed ham salad with hard boiled egg, coleslaw, beetroot and pickles and thiny sliced brown bread, trifle and strong tea.  Conversation was sporadic and a little tense. Judges are mainly recruited from a little farther away, so they know each other less well than the Stewards, all locals who, having presided over the staging of the competitors’ entries, congregate on a separate table for their meal at noon.    Judges are also tense at their impending responsibility, some are faced with ranking the merits of widely diverse objects, ( Any item in Applique,  An Item of Pottery) others with judging the quality of a slew of extremely similar cakes, jams or flowers.  Entries must be rigorously as per schedule – woe betide the judge who fails to notice that an extra bloom found its way into the class for six sweet peas, or who allows a Decorative dahlia to insinuate itself amongst the entries in the Waterlily dahlia class!

The Floral Art judge has perhaps most to fear.  Tradition demands that she produce a written critique of each exhibit, which is propped up for all the public to read during the afternoon.  These critiques are traditionally encouraging in tone, but nonetheless must expose weaknesses in order that basis for winning entries is generally understood.  And the first prize may not go to the arrangement most pleasing to the untutored eye, but to the one most interpretative of the arrangement’s set title. Little wonder that we judges scurry home before the competitors stream in at 2-30pm.

Many locals enter just a few classes with their home grown produce, for the fun of the chance of a prize, but there are also the titans of the show bench who compete at a local show almost every weekend of the summer season, and whose targets are the cups.  Special Cups for most points in a class may be won outright through three consecutive wins ( or five spread over time).  The big names in local showing have display shelves at home crammed with trophies, some on one year placement, many others  won outright, their gleaming sides inscribed with the names of the annual winners of their past.  Other cups are Perpetual Cups, returned every season to their awarding show.

The Cups, some are awarded annually, others can be one outright for repeated winners.

One such competitor is Buddug Evans, whose carefully managed garden yields roses, gladioli, geraniums, african marigolds, spray chrysanthemums, petunias, pansies, sweet peas, asters, dahlias and potted plants just as the show schedule demands.  It is among the dahlias that competition is particularly hot.  Half the length of the hall is devoted to competition in seven distinct subgroups of dahlias, glorious matched trios of strong straight blooms staged in the tall green metal vases which professionals favour.  There were up to eight good entries in each of the dahlia classes, so she did not go unchallenged by other skilled growers.  Beating Buddug in any contested category has become a target in itself. For total points she was the clear winner.

The Flower Section, dominated by seven classes of dahlias and three of chrysanthemums

At the end of awarding thirty Firsts, Seconds and Thirds in 30 Classes it fell to me to select the Best Exhibit from among the Firsts.  Often this falls to trio of dahlias or to a gigantic single chrysantheum bloom the size of a newborn baby’s head.  But this year, among the entries in Class 60, ‘Vase of Garden Flowers from Own Garden’ nestled an outstanding fanned display of huge creamy gladiolus spikes, the smaller gladiolus ‘Dancing Queen’ with red blotched throats, creamy decorative dahlias, pure white ball dahlias, spray chrysanthemums and huge white snapdragons.  Judging is done while the competitors’ cards are concealed, so it was the final revelation to turn over the label and find this blaze of perfection, and worthy winner of the Best Exhibit Perpetual Cup was the work of another veteran competitor Gwyn Williams.

Best Exhibit – Gwyn Williams’ garden flowers

I left as Councillor Rowland Jones of Llanilar arrived to open the Show, and the public, including Ceredigion MP Mark Williams and his family arrived to scrutinise the tables.  I passed the winning exhibit in Class 126 Best Misshapen Vegetable where it lay outside the tent.  If winner, farmer Ieuan Jones plans a long flight or coach journey, it seems he has grown the ideal marrow!

The winner in ” Misshapen Vegetable” was Ieuan Jones

 

 

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