The Llandaf Diptych Mark Redknap, 25 June 2011 The diptych showing the resin replica of the Liverpool piece on display at National Museum Cardiff Laser scanning the left leaf in Liverpool. (c) National Museums Liverpool Married again: the two leaves of the Llandaf diptych. Left leaf (c) National Museums Liverpool Medieval diptychs and triptychs were two- and three-panel images intended to aid devotion and meditation of Christ's life and suffering. A right hand ivory diptych panel from Llandaf housed in the collections at Amgueddfa Cymru has recently been reunited with its left hand panel for the first time in over a century. Medieval ivories are known from secular sites in Wales, such as gaming pieces from castle sites and a small shield from Caerleon (Monmouthshire). A figurative ivory with devotional significance has been excavated from Dolforwyn Castle (Montgomeryshire), while a carved ivory diptych from Valle Crucis Abbey (Denbighshire) was reported in 1866. However, as in England, many objects of private devotion in Wales were destroyed in the sixteenth and seventeenth centuries; many diptychs in museums are now incomplete, the partner panels becoming separated in antiquity. Occasionally, missing elements are rediscovered and reunited. The Llandaf diptych For over 100 years, the right hand panel of an elephant ivory diptych from Landaff has been considered a rare survivor with a Welsh provenance. Made in Paris about 1340/60, it depicts Christ on the Cross, flanked by the Virgin Mary on the left and St John the Evangelist as a young man on the right, holding a book and turned away from the cross. The figures are positioned beneath an architectural canopy composed of three Gothic trefoiled arches, each surmounted by a triangular gable with crockets and finials. According to museum records, it was discovered by Mr Henry Bird of Cardiff during the demolition of 'the old well-house' at Llandaf in May 1836. After passing through several hands, it was purchased in 1901 by the Cardiff Museum (precursor of the National Museum of Wales) from the estate of John Storrie (curator 1878-93). Research has revealed that the decorative details, dimensions, condition and hinge positions of the Llandaf piece corresponded very closely to a left-hand ivory panel now in the collections of National Museums Liverpool. This left hand panel shows the Virgin and Child flanked by Saints Peter (bearing keys) and Paul (with sword), providing a neat visual counterpoint to the Crucifixion scene on the right panel. The architectural canopies on each leaf are the same, while the style of execution of the figures and size of the borders also correspond. When did the two become separated? The Liverpool panel was acquired in 1953 from the estate of Mr Philip Nelson, who purchased it from a dealer in Bath in 1934. The right hand leaf was bought by John Storrie from a shop of Mr L. Roberts. Could both have been found at Llandaf in 1836, to end up in different hands, or were they separated at an earlier date? Llandaf, whose focal point remains the cathedral rebuilt by Bishop Urban (1107–34) and his successors, abounded in wells. Two of the better known examples are St Teilo's holy well (Ffynnon Deilo), and the "Dairy Well" in the grounds of Llandaf Court, a house used as the Bishop's Palace from 1869 to 1940. The latter became, for a time, the resting place for a late tenth- or eleventh-century cross shaft and head, set into its end wall in 1870. The thirteenth-century fortified Bishop's Palace lies to the south-east of the cathedral: could this have been the location of the original diptych? Today the Llandaf diptych panel is displayed with a laser-cut resin copy of its partner, commissioned from National Museums Liverpool (Conservation Technologies). The latest technology was used to create an accurate replica of the Liverpool piece. A great advantage of this replication method is that it involves no contact with the original artefact surface and, therefore, no risk to the object whatsoever.
