English silks worn in Tredegar House 8 May 2007 Tredegar House and Park. The house and grounds are now in the ownership of Newport County Council. Many rooms have been restored and are open to the public. Image © Steve Burrow. Man's short coat, dating to the early 1720s. The fabric is white taffeta with a lace pattern. This coat was probably worn by Sir William Morgan. It is of yellow lace pattern silk, dated to about 1725, and is of either English or French origin. Silver embroidered blue damask court mantua (an open fronted gown with an elaborate train), made in the 1720s. An English silk robe and petticoat, dating to about 1745-47. Although this has been remade, the fabric survives in good condition. It has a yellow taffeta ground with white cannelè stripes and is brocaded with roses in coloured silks. In the 18th century a gentleman's rank in society could be discerned from the quality of his house or his clothing - status was declared by the wearing of costly silks, lace or gold thread. Silks woven in the flourishing silk industry of Spitalfields in London and elsewhere were bought by Welsh families and brought to Wales to furnish their homes, dress themselves, and impress their neighbours. The Morgans of Tredegar House, later Lords Tredegar, were one of the wealthiest families in Wales. They used rich silk furnishings in their home, as described in the inventory of 1698: "4 green Silke Damask chequer curtains flowred with gold colour and lined with white chequer silke with double valiance, foot valiance, teaster and quilte imbroidred with Silke frings." In the same bedroom there were four window curtains of white damask and seven silk cushions matching the bed hangings, all protected by a suite of orange dust covers. In addition, the Morgans dressed themselves in the finest and most fashionable woven damasks and brocaded silks, some of which are now housed at St Fagans National History Museum, donated in 1923 by Lord Tredegar. Most date to the middle of the 18th century. One robe and petticoat of French origin may have belonged to Martha Morgan, wife of Thomas Morgan, part of the Mansel family of Margam (and later of Penrice), one of the wealthiest families in the county. Thomas Morgan was succeeded by his brother, who considerably added to the estates. When his son, Sir William Morgan, inherited in 1719, he was able to embark upon a very flamboyant way of life. In 1724 Sir William married Lady Rachel Cavendish, daughter of the Duke of Devonshire, who brought with her a dowry of £20,000. A number of items from Tredegar House date from between 1720 and 1731, when Sir William died. All of these garments match Sir William's reputation for extravagance - his annual expenditure in 1725 amounted to £37,418 (over £3.8 million or .9 million in today's terms) - and all would almost certainly have been bought in London. Lady Rachel survived her husband for fifty years, and when her only son died unmarried in 1763, she lost a battle in the courts and her brother-in-law Thomas Morgan succeeded to the estate. Most of the remaining Tredegar garments belong to this period and were probably worn by Lady Rachel or Jane, the grand-daughter of John Morgan (born 1731), who had married in 1758 and was later to inherit the estate. Since none of the Tredegar silks post-date Lady Rachel's life it is tempting to conclude that they all belonged to her and were packed away after her time, only being rediscovered by the family for their fancy dress possibilities during the following century. A court mantua This pictured garment had been remade and worn as fancy dress, probably during the 19th century. In 1971 it was returned to its original form, with the help of the late Janet Arnold. The later stitching was removed, which involved unpicking bust darts and the removal of stitching where the train had been caught up in several places, presumably in order to hide the fact that part of it had been cut away. The petticoat itself had not been altered. This is a very grand robe which would have been worn for presentation at court. Lady Rachel Morgan was certainly sufficiently important to have worn it. Background Reading Social conditions at Tredegar House Newport in the 17th and 18th centuries, by M. R. Apted. In Monmouthshire Antiquarian, vol. 3:2, p124-54 (1972-3). Tredegar House by David Freeman. Published by Newport Leisure Services Department (1982, revised edition published 1998). Silk designs of the 18th century in the collection of the Victoria & Albert Museum by Natalie Rothstein. Published by the Victoria and Albert Museum (1990). Woven Textile Design in Britain to 1750 by Natalie Rothstein. Published by the Victoria and Albert Museum (1994). A court mantua of c. 1740 by Janet Arnold. In Costume (Journal of the Costume Society), vol. 6, p48-52 (1972).
