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