Catherine of the Wheel 1 November 2007 What do a firework and a painting from a medieval church have in common? Medieval wall painting of St Catherine, from St Teilos church, dating to around 1400. In 1998 St Fagans National History Museum began the challenging work of rebuilding and refurbishing a stone-built medieval church that had been moved from its original site in west Wales in 1984 — one of the first projects of its kind to be attempted in Europe. During the dismantling process, a number of extremely rare wall paintings were uncovered from beneath the limewashed walls. St Catherine One of the oldest paintings uncovered at the church dates from around 1400-1430 and represents St Catherine of Alexandria. It had remained hidden for centuries under layers of limewash, which had to be removed using doctors' scalpels. Once the complete image had been painstakingly uncovered and the many thin layers of limewash delicately removed, St Catherine was revealed dressed in late fourteenth/early fifteenth-century costume, standing next to a spiked wheel and holding a sword. Torture wheel and sword Close up showing detail of St Catherine's face after conservation and cleaning by Jane Rutherfoord & Associates Ltd of Milton Lilbourne, Wilts. The work involved removing the backing that had been applied during initial conservation work in 1986, and replacing it with a modern high-tec solution based on hexlite - a lightweight aluminium hollow board used in aircraft manufacture. The surface was then cleaned to reveal the original paintwork. The spiked wheel she is pictured next to is the instrument of torture that Catherine was condemned to death on by the Roman Emperor Maxentius [306-312] for her strong Christian beliefs. According to legend, the wheel itself broke when she touched it, so she was beheaded with the sword she is seen holding. The torturous wheel that St Catherine is associated with gave rise to the name 'Catherine wheel' for the popular firework. The re-erected church can be seen at St Fagans National History Museum. The wall paintings have been faithfully and expertly reproduced to show how the church would have appeared in about 1530. The St Catherine painting is not represented in the re-erected building, as it would have been covered over by this time. The original wall painting of St Catherine is currently stored at the museum and can be viewed upon request in advance.
Wooden crucifix originally sparkled with gold 4 September 2007 The crucifix figure from Kenys Inferiour, Monmouthshire Detail of the head of the crucifix figure. Detail of the torso and loin-cloth in UV light. Detail of the torso and loin-cloth in reflected light. Scientific examination of a crucifix of the Middle Ages from Kemeys Inferior, south Wales reveals that the wooden object seen today was once richly decorated in vibrant colours and magnificent gold leaf. In 1850, the remains of a carved wooden figure of Christ were discovered in the church of Kemeys Inferior, a few kilometres east of Caerleon, south Wales. An object of exceptional importance Before the Reformation of the 16th century (when England and Wales officially turned from being a Catholic nation to a Protestant one), such figures of Christ were common throughout England and Wales and the Kemeys Christ is the most complete example of only a handful of medieval fragments to survive in Britain, and so is of exceptional importance. Fragments of the Kemeys Inferior figure were found, 'together with skulls and bones', in 'the blocked up rood-staircase' during repairs and alterations to the church in about 1886. It was transferred in 1930 to Amgueddfa Cymru. Although the figure was thought to be from the 14th century, arguments supporting this have never been set out in detail. Dating the figure relies on comparing other sculptures, and it is now thought to be from the late 13th century. Made in Wales Owing to the rarity of surviving figures in Britain from this period it is necessary to study objects from the continent for further clues. For example, late 13th-century crucifix figures from Sweden share several similar characteristics, whereas the 14th-century Christ from Mochdre, Denbighshire, the only comparable wooden figure from Wales, is quite different. The Kemeys Christ was more than likely to have been made in England or Wales. Investigation and analysis of the crucifix Very little of the colour that once covered the wooden figure can be seen today, but routine work done by Amgueddfa Cymru in 1999 led to in-depth investigation of the surface of the object. The figure was X-rayed and viewed under ultra violet (UV) and infra-red (IR) light before being examined under the microscope. This revealed the original colour scheme, with differences between the torso and the arms, previously considered to have been later additions. Vivid and rich colours In contrast to its present condition, the Kemeys Christ originally boasted a vivid and richly coloured appearance as was popular throughout the Middle Ages. Great care was taken in decorating the figure. When new, it would have shone with gold leaf. Examination of the figure has revealed considerable evidence of polychromy (use of many colours), and, like other examples of medieval sculpture, over-painting. Although little colour survives on the arms, the right arm does have two layers, which may suggest replacement of the left arm either during the first half of the 16th century or even earlier. At least three layers of painting have been detected, though the dating of each is problematic. The secondary colour scheme appears to have included gilding on the hair; gold, red and blue on the inside of the loin-cloth; dark brown and black details on the face; a green crown of thorns; and flesh tones in pale pink, with red emphasising the wounds. Stunning polychrome work like this would have been standard on such an important sculpture. The Kemeys figure clearly represents Christ on the cross, who is portrayed alive, with his eyes still open. The Kemeys Christ is a rare survival of pre-Reformation devotional figures once common in the British Isles. With the original height of about 94 cm, this powerful image of Christ's suffering would have been widely seen and prayed to, and formed a purposeful part of everyday life.