Trick or Treat? Ancient collection at Amgueddfa Cymru found to be modern 17 April 2007 At the beginning of the twentieth century, the president of Amgueddfa Cymru, Lord Howard de Walden, formed a remarkable collection of ancient European arms and armour. The collection included a number of classical pieces - helmets, swords, spearheads, belts and armour that were mainly Greek and Roman - or so it was thought until work at Amgueddfa Cymru discovered otherwise... The collection comes to Amgueddfa Cymru Portrait of Lord Howard de Walden (1880-1946) Etruscan bronze 'helmet' embellished with gold showing half of the false patina removed X-Ray of helmet In 1945, Lord Howard offered to lend seventy-nine 'antique bronze objects' to the Museum. Following his death in 1946, his son donated the collection to the Museum. In 1990 research by a Russian scholar had shown that some items from this collection had almost certainly been made in a jeweller's workshop in Odessa, south Russia between 1890 and 1910. Further investigation has revealed some of the objects to be totally genuine, but others reveal signs of being 'improved' or even manufactured more recently from antique metal parts fashioned into classical forms. In order to meet the demand for classical antiques during this period, it was quite common to produce a particular object using ancient pieces from a number of sources, or in other words, a pastiche (a work of art that imitates the style of some previous work). There are also a number of fakes, where the metal used was wrong for the period of the object. Lord Howard de Walden was well aware of this, for when the loan to the Museum was being organised, he wrote 'there are certain pieces you may not wish to have, such as...several specimens of doubtful authenticity'. Bronze 'helmet' One such object that Museum conservators examined was a helmet, made of bronze and decorated with gold, apparently dating from the third century B.C. The helmet was X-rayed to determine the condition of the metal and the extent of the corrosion, as well as to reveal its construction. However, the X-ray uncovered much more than was originally expected, for dense solder lines could be clearly seen criss-crossing the image. The helmet had undergone considerable restoration work in recent times; cracks had been filled with solder and holes patched with metal. To disguise these recent repairs a fake patina (the sheen on an object produced by age and use) mimicking corroded bronze had been applied over the top. Analysis of the metal revealed that the bronze helmet was in fact old, and even the patches of metal used to repair the holes were ancient. However, there were indications that the gold was modern. The investigations concluded that the helmet had been repaired and embellished with gold that would have increased its value and made it more desirable to collectors. This work may have been carried out at the turn of the twentieth century. Should the modern repair work be removed or conserved? In the end, it was decided to remove half the false patina in order to reveal the repair work below, for it was felt that the alterations were now part of the history of the object and could shed light on techniques employed at the time the helmet was collected. Study of this important collection not only throws light on the ancient technology of the genuine pieces of classical arms and armour, but also the practices of the antiquities market a century ago.
Glitz and glamour - the outstanding costumes of the the Tredegar Collection 11 April 2007 Tredegar House and Park. The house and grounds are now in the ownership of Newport County Council. Many rooms have been restored and are open to the public. Image © Steve Burrow. Silver embroidered blue damask court mantua (an open fronted gown with an elaborate train), made between about 1730-40. This is a very grand robe which would have been worn for presentation at court. This coat was probably worn by Sir William Morgan. It is of yellow lace pattern silk, dated to about 1725, and is of either English or French origin. For glitz and glamour, look no further than the Tredegar Collection. This impressive collection of 18th century costume was presented to the Museum in 1923 by Courtenay Morgan, also known as Lord Tredegar. The items belonged to his rich ancestors who wanted to flaunt their wealth and power. Each garment was designed to dazzle. Although the Morgans owned Tredegar House near Newport, they spent most of their time in London. For the gentry, the capital was the place to be. Pleasure gardens, operas and assemblies - their lives revolved around socializing. A royal debut The Tredegar costumes were probably made in London, using the finest woven damasks and brocaded silks you could buy. The most elegant dress in the collection dates from around mid-1720s. The grandness of this open fronted blue gown - often called a mantua - suggests that it was made for a young lady's royal debut. The detailing is elaborate and elegant, both on the front and the back.The gown was much longer originally, but a large section was cut off during the 1800s, supposedly for a fancy dress party. Whalebone corsets Gowns like this one were very awkward to wear. To achieve the exaggerated look, women wore wide hoop petticoats to increase the width of their skirts. They also wore tight corsets stiffened with whalebone under their dresses. Corsets encouraged good posture by squeezing the upper body into shape. Style was more important than comfort. This yellow brocaded frockcoat was made in the early 1720s. The floral design is typical of the period, so is the bright yellow colour. Further reading: M. R. Apted, 'Social Conditions at Tredegar House, Newport, in the 17th and 18th Centuries', The Monmouthshire Antiquary 3:2 (1972-3), pp. 124-54. Janet Arnold, 'A Court Mantua of c. 1740', Costume: Journal of the Costume Society 6 (1972), pp. 48-52. Avril Hart & Susan North, Historical Fashion in Detail: The 17th and 18th Centuries (London: V & A Publications, 1998).
