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.
The industrial legacy of David Davies 29 July 2007 David Davies (1818-1890) This image shows him in a rare moment of repose. Private collection (Lord Davies) The completed Talerddig cutting, the deepest in the world at that time. Private Collection (Lord Davies) No.1 dock in 1913, when Barry docks exported 11m tons of coal. What appears to be a solid level surface in the right foreground of this scene in is fact water — thick with coal dust. David Davies of Llandinam The gifts and bequests of Gwendoline and Margaret Davies completely transformed the range and quality of Wales's national art collection. The sisters were the granddaughters of David Davies of Llandinam, one of the great entrepreneurs of 19th–century Wales. Gwendoline and Margaret Davies were the granddaughters of David Davies of Llandinam, one of the great entrepreneurs of 19th–century Wales. David Davies started in life as a tenant farmer and sawyer. He made his fortune during the industrialisation of Victorian Wales. He built much of the railway system in mid-Wales, became a pioneer of the coal industry in the Rhondda valley and was the driving force behind the construction of Barry dock in south Wales. Railways Starting with the construction of the Newtown & Llanidloes Railway in 1859, he became involved in the construction of a number of railways in mid-Wales, the Vale of Clwyd and Pembrokeshire. His greatest achievement as a railway engineer was the great Talerddig cutting on the Newtown & Machynlleth Railway, completed in 1862 and the deepest in the world at that time. Not all the ventures in which Davies was involved succeeded — the grandly named Manchester & Milford Railway reached neither destination! Coal – 'Davies yr Ocean' 1864 marked a decisive turning point in David Davies's career when he took out a pioneering mineral lease in the south Wales valleys. It took two years before the first pits were in full production. Five more collieries were opened by 1886. In the following year they were vested in a new public limited company, the Ocean Coal Co. Ltd. At the time of Davies's death in 1890, it was the largest and most profitable coal company in south Wales. From pit to port The crowning achievement of David Davies's career was the construction of the dock at Barry, south Wales. Davies and a number of fellow Rhondda colliery owners came together to solve congestion both on the Taff Vale Railway and at Cardiff's Bute docks. They promoted the construction of a railway from the coalfield to a new dock facility at Barry, then a tiny hamlet. Despite fierce opposition from the Bute faction, the dock opened in 1889. The application of wealth David Davies was a passionate supporter of Calvinistic Methodism — a strict non-conformist faith unique to Wales and distinct from Wesleyan Methodism. Like all of Gwendoline and Margaret's family he was a life-long Sabbatarian and teetotaller. It instilled in him a profound sense of philanthropy and public service. He gave generously to religious and educational causes. Having received a very basic schooling himself, the provision of university education in Wales was a cause close to his heart. He was a staunch supporter of the first college at Aberystwyth, opened in 1872. He served as Liberal MP for Cardigan Boroughs during 1874-86 and was elected to the first Montgomeryshire County Council upon its creation in 1889. After David Davies David Davies died in 1890 and was succeeded by his son Edward, who found the stresses of running the business empire so overwhelming that he died just eight years later. He in turn was succeeded by Gwendoline and Margaret's brother David, later 1st Lord Davies, who had to contend with the depression of the inter-war years. The post-war nationalisation of the coal, dock and railway industries saw the family lose control of their vast undertaking. Today, all the Ocean pits have closed, as has much of the railway system created by David Davies, and Barry dock sees little activity.
