Monday, 10 December 2012

Windows





This house was highlighted in the Aberdare townscape survey as having extravagant render detailing and being an example of the late nineteenth century trend towards middle class homes with bay windows. http://cadw.wales.gov.uk/docs/cadw/publications/urban_character_aberdare_EN.pdf
Unfortunately over zealous repairs to the bay window roof led to the collapse of the bay and its replacement with a plastic one.

This is a perfect example of the gradual loss of the small details that help make buildings and towns distinctive. Each change is small and relatively insignificant but the small changes add up so that soon it becomes impossible to find original features like doors and windows. Interestingly the  bays and other detailing on this terrace are actually made from cast stone. They were probably bought from a catalogue as there are identical bays in nearby Abernant.



 

Sunday, 12 August 2012

The Welsh Cottage

'The Welsh Cottage, Building Traditions of the Rural Poor 1750-1900' Eurwyn William 2010. Royal Commission on the Ancient and Historical Monuments of Wales(NMW)

This book by Eurwyn William 
'..is about the homes of the rural poor in wales during the eighteenth and nineteenth centuries, and in particular the materials and techniques used to build them.' (p8)
Nantwallter Cottage at St Fagan's Museum. A 'clom' house made with walls of earth, dated from the 1770s.
Much of the evidence used in the book is that of the buildings themselves, based on surveys undertaken in the 1970's. The introduction looks at other sources of evidence such as writings by contemporary commentators, other books and research, drawings, paintings and photographs.
Chapter 2 is concerned with the history of settlement patterns in Wales with an overview of where people lived, (mainly in the lowlands but higher up than now, in periods of climatic warmth), types of tenure, including inheritance traditions and the rise of estates, enclosures and squatters concluding with the relationship of the rural populations to that of the new industrial settlements.
Chapter 3 provides an introduction to vernacular architecture and the history of gentry and farm house designs. Then the term cottage is defined followed by a lengthy discussion of the 'ty unnos' or 'one night house'. This is followed by an account of the plan type and the gradual introduction in the C19th of larger buildings making use of the new readily available materials of brick, slate and sawn imported timber.
Chapter 4 is about walls and the types of materials used including stone, mortar, earth and turf, timber, bricks, doors and windows.
Chapter 5 is about roofs with an extensive introduction to thatch including the historical distribution of different thatch styles. This is followed by a look at underthatch techniques including heather, straw rope and gorse. Other materials such as stone and later quarried slates are discussed as are chimneys which were often made of wicker.
Chapter 6 is about interiors, namely the floors and fireplaces etc.
Chapter 7 looks at the builders themselves and the life styles of the cottage dwellers.
The final chapter starts by discussing why these  humble cottages have failed to attract listed status and why so few survive.  It challenges the assumption that because these buildings were made from inferior materials that they were badly made which is why they have all but disappeared. The author instead favours the argument that these buildings have suffered from the vagaries of fashion in that the cottagers wanted more space and better facilities such as water and sanitation, in the same way that present day farmers are abandoning older farmhouses to build new bungalows.
Then the discussion changes to look what has happened to the buildings
'What pleasanter sight is there than a bright green or heather-blue hillside dotted with little white cottages, sparkling in the sun? Alas, too many of them now have breeze-block extensions, flat-roofed garages and picture windows, making them appear no longer comfortable and natural but brash and in conflict with their environment.' p255   
And then to look at how the more primitive building techniques of the past can provide valuable lessons for the future.
'Today we reuse little, and dispose of much. This is in total contrast with the past....Few cottages required the use of fossil fuels to manufacture their components; hardly any required transport of materials over longg distances or by any means other than by human or animal labour....Nothing was utilised that might cause pollution; no toxic exterior paints, no plastics, no asbestos.' p257
'Sustainable living in rural ares today can only happen on a demonstrable scale, perhaps, when it again becomes fashionable to think that less is more, and that happiness is not bought by the possession of worldly goods.' p258
William recognises that these modern middle class concerns of low impact sustainable living are in effect being lived out by the present poorest of the worlds population who are still dependant on nature and live in ephemeral homes that are built and maintained through communal effort. However he maintains that climate change will force a return to more low impact and communal living, and says these approaches and traditions may return.