Building the most important Welsh insect collection in Britain 11 April 2007 The death of Joan Morgan, in Bangor in 1998, ended a remarkable life in entomology [the study of insects] and resulted in a major acquisition of more than 50,000 specimens for Amgueddfa Cymru. Mike Wilson, head of entomology at Amgueddfa Cymru inspecting the Bangor collection Changes to teaching in British universities over the last thirty years has resulted in many teaching collections being gradually broken up or discarded. Sometimes, these important university teaching collections have been built up over many years by dedicated individuals interested in teaching and research. Joan Morgan Joan Morgan moved to Bangor in 1953, teaching full-time at the University College, Bangor. For over forty years she was an enthusiastic field worker, collecting thousands of specimens, particularly from north Wales, building up an impressive insect collection at the university. The collection's importance cannot be over-emphasized. It provides evidence of many species at many locations, along with reference material and around 60,000 card based records. On retirement, Joan Morgan continued to maintain and add to the collection. After her death, the college agreed that the collection should be transferred to Amgueddfa Cymru. The collection contains around 50,000 specimens, mostly British, and covers all groups of insects, including an excellent representation of specimens from north Wales. After a quarantine period in a freezer the specimens were successfully integrated into the entomology collections at the Museum. This helped the Museum create the most important collection of Welsh insects in Britain. It is a very valuable resource for research by scientists worldwide.
Tom Mathias Photographs 21 March 2007 This remarkable collection of photographs represents the work of two exceptionally gifted photographers from different eras and very different backgrounds. The original photographs were taken by Tom Mathias, a self-taught photographer, at the turn of the 20th Century. Using simple equipment, Tom Mathias recorded the daily life around the Cilgerran district of Dyfed, west Wales. Following Mathias's death in 1940 all his negatives were dumped in an outhouse, where they lay, forgotten, for more than thirty years.James Maxwell (Maxi) Davis, a professional photographer living in the area, discovered them in the 1970s. The glass negatives were in a very poor condition. Many were broken and damaged beyond repair. Most of the reminder were very badly degraded, meaning a slow and painstaking process to print what images could be saved. Enough had survived however for Maxi to appreciate the importance of what he had found and set about the task of conserving and restoring the photographs. It is thanks to these efforts that Tom Mathias's remarkable photographs have been saved for posterity. Click on the thumbnails below for more infomration. Tom Mathias Photographs Tom Mathias (1866 - 1940) Aberdyfan, Pont-rhyd-y-ceirt, the Mathias family home. It was here that the negatives of Tom Mathias's photographs were discovered thirty years after his death. Tom James Mathias, son of Tom Mathias, feeding a robin. Tilla, Tom Mathias' daughter Tom's niece, Helen Baud. Helen and her sister Paulette were frequent visitors to Aberdyfan and feature in several of the photographs. Tom Mathias holding a sparrow hawk. Tom was renowned locally for his knowledge of natural history Tom examining one of the apple trees in his orchard. He is credited with improving the keeping qualities of some local varieties of apple An early photograph of Tom Mathias hard at work shearing Tom Mathias' son, James, hard at work making a garden shed The workshops at Cefn Quarry. Note the turned slate pillars Quarrymen at work, Cefn Quarry A steam crane in operation at Forest Quarry, 1910 Dolbadau Quarry, 1907. Cilgerran was the centre of a small-scale slate quarrying industry from the late eighteenth century to the early 1930's. Tom Mathias took many photographs of the quarries, but unfortunately, because of their condition, only a few were able to be reproduced. Cilgerran coracle-men William Johnson and John Morgan with their haul of fish, 1905. So few coracle photographs have survived that this one has been included despite its poor quality. It shows William Griffiths of Llechryd finishing off the frame of a Teifi coracle whilst his children, Moses and Sarah, look on. 1916. Local coopers Griffith and Thomas Thomas, with baby, Johnny Michael Thomas, taken in 1892. Timber was brought to Cilgerran Sawmill for conversion into planks. This photograph shows the arrival of the largest tree trunk ever to be brought to the sawmill. Forestry was another important local industry which Tom Mathias diligently recorded. Kathryn Davies operating a stocking-making machine Mother and daughter Hannah and Elizabeth Davies, the local quilters. Boy holding a child's hay rake Tom's grand-daughter Nesta playing with her toys. The brothers Hugh and Myrddin Jones, Cilfowyr, loading hay onto a donkey cart Girl Guide patrol leader, Maggie Thomas, Plas-y-Berllan, Llechryd. 