Coins from Edward the Confessor and William the Conqueror found in Monmouth field 4 May 2007 Part-cleaned and fully-cleaned coins. Each coin measures about 2cm (0.75 inches) across. Penny of Edward the Confessor struck by Estan at Hereford, around 1060. Measures 1.9cm (0.75 inches) across. Part of the Abergavenny hoard as discovered. Traces of the cloth bag, preserved in the mineralization. This image shows some of the stitching. An updated version of this article has been published. In April 2002 three metal-detectorists had the find of their lives in a field near Abergavenny, Monmouthshire: a scattered hoard of 199 silver pennies. The hoard included coins of the Anglo-Saxon king Edward the Confessor (1042-66) and the Norman king William the Conqueror (1066-87). The hoard probably pre-dates the founding of Abergavenny near by in the 1080s. The hoard was heavily encrusted with iron deposits, including traces of fabric, suggesting that the coins had originally been held in a cloth bag. It is not clear whether they had been deliberately hidden, or simply lost. Either way their owner was the poorer by a significant amount: sixteen shillings and seven pence (16s 7d, or £0.83p) would for most have represented several months' wages. Minting coins Anglo-Saxon and Norman coins form an unique historical source: each names its place of minting and the moneyer responsible. People had easy access to a network of mints across England (there were none in Wales) and every few years existing money was called in to be re-minted with a new design. The King, of course, took a cut on each occasion. The Abergavenny hoard includes 36 identifiable mints, as well as some irregular issues which cannot at present be located. Coins from mints in the region, like Hereford (34 coins) and Bristol (24), are commonest, outweighing big mints such as London (19) and Winchester (20). At the other end of the scale there are single coins from small mints such as Bridport (Dorset), or distant ones such as Thetford (Norfolk) and Derby. Hoards from western Britain are rare, so the Abergavenny Hoard has produced many previously unrecorded combinations of mint, moneyer, and issue. We shall probably never know quite why these coins ended up in the corner of a field in Monmouthshire but, as well as expanding our knowledge of the coinage itself, they will cast new light on monetary conditions in the area after the Norman Conquest. Conservation The coins were found covered in iron concretions and many of them were stuck to each other. This disfigured the coins and obscured vital details. Removing this concretion with mechanical methods, such as using a scalpel, would have damaged the silver, and chemicals failed to shift the iron. The solution to the problem was found in an unexpected, but thoroughly modern tool - the laser. A laser is a source of light providing energy in the form of a very intense single wavelength, with a narrow beam which only spreads a few millimetres. As laser radiation is of a single colour (infrared light was used in this case) the beam will interact intensely with some materials, but hardly at all with others. This infrared source was absorbed better by the darker overlying iron corrosion than by the light silver metal. The laser was successful at removing much of the iron crust, but initially left a very thin oxide film on the surface. When this was removed, the detail revealed on the underlying coin was excellent; it was possible to see rough out and polishing marks transferred to the coin from the original die, as well as the inscribed legend. Background Reading Conquest, Coexistence, and Change. Wales 1063-1415 by R. R. Davies. Published by Oxford University Press (1987). The Norman Conquest and the English Coinage by Michael Dolley. Published by Spink and Son (1966).