Friday, 8 June 2012

Houelt Cross

Inside Llantwit Major Church is this fine Celtic Cross with a disc head.
'The disc has a cross with square ends and a central square, with diagonal patterning, and a ring whose arcs have a twist decoration.'
Carved from one piece of stone this a very precise work of art. It is truly beautiful but lacks the charm of the cartwheel stones in Margam museum

Saturday, 12 May 2012

Stones Museum, Margam

Cross of Cynfelin in background, cart wheel crosses on left
Set on two levels in an old school, the stones museum at Margam is a collection of inscribed and sculptured stones from the area between Port talbot and Bridgend. They range from a Roman milestone to a Tudor tomb-cover, but the highlight, seen here at the back, is the tenth century Cross of Cynfelin.
My favourites however were two of the wheel crosses called Ilci and Ilquici which for a time served as a footbridge over a stream.
Ilci and Ilquici
 Although its lovely to see all these stones together and admire the skill and ingenuity of their creators part of me(the romantic bit) would still like to 'discover' them forming part of another structure or perhaps just visible beneath a tangle of brambles, preferably covered in a layer of  lichen.

They are all truly beautiful objects because they are irregular and imperfect. This is demonstrated by this wonderful cart wheel cross originally from near the railway station in Port Talbot.
Cartwheel cross
  Its not exactly round so it wouldn't make a very good wheel but it is definitely a cart wheel and it fits the stone its on and its the best part of a thousand years old. What more could you want from any sculpture?

Saturday, 5 May 2012

Ewenny Priory Church

Nave with pulpitum screen. Stained glass by Alexander Beleschenko 2006
I always forget how much I like the proportions used by the Normans until I come across a place like this.  The solidity of the round pillars and the curve of the arches combined with the simplicity of the decoration create a sublime aesthetic. It makes gothic look old and fussy while this feels (ironically) modern.

The Priory Church is well documented and there is an excellent guide book for sale by Philip Morris. Complete with plans, old and new photos, as well as the painting of the south transept by Turner this publication is a very well thought out and pleasing guide. Ewenny was a Benedictine Priory founded '..as a daughter house of St. Peter's Abbey, Gloucester (now Gloucester Cathedral)..'(Morris p5). The church would have served both the monks who used the presbytery and transepts while local parishioners worshipped in the nave. Following dissolution while the monastic parts of the Priory changed hands and were allowed to fall into disuse, the nave remained as the local parish church. 'The Priory passed by marriage in the 18th century to the Picton-Turbervill family, who still own the  monastic end, though in the guardianship of CADW,...The nave is in the possession of the Church in  Wales and is still used as the parish church of Ewenny. (Morris p8)
Tomb slab of Maurice de Londres

The south transept holds a collection of stone carvings including the 'Beautiful and well-preserved tomb-slab..' of Maurice de Londres 'Foliate cross in relief, stiff-leaf on the chamfered edge and the crisply incised inscription in French: Here lies Maurice de Londres, the founder.May God reward him for  his labour.''(Newman p346). Contrasting bravely with these ancient sculptures is the modern stained glass by Beleschenko, '..the highly - acclaimed Swansea- based international artist..' (Morris p13)

Sunday, 29 April 2012

Welsh St. Donats

Welsh St Donats
An attractive small church with solid tower in a very large graveyard. The church is accessed through the village, and there is a farm and farmland adjacent. The tower is battered in the lower half and appears to widen towards the top half with its large corbelled battlements, so that it appears almost curved with a slight waist. The church was locked on my visit.
The church was restored in 1891 and interestingly this is the date stamped into the entrance gate. Other evidence of the restoration work is in the replacement windows such as this one on the south side of the nave.
1891 Three light window
Other more recent work includes re pointing work on the tower which has been done using lime mortar in its lower half. The older mortar above gives the tower a distinctive two tone appearance.
Recent pointing below string course

Pendoylan Church

View of church from SE, cottages of 1817 in background
Much restored in 1855 and tower rebuilt in 1893. The church is situated next to the main road in a large church yard with 2 large yews. Evidence of older church in chancel arch with '..characteristic late Perp imposts, alternating shafts and hollows under an embattled cap.' Newman,J. 1995, p500
Late perpendicular impost to chancel arch
1855 foliage corbel, each one is different
Contrast this with the corbel foliage carving of 1855.

Pendoylan information sheet


Llanblethian Church

Three staged tower with diagonal buttresses
On the southern outskirts of Cowbridge this church commands a fine position over the village of Llanblethian across the valley from Quentin's Castle. The tower dates from 1477 and is well proportioned and striking.