1925 Four generations of the Davies family of Banc-y-felin, Llechryd. 1913 Richard Morris of Cefn Lodge, Cilgerran on his horse 'White Bud'. Miss Olivia Griffiths, Neuadd, Cilgerran, shortly after her graduation with first class honours in German from the University College of Wales, Aberystwyth, 1910. Evan Peter Morgan of Church Street, Cilgerran, photographed with his wife Elizabeth Jane and son David whilst he was home on leave during the First World War (1914-1918) A convoy of policemen from Pembrokeshire, Carmarthenshire and Glamorgan on their way to Cardiganshire to assist the local constabulary during the anti-tithe agitation which broke out in the county between 1888-94 Butcher's delivery van, 1910 Baker's van with delivery boy, Willie Davies, 1910. David Wilson, fishmonger's delivery boy photographed in 1905. He was later to loose a leg in combat in the First World War. He used his compensation to establish his own business in Bridge Street, Cardigan, thereby earning himself the nickname 'Lucky Leg Wilson' Three local women photographed in a pony and trap, 1916. Tom Mathias made his living taking photos of local people, but he never owned a studio, so all his photographs were were taken outside or at his clients' homes. Mrs Ann Williams, 1910. Repairing the spire of Llandygwydd Church. A row of labourers' cottages at Lancych. They stand in marked contrast to the gentry houses that Tom Mathias also photographed. A ride in a donkey cart. Tom Mathias's patience as a photographer is displayed at its best in his pictures of children. This is Teifryn Thomas, the son of Llechryd's postmaster, proudly showing off his new tricycle. An unidentified girl carrying a baby in a shawl 'Welsh fashion'. James Mathias (no relation) taken with his family c.1910. Morgan Mathias, the young man shown in the photograph, was later killed in the First World War. Three generations of a Cilgerran family. The Band of the Cardigan Volunteer Corps waiting at Cilgerran station to welcome Lt. Colby of Ffynone home from the Boer War, c.1902 Onnen-deg, Llechryd. The number of photographs of houses in the collection suggest that there was a lucrative market for them. This is Fernhill, Llechryd. The Band of the Cardigan Volunteer Corps marching down Cilgerran High Street 1902, accompanied by members of the Cardigan Naval Reserve. Cilgerran High Street, taken in 1905 Skating on the old canal connecting the river Teifi and the now abandoned Castle Malgwyn tinworks. Villagers skating on the frozen Teifi during the cold winter of 1891 Cilgerran High Street, taken in 1910 ...These photographs of momen in 'traditional' Welsh costume possibly illustrate Tom Mathias's attempt to break into this lucrative market. ...The most popular postcards were scenes of women knitting, going to the market or having tea... Towards the end of the nineteenth century it became fashionable to publish postcards of women in 'traditional' Welsh costume... Repairing the bridge at Glanarberth in 1912 Repairing the bridge at Pont-rhyd-y-ceirt, 1920. Johnny Michael, the conductor of Cilgerran Children's choir, can be seen standing on the left with his children, Teifryn and Tegwyn. The children of Blaen-ffos School, 1915. The patriotic garb suggests that the photograph was taken on St. David's Day. The title of the Welsh national anthem 'Land of my Fathers', is written on the blackboard in the window. The ladies of Llwyn Adda Chapel Sunday School sporting their 'Welsh costumes' Cilgerran Children's Choir with conductor Johnny Michael A Sunday School class at Glanolmarch House, Llechryd, with the owner, Mrs. Stephens A ladies' Sunday School class, Babell Chapel, Cilgerran, 1906 Penuel Baptist Chapel's annual Sunday School outing to Poppit Sands, 1913. A Sunday School class at Llwyn Adda Calvinistic Methodist Chapel, Llechryd. Tom Mathias (on the right) was a lifelong member of the chapel and a Sunday School teacher for many years. The other teacher is Margaret Ann Thomas Penrhiw Supply Stores, Aber-cuch, with owner W.J. Lewis, wearing the white apron. Penrhiw Arms, Aber-cuch, 1914. The landlord, David Owens, and his wife Elizabeth, can be seen standing on the steps. The building has since been demolished as part of a road widening scheme. The Newcastle Emlyn to Cardigan stagecoach outside the Tivy-side