Medieval Cardiff 4 May 2007 Capital city of Wales John Speed's map of 1610. Speed's plan of Cardiff reveals many aspects of the city's development, including the majority of features described in this article. Travelling around Cardiff, capital city of Wales, it is easy to forget that this modern city's origins were laid many centuries ago. The heart of the city was formed during the medieval period and many traces from this time survive today, especially close to the castle. Cardiff lies at the centre of three river systems, the Taff, the Ely and the Rhymney. Its location allowed its first residents to control trade and movement along these rivers, giving them power over a large area. Roman Cardiff Cardiff Castle as it might have appeared in the 14th century. The inner face of the medieval bank still survives within the castle grounds and on close inspection the foundations for the medieval east wall can still be seen on the top of the bank. The first people to take advantage of this location were the Romans who set up a fort here about AD55-60. This dominating fort protected its inhabitants until about AD350-375 when it was abandoned at the end of Roman rule in Britain. The stone walls of the fort provided later generations with a massive source of building materials, while a further legacy from the Romans was a network of roads linking Cardiff with neighbouring areas. The medieval castle Beauchamp's tower, Cardiff castle. Richard Beauchamp, Earl of Warwick, built this tower in the 15th century, to protect the castle's west gate. Openings at the top of the tower allowed stones or burning objects to be dropped on attackers. The unusual spire was added in the 19th century. Today, much of Cardiff's Roman remains are lost beneath the medieval castle. The castle dates from the 11th century, when the Normans conquered Glamorgan. It was begun by William the Conqueror on his return from St David's in Pembrokeshire, in 1081. This is supported by an inscription on a coin found within the castle grounds which suggests that William may have established a mint at the castle. Cardiff Castle was originally built in wood. In the 12th century, Robert Consol, Duke of Gloucester, rebuilt it in stone. At this time, the Castle's west and south walls were raised, building upon the ruined walls of the Roman fort. Owain Glyndŵr The castle wall, Cardiff. In 15th century, town was destroyed by Owain Glyndŵr's Welsh army. The Castle lay in ruin until Richard Beauchamp, Earl of Warwick, restored the defences and castle buildings in 1423. Beauchamp also constructed the octagonal tower, now known as Beauchamp's tower. Much of the rest of the castle and walls dates to the 19th century, when the third Marquis of Bute employed William Burges to restore, refurbish and rebuild it. The medieval town Medieval town wall, Cardiff. Sadly, this is the best preserved section of Cardiff's town walls. It is now hidden behind retail developments along Queen's Street. Cardiff's Shire Hall was built inside the castle's walls in the 15th-century. It was in use as the town's administrative centre until the 17th century. The medieval town spread out from the castle's South Gate. Interestingly the High Street lines up with the Roman rather than the medieval south gate, suggesting it dates from this earlier period. The Medieval town probably developed in two stages. The first stage was within a relatively small enclosure marked out by Working Street and Womanby (Hummanbye) Streets' both names are linked to old Norse. In the second stage of its development, Cardiff expanded south. The town was then enclosed and defended to the east by a bank and ditch and eventually a stone gate. To the west, the town was protected by the meandering river Taff. Remains of the medieval wall Only two sections of the medieval wall are known to survive. The first supports a flower bed just east of the Roman fort wall, while the larger surviving piece is across the road behind retail outlets. Much of the surviving foundations of the wall were destroyed by the large shopping centres which swallowed up many of the small medieval alleyways of the city. Remains of the castle wall The remains of Blackfriars, Cardiff, in Cooper's Field beside the castle. The lower section of the castle wall belonged to the Roman fort, while the upper section was added in the 1920s. During the medieval period, building plots were packed so tight against the Roman wall, that some of the inhabitants were forced to extend their homes backwards through it. This can be seen in the undulating profile of peaks and troughs along the surviving length of the Roman wall. Religion In the centre of Cardiff stands St John's church. Its earliest surviving stonework is mid 13th century and its tower was added around the 1470s. Much of the church we see today was rebuilt during the 18th century. To the east of the castle lay the monastic settlement of Greyfriars, while to the west lay the Blackfriars, both were established around 1256-80. The friars were an active part of Cardiff life until the 1530s when Henry VIII dissolved their monasteries. By 1610, the Blackfriars buildings was in ruins, while the Greyfriars building was converted into a mansion of the Herbert family. The ruins of this mansion survived into the 20th century until they were pulled down to be replaced by a multi-storey car park and tower block. The foundations of Blackfriars were revealed during the 19th century, while the Marquis of Bute was renovating his gardens. These were opened to the public as a park in the 1940s. Background Reading 'Cardiff Castle excavations, 1974-1981' by Peter Webster. In Morgannwg, vol. 25, p201-11 (1981). Cardiff Castle: its history and architecture by J. P. Grant. Published by William Lewis (1923). Medieval Town Plans by B. P. Hindle. Published by Shire Archaeology (1990). The Cardiff Story. A history of the city from its earliest times to the present by Dennis Morgan. Published by Brown and Sons (1991).
