Wales's smallest post office at St Fagans

In 1992 Wales's smallest post office was delivered to Amgueddfa Cymru. Thanks to the generosity of Post Office Counters Ltd, who financed the project, the small brick building was dismantled, transported and then re-built at St Fagans National Museum of History by the Museum's specialist re-erected buildings team.

Village post offices have played an important role in community life throughout Wales for the past 90 years. By the 1950s, virtually every village had its own branch, from which mail was distributed, parcels were collected and people gathered to catch up on all the local news. The country postman/postwoman on their bicycle, and later, in the red-painted Morris Minor or Fordson van, helped to keep people in rural communities in touch with one another by maintaining links and regular contact.

Wales's smallest post office at Blaenwaun, Carmarthenshire

Wales's smallest post office at Blaenwaun, Carmarthenshire

Blaenwaen Post Office at St Fagans National Museum of History

Blaenwaun Post Office at St Fagans National Museum of History

The Country Post Office

Of course, country post offices were very rarely housed in the impressive buildings of those found in towns. They usually occupied a corner of the village store or the front room of a house. Sometimes these post offices sold a range of items, but some relied on the sale of stamps, postal orders, licences and savings certificates as their only means of income.

Blaenwaun Post Office, located about eight miles north of Whitland in Dyfed, was one such business. It was built in 1936 by Evan Isaac, a stonemason and his cousin David Williams, a carpenter. The Post Office was run by Mrs Hannah Beatrice Griffiths (nee Isaac), Evan Isaac's daughter, who also ran the pub across the road, the Lamb Inn, with her husband.

Mail was brought daily from Whitland and was sorted at the Post Office on a low bench in the back room. It was delivered to the local community by Mrs Griffiths, who completed the eight-mile round journey on her bicycle before going across the road to work in the Inn. Any customers who arrived at the Post Office when the Griffithses were working in the public house could press a button which rang a bell behind the bar.

The Post Office, which measured just 5m long by 2.9m wide, comprised of two rooms: an outer serving room with a counter and an inner office or sorting room with a small fireplace and a bench under the window. A timber partition wall separated the two rooms. The internal walls were painted chocolate brown to a height of about a metre above the floor then cream to the ceiling, with a broad black band between the two.

A painted sign made of heavy tin sheet on a wooden board was fixed outside above the serving room window. It read BLAENWAUN POST OFFICE. A small post box was mounted against the wall between this window and the entrance door.

In the early days, there was a telephone on the counter for the use of the Post Office and, one assumes, the villagers. Later, a public kiosk was erected outside the small building. In the office was a War Department Receiver for receiving urgent messages in times of emergency.

Following Mr Griffiths' death in the early 1960s, the business was relocated to a new bungalow built by his daughter, Mrs Evanna James. The old Post Office stood empty from that time until it was offered to Amgueddfa Cymru in 1991.

It can be visited today at St Fagans National Museum of History in the 'village' section of the open-air museum, near the bakery and the tailor's shop. It has been refurbished to its war-time appearance, and represents a period of Welsh history not covered in any of the Museum's other buildings.

Tour of San Francisco Museums

As part of our Museums and the Web conference, Chris and I had a tour of some of the museums of San Francisco. We visited the SF MoMA (Museum of Modern Art), the de Young Museum, and the Exploratorium.

The SF MoMA had a concept similar to Oriel 1's (St Fagans' new Belonging exhibition) 'Read and Reveal' - these were called 'Learning Lounges', which included computer workstations (with a custom made user interface to access all online materials), books, and graphics on the walls and panels. Both Chris and myself liked the design of the Flash-based user interface.

At the de Young Museum we had a chance to try out their PDA based tour developed by Antenna Audio. The interface was robust and easy to use. They also showed their digital signage system - which was a Flash display accessing the Museum's web-based CMS (Content Management System).

Then finally we went to the Exploratorium, which was similar to Techniquest - but they had an array of web feeds and microsites within their massive 17,000 page (I think!) web site. 

The conference continues tomorrow with pre-conference workshops, and we are attending the blogging workshop presented by staff from the Walker Art Center, in Minneapolis which we are visiting next week.