Inn, Llechryd, in 1906. Pantdŵr, Llechryd, c. 1900 Bridge House, Cilgerran, 1910. The occupant, Miss Kathryn Davies, is standing in the doorway whilst her brother sits on the parapet of the railway bridge (since demolished). Flooding on the River Teifi, Lechryd, c. 1910. The Tivy-side inn is visible in the middle of the shot. Looking across the river Teifi at Llechryd towards the Tivy-side Inn. The inn, or 'tavarn' has long since closed. A number of the photographs in the collection feature local views and record important or unusual events in the district. The new footbridge at Aber-cuch, 1908 Constructing a new footbridge across the River Teifi at Aber-cuch, 1908 Miss Rita Morgan Richardson fencing with her brother whilst Dr. Stephens, Glanolmarch, looks on. Miss Rita Morgan Richardson, Rhos-y-gilwen, Cilgerran with her German governess and exotic dogs The Lewis-Bowen family of Clyn-fiw, Boncath Mrs Lewis-Bowen, Clyn-fiw, Boncath (on the right), with her children, Dorothea and William, and the family's nurse and governess. The young girl on the left is Rita Morgan Richardson The Rhos-y-gilwen herd proudly displayed in front of the house. C. E. G. Morgan Richardson of Rhos-y-gilwen, standing amongst his prize herd of Shorthorn cattle Mrs Morgan Richardson outside Noyaddwilym, Llechryd. The family later moved or Rhos-y-gilwen A coachman with an 'unusual' passenger outside Castle Malgwyn, presumably at Halloween The wedding of Miss Grace Gower of Castle Malgwyn, and Staff Surgeon Gill R. N. at St. Llawddog Church, Cilgerran, 8 August 1907 Lodge, Castle Malgwyn Castle Malgwyn, Llechryd, home of the Gower family. The house is now a hotel Thomas Daniel posing with his bicycle Thomas Daniel, the gardener at Glanolmarch, Llechryd, with a crop of onions. An unidentified group of domestic servants. The area known as Tivyside, i.e. the Teifi valley between Llandysul and the sea at Cardigan, a distance of less than twenty miles, was famous for its gentry houses. The local gentry families were regular patrons of Tom Mathias. The Tivyside Hunt was the focus of the gentry's social life. The hunt, one of the oldest in Wales, is seen here with the master, Spence Colby of Ffynone. Miss Rita Morgan Richardson, Rhos-y-gilwen, Cilgerran The staff at Clyn-fiw, 1906 An unidentified gamekeeper with his family Pentre, Boncath, 1910 The Coedmore staff in their uniforms. Note how many display the tools of their trade In their heyday the gentry houses provided employment for large numbers of people. This is the staff of the Coedmore estate taken in 1909 The domestic servants in the kitchen courtyard at Coedmore. The area known as Tivyside, i.e. the Teifi valley between Llandysul and the sea at Cardigan, a distance of less than twenty miles, was famous for its gentry houses. The local gentry families were regular patrons of Tom Mathias. A Fowler traction engine on hire to the army from the local agricultural contractor, Dan Lladd of Clunderwen (right) A hay press (an early form of baler) in use. The bound 'bales' can be seen in the background. The original machine found its way into the collection of vintage machinery enthusiast, Geler Jones of Cardigan. His collection has since been purchased by the National Trust for display at its property in Llannerch Aeron. James Evans using a side-rake at Castle Malgwyn Home Farm, Llechryd. Parcyneithw Farm. Mr. Griffith Davies standing in the yard with his wife, seven daughters - Sarah, Margaret, Edith, Ellen, Elizabeth, May and Catherine - their son, Ifan (right) and servant, Alfred. This ingenious manually-operated hay-turning machine was invented by local farmer, Arthur John Davies, Penwenallt. The prototype was made for him by the village blacksmith, but a Dublin firm began manufacturing the machine commercially before Davies could take out a patent. One of the first tractors and corn binders in the district in use at Castle Malgwyn Home Farm The hay harvest was a time when neighbouring farmers combined together to bring in the crop. Often very large numbers of people came together and it was an important social occasion, as this photograph shows. A haymaking scene at Aberdyfan, c.1910. A large number of people were required for the harvest even on a small holding like Aberdyfan. Note the use of a pitching pole to lift the hay from the carts onto the stack. Tractor in military use. Soldiers at work bailing hay. It is probably that they are members of a 'Foraging Company' who travelled the country during the Great War obtaining fodder for military horses. The variety of cap badges show that they were drawn from several regiments. It is possible that they might also be conscientious objectors who had been assigned to non-combat duties.