The church guide says 'The pulpit which was installed in 1896 as part of the church restoration is of an unusual design (and not to everybody's liking). It is made from Penarth alabaster, red Forest Of Dean stone and Quarella stone from Bridgend. The columns are of red Irish marble.'
Fowler designed pulpit

In contrast to this is a plain medieval tub shaped font, '..solidly carved in Sutton stone.'
Medieval tub font

As well as these there are anumber of other fine stone carvings including figures adorning the corbels of the tower entrance from the nave and a lovely cherub head on a monument in the porch.
Corbel sculpture

Corbel sculpture
Angel head in porch
 Also in the churchyard to the north a monument with 'Gill-like. Stylized trees...' Newman,J(1995)p372
Oak leaf pattern on head stone 1943

Llanfrynach Church(Near Cowbridge, Glamorgan)


General view of church with ascending large sycamores
This church is a hidden gem nestled in a hollow behind tall trees immediately to the west of Cowbridge. There are no other buildings nearby and can be accessed either by a sunken lane or public footpaths. There is only one recently planted yew and much of the churchyard is taken up by wet grassland with scrubby trees. Along the boundaries of the large grounds are some magnificent sycamores as well  as oak and ash.

The Pevsner guide says this gives 'an unusually good idea of an un- Victorianized medieval village church' (p382).  What drew my attention however was the stout tower, in contrast to the slender buttressed one at nearby Llanblethian, and the very fine slate roofing. The west side of the tower has particular charm with its worn, rounded stone and carved tablets of various dates. 
Stone tablets and window detail of West tower
Fine roof of graded small slates as well as detail of timber construction and hood moulding with spandrels
West tower showing put logs, belfry window mouldings, string mouldings and corbelled parapet


According to the information panel on site the church was originally twelth century and the chancel arch and continuous stone benches lining the nave are of this date. Apparently the original village that was here was wiped out by the black death and it served the village of Penllyn, more than a mile away.

Quote from Newman, John.1995,'Glamorgan. The Buildings of Wales. Pevsner Architectural Guides' Yale University Press

Thursday, 23 February 2012

Postcards from Clyro

Postcard
This is the first view you get of the church when entering the village of Clyro from the A483. It was almost totally rebuilt in 1852/3 on the site of an existing church. The only remnant of the original building is the lower part of the tower which is gently battered. The walled churchyard is more or less circular in shape, apparently an indicator of a fairly ancient site.
Postcard
This un accredited pen and ink drawing is the same view as the photograph.
Postcard
Interior view of the nave looking towards the East window.
Postcard
The stained glass of the East window
Leaflet by VAMG
This informative leaflet is by MAVG (Margaret Gill) whose name will crop up again later. The leaflet gives some detail on what the original church may have looked like and how the new one was designed and built..
Leaflet
Another leaflet by Kenneth Clew and illustrated by Ursula Cooper is a guided walk around the village with notes on the buildings and their history.
Illustration by Ursula Cooper
Image by Ursula Cooper.
Greetings Card
As well as the postcards there is this greetings card again un accredited entitled 'A view from Paradise', which is according to the guide a building in the village.  Of course the most notable interest for this church and its neighbours was the prescence of Curate Robert Kilvert who wrote a diary about rural life in the area during the 1860s. He was brought to fame in the 1930's when his diary was published. The church is full of information about him and the Kilvert Society.

Tuesday, 7 February 2012

Postcards of St. Edmund's, Crickhowell

Postcard
This card says on reverse
'The 100ft spire St. Edmunds' Church, Crickhowell dominates this part of the beautiful Usk Valley in South Wales'[View from S?]

Postcard



' The interior of C14th St.Edmund's Church, Crickhowell decorated for harvest festival'

Postcard

'18th c. bridge over the River Usk, Crickhowell' [Brian Bessant. July 1984] 


Postcard

Postcard
'Wallhanging by Janet C. Weight Reed 1997[On S aisle wall] http://www.janetweightreed.co.uk/
One of a pair celebrating Crickhowell and inspired by a quotation from The Song of Soloman:
"...The winter is past...Flowers appear on the earth; the season of singing has come." '

Plan
This plan is available to view in the church.

Guide
There is no guide book but this printed sheet is available to view in the church.

Thursday, 26 January 2012

Llantrisant Church (Glamorgan)

Gargoyle at Llantrisant
For me the most striking thing about this church is its massive bulk, especially that of the tower, which with its large four angled buttresses and octagonal stair turret dominates the town.
This photograph shows probably the best preserved of the four gargoyles with their hands gripping the mouth open in a wide and possibly painful grimace. Perched on the edge of the corner of the top moulding just below the crenellations, they look down over each pinacled buttress. The buttresses themselves are in four tiers with angled set offs over the dressed weathered limestone. This is in contrast to the rough rubble walling of the main tower presumably made from local sandstone.
Tudor style window
On the west side of the tower just above the pointed arch of the doorway is a tudor style window with its flat topped hoodmould, spandrels and three lights. In  the sandstone rubble walling are dotted holes for scaffolding or putlog holes. These only occur in the lower part of the tower below the centre moulding.