Welsh Folk Dancing - Almost lost without trace

Parti'r Gest, competitors in the 1955 National Eisteddfod
Parti'r Gest

, competitors in the 1955 National Eisteddfod

Singing to the Harp

'Singing to the Harp and Dancing': Peter Roberts, The Cambrian Popular Antiquities of Wales (London, 1815)

The tradition of Welsh folk dancing was almost wiped out a hundred years ago following years of disapproval by the Nonconformist faith. Today it enjoys a popular following once again, with over 20 groups nationwide and many youngsters enthusiastically taking up what nearly became a forgotten art.

Folk Dancing in Wales

Once, folk dancing was common throughout Wales. ‘Common folk’ gathered for open-air events and festivals, whilst the upper classes danced at balls and parties. Country dancing, performed outdoors during the warm summer months, was one of the highlights of seasonal festivities, providing a rare opportunity to escape daily routines and join in communal celebration.

Increasing influence by Nonconformists in the 19th century caused attitudes towards traditional folk customs, including dance, to alter. Although not entirely responsible for the decline of Welsh folk dancing it certainly played a major role. Other factors were the decline of rural life during the Industrial Revolution and the advent of railway travel offering exciting new leisure activities further afield.

The Nonconformists

Emerging in Wales during the 1730s, Nonconformity gradually persuaded its followers to lead a more religious way of life, committed to the Christian message. Activities such as dancing, particularly mixed dancing involving close contact, were considered frivolous and corrupt and were condemned by Nonconformist ministers. Small wonder, therefore, that dancing topped a list of twelve sins compiled by Rhys Prydderch in Gemmeu Doethineb [Gems of Wisdom] (1714), ahead of other ‘depravities’ including marrying children.

As a result of almost 200 years of constant Nonconformist disapproval, by the 20th century folk dancing had almost vanished in Wales. Gone were the traditional fairs and festivals, and in a changing society focused on industrial expansion the rural traditions of Wales and England were slowly being lost.

Folk Dancing almost gone for good

Realising that folk dances were about to disappear without trace, Cecil Sharp (founder of the English Folk Dance Society in 1911) urgently began writing down the movements of dances still remembered and passed from one generation to another.

In Wales, Lois Blake, an Englishwoman who moved to Denbighshire in the 1930s did the same, and almost single-handedly rescued the remaining fragments of a once common Welsh tradition. Many instructive pamphlets were produced containing dance steps and music, allowing long-forgotten dances, such as the Lord of Caernarvon's Jig of 1652, the Llangadfan set of 1790 and the Llanover Reel, popular at Llanover Court until the late 19th century, to be at last unearthed and reprinted.

Folk Dancing Revival

Soon a new enthusiasm, strengthened by the introduction of folk dance onto the National Eisteddfod stage, and the local Twmpaths (barn dances) of the 1960s and ’70s, secured a firm foundation for the future of Welsh folk dancing.

Since the Welsh Folk Dancing Society was established in 1949, folk dancing has enjoyed tremendous success both at home and abroad. Regular workshops, lectures and courses arranged by the society are always well attended, while dance events at the Eisteddfod continue to attract large audiences. Considering its unsettled past, Welsh folk dancing now seems to have a strong and promising future.

200 Years of Industrial Innovation at Ebbw Vale

Abersychan Ironworks, 1866, run by the Ebbw Vale Co., 1852-83

Abersychan Ironworks, 1866, run by the Ebbw Vale Co., 1852-83

Ebbw Vale blast furnaces, about 1900

Ebbw Vale blast furnaces, about 1900

Blast furnace Taphole, 1907

Blast furnace Taphole, 1907

Steel works roughing mill, 1907

Steel works roughing mill, 1907

The Ebbw Vale Steel, Iron & Coal Company

In the mid-19th century the Ebbw Vale Steel, Iron & Coal Company was one of the largest iron producers in South Wales and was of international importance, not only in terms of size, but also for technical innovation.

100 years later, the works were the first in Britain to introduce American-style steel and tinplate production techniques and before the closure of the site at the turn of the millennium it was the largest producer of tinplate in Britain.

1790, the first Blast Furnace

Industry at Ebbw Vale extends back to 1790 when the first blast furnace was established. From 1796 to 1844 it was owned by the Harford family who built it into a successful concern. It supplied rails for the Stockton & Darlington Railway in 1829.