Kidwelly Castle 4 May 2007 The conquest of Wales Kidwelly Castle is perched on a prominent ridge above the River Gwendraeth. The south gatehouse (left of image) dates to between 1390 and 1402, with major modifications undertaken between 1408 and 1422. Much of the curtain wall seen here dates from between 1270 and about 1300. Castles are perhaps the most striking legacy of the Anglo-Norman conquest of Wales, with Kidwelly Castle ranking as one of the finest. Kidwelly was built soon after King Henry I granted the Welsh lands of Cydweli to Bishop Roger of Salisbury in 1106. At first it consisted of an earthen bank and a timber palisade, with one or more gates. Inside, there would have been wooden domestic buildings and perhaps a stone-built hall. The castle was one of several established by the Normans to assert control over the kingship of Deheubarth in south-west Wales. It was situated both to control coastal traffic, and also to protect the important River Gwendraeth. Welsh princes and Norman lords Kidwelly town and castle under attack during the Glyndŵr rebellion of 1403. During the 12th century, Kidwelly was contested by Welsh princes and Norman lords, most notably in 1136 when the Welsh princess Gwenllian was killed in battle near it. Gwenllian's son, the Lord Rhys, enjoyed more success at Kidwelly, capturing and holding the castle until his death in 1197 - one of two occasions on which Kidwelly was held by the Welsh. However, for much of its history the castle remained firmly Anglo-Norman. By the early 13th century, a stone wall had replaced the outer timber defences, but it was the work of the Chaworth family towards the end of the 13th century that transformed the castle, giving it much of the form we see today. Modern castle design Early 14th-century wine jug, 25cm (9.8 inches) tall, found at Kidwelly - possibly imported directly from south-west France. Kidwelly benefited from the latest thinking in castle design. It has a concentric design with one circuit of defensive walls set within another to allow the castle to be held even if the outer wall should fall. The inner wall was also taller, allowing archers on both sets of walls to fire simultaneously - increasing their effect. In 1403 the defences of the castle were put to the test during the rebellion of Owain Glyn Dŵr. The town of Kidwelly fell to the attackers with the loss of several lives, but the castle held out through a siege that lasted until the winter. The old town, set up against the side of the castle, never recovered from the attack and, in 1444, was described as 'waste and desolate'. In its place a new town grew up on the far side of the river. In the centuries that followed, the castle's fortunes also declined and, in 1609, it was described as 'greately decayed and rynated'. From the 18th century, Kidwelly has been a popular tourist attraction, first as a picturesque ruin, and then, through the work of Cadw, as an important reminder of Wales's often turbulent history. Background Reading Kidwelly Castle by J. R. Kenyon. Published by Cadw (2002).
Celtic Art in Iron Age Wales 3 May 2007 Crescentic plaque from Llyn Cerrig Bach, Anglesey. Celtic coin from Tintern, Monmouthshire. Plaque from Tal-y-Llyn, Gwynedd, thought to date to the 1st century AD. Ox-head bucket fittings found at Little Orme, Conwy. Celtic Art Celtic art reflects the way Iron Age people interpreted the world around them. The designs they used help us understand how they viewed themselves, their environment and their gods. The Celtic art found in Wales is part of a much wider tradition in Britain and Europe, often called La Tène art, which developed during the Iron Age from about 500BC. The earliest example from Wales is the Cerrig-y-Drudion bowl which was found in 1924 in a stone-lined grave in the county of Conwy. It is one of the few decorated artefacts from Britain to date to the 4th century BC and was probably made by British craftsmen influenced by Continental traditions. Many more decorated objects are known from about 200BC, by which time Britain had developed its own distinctive style. British craftsmen continued to produce swords, daggers, spears, brooches and horse equipment, but also other objects such as tankards, mirrors and spoons. Symbolic designs Particular motifs and designs are introduced and often repeated, reinforcing their meaning. Archaeologists interpret these as symbolic and powerful with religious connotations. For example the three-fold character of the triskele (a three-legged design radiating from a centre) may represent the relationships between the living, the dead and the gods or the ongoing cycle of birth, life and death. The crescentic plaque from Llyn Cerrig Bach (pictured) is decorated with an elaborate triskele, each limb ending with a trumpet and raised circle that suggests a stylised bird head. Stylised representations of people and animals become more common after 100BC with faces often hidden within complex patterns. Human heads surrounded by a flowing plant-like design can be seen on plaques from the Tal-y-Llyn hoard while a variety of cows, horses, boars and birds adorn a wide range of other artefacts. Ox head escutcheons (bucket-fittings) have been found in Wales (pictured - the Little Orme (Conwy) hoard also contained two Roman trumpet brooches, indicating that this Celtic style continued in use after the Roman conquest), showing the stylised characteristics and flowing lines of native British artistic styles. Mythical beasts are also hinted at, for example in the imaginatively constructed horse-cow heads that ornament the Capel Garmon firedog. Celtic designs did not disappear with the Roman conquest, but continued to influence art. A bronze trulleus (saucepan) from Coygan Camp in Carmarthenshire was repaired with a sheet of metal sometime in the 3rd century AD. It was not decorated with a typical Roman design, but with a triskele motif, showing a continuing appreciation of Celtic art. Background Reading Early Celtic art in Britain and Ireland by Ruth and Vincent Megaw. Published by Shire Archaeology (1986).