At the same time, the company began experimenting with the use of locomotives, one of the first of the South Wales ironworks to do so. In 1848 the Ebbw Vale Company was formed and the works went from strength to strength, absorbing four other ironworks at Abersychan, Sirhowy and Pontypool.

The first steel works in Britain

The company experimented in changing over from wrought iron to steel in 1854, installing one of the first steel plants in Britain in 1866.

The works declined in the 1870s and 1880s due to poor management, but the rapid expansion of the export coal trade kept the company afloat and saved the works from closure.

20th Century revival

The iron and steel works was revived in the early 20th century which, combined with a booming market for Welsh steam coal, helped make the company the largest integrated iron and coal company in Wales.

Closure and hardship

By the early 1920s it was employing no fewer than 34,000 men. The company was increasing its debts to finance its expansion at a time when the steel and coal industries declined sharply. This ultimately led to the works' closure in 1929 and its collieries being sold off.

Revival and expansion with Tinplate

The great hardship and unemployment in the town caused the Government to site Britain's first steel stripmill at Ebbw Vale and the works were rebuilt in 1936-38 under the ownership of Richard Thomas & Company, Britain's largest tinplate manufacturer.

The new works received a further boost in 1947 when Europe's first electrolytic tinplating line was installed.

Largest tinplate producer on Britain

Re organization in the steel industry following nationalisation in 1967 led to a run-down of steel making at Ebbw Vale, and the steel plant closed in 1978. Subsequently the works concentrated on tinplating and galvanising, becoming the largest tinplate producer in Britain. These works closed in 2002, ending over 200 years of industrial innovation at Ebbw Vale.

The Undy Roman coffin

The Undy Coffin during excavation in 1996. The coffin was donated to Amgueddfa Cymru by David Mclean Homes Ltd.

The Undy Coffin during excavation in 1996. The coffin was donated to Amgueddfa Cymru by David Mclean Homes Ltd.

The Undy Coffin being raised for transportation.

The Undy Coffin being raised for transportation.

Inside surface of the coffin showing the tool marks of a pick and mason's point. Image © G. Lock.

Inside surface of the coffin showing the tool marks of a pick and mason's point. Image © G. Lock.

The Undy Coffin.

The Undy Coffin.

In the 3rd or 4th century AD a young woman was buried in a stone coffin at Undy, Monmouthshire. 1600 years later her grave was rediscovered.

In 1996 workmen unearthed a coffin while digging foundations for new houses at Undy, Monmouthshire. Following their discovery the site was investigated by archaeologists, but it remains uncertain whether this was a lone burial of part of a small cemetery.

The coffin contained the skeleton of a young, right handed, adult, probably female, aged between 25 and 34 years old. The cause of her death is unknown, but radiocarbon dating revealed she was buried in the late 3rd or 4th century AD - when the Romans occupied Wales.

Although no grave goods were found, her burial suggests that she was a relatively wealthy woman, someone who could afford a stone coffin and a proper burial.

Burial rather than cremation

Burial in this manner had not always been the norm in Roman society. Until the late 2nd century AD most people were cremated; their ashes often being buried in a glass or pottery vessel. However from this time burial traditions began to change. New ideas about the afterlife required that the body be buried 'intact'. These ideas were due to influences from the eastern part of the Empire, including the rise of Christianity, with belief in bodily resurrection.

The coffin was an optional feature. The poor might be buried in a grave without a coffin. Coffins were produced in a range of materials including wood, lead and stone.

The Undy Coffin is made of Bath Stone, a light creamy coloured limestone which is soft and easily worked when first quarried, but hardens on exposure to the air. This stone is found in the region around the spa town of Bath, England (known to the Romans as Aquae Sulis, which translates as "The Waters of Sulis"). This area is some 20 miles (35km) south-east of Undy.

The Roman stonemasons who made it used a very similar range of tools to their modern counterparts. The surface of the Undy coffin preserves these toolmarks, including those made by adze-hammers, chisels, picks and masons points. The direction of the toolmarks indicates that the mason was left-handed.

Background Reading

"Tools and Techniques of the Roman Stonemason in Britain" by T. F. C. Blagg. In Brittania, vol. 7, p152-72 (1976).

"Stone Coffins of Gloucestershire" by R. N. Willmore. In Transactions of the Bristol and Gloucester Archaeological Society, vol. 61, p135-77 (1939).