Approximately a hundred local people and visitors (only some of whom are pictured) enjoyed the Halloween Ghost and Mystery Tour of Caergwrle Castle which was organised by the Caergwrle and District Community Action Group.The tour was given by the ‘ghost’ of Prince Dafydd ap Gruffydd, Lord of Hope and the original builder of the Castle. He was also the first person in British history to be ‘hung, drawn and quartered’ for the crime of High Treason. Photograph by Charlene Harston of Caergwrle & District CAG Those present heard chilling stories of the 27 Welshmen whose heads were taken to the Castle in return for payment of one shilling each, several ghostly heads being on view as they ascended the Castle Hill. They also heard that the period of archaeological excavation unearthed bones which included those of a black rat; a discovery which provided a cue for involvement of children in a hands-on Black Death activity. However, the adults present were invited to grapple with the key mystery of one of the most enigmatic castles of Wales: how did people actually enter Caergwrle Castle in medieval times? Discussion of this issue was the backbone of GCSE History coursework for local secondary school children for a number of years. One of the suggestions made was that the main entrance was through the East Tower. The idea is supported by the absence of a defensive moat at this point and the height of the archway from the tower to the inner ward. The archway is much higher than normal for a tower doorway and suggests that it was constructed for a person on horseback. However, the presence of a fireplace, directly opposite the suggested entrance, suggests that any heat generated by the fire would be lost once the door was opened. Thus the point that now serves as the main point of entry for the Castle may or may not have been the original gateway. Another suggestion was that the main entrance was at a point between the North Tower and the buttress by the East Wall. Although there is a well-worn route across the moat nowadays, this theory involved a combination of a drawbridge and wooden footbridge to gain access to the inner ward at a point, next the well, where a small set of steps now exists. This was an idea which curried some favour before the archaeological excavations of 1988-1990, which seemed suggest a more likely possibility for the main gateway. This appeared to be a rock outcrop which had been left deliberately so as to create a confined area in front of the gateway, the weakest point of the castle. The current Castle interpretation panel includes an illustration, by Anne Robinson, of what this may have looked like at the time. The idea developed that a small defensive structure had been constructed on the mound to act as an added defence to the north of the gateway. This was believed to have been one of the modifications, made by King Edward I, in the rebuilding of the castle in 1282-83. Edward’s diggers, of whom 600 were recorded, had extended the area of the moat, leaving the rock outcrop in situ. This, it was argued, had then been connected to the northern bank of the new moat extension by a raised footbridge. The ‘barbican mound’ served to concentrate any enemy forces in a confined space so they could then be picked off by archers from the northern wall of the Castle battlements. Further entry, for friendly forces, was afforded by a drawbridge, which linked the mound to the gateway in the Castle’s northern wall. The gateway was therefore through the northern wall. However, Charles Evans-Gunther has now perceptively challenged the conventional wisdom of this theory. By drawing attention to the drawing of the Castle which was made by Samuel and Nathanial Buck in 1742, which Charles states ‘doesn’t seem to show this barbican mound.’ The illustration is interesting and does show several features of the Castle as they may well have been it 1742. The main features, which stand today, of a buttress-supported east wall, part of a north tower, part of a northern wall and even a local house, Plas yn Bwl, are clearly evident. Interpretations of what is shown immediately to the north (or to the right) of the North Wall may differ. There is a raised bank shown, but this seems to be the bank of an un-extended moat rather than the ‘barbican mound’. If we are to take the illustration at face value it suggests that the extension to the moat, which is evident today, actually occurred after 1742, and not as part of the modifications made by Edward I. The Castle itself was plundered for stone to be used for local building materials and the area to the west of the site has been quarried extensively. The current interpretation panel includes an illustration of stones being robbed from the North Wall of the Castle during the seventeenth century. One is left with the possible conclusion that the extension of the moat which created a ‘barbican mound’ was actually caused by quarrying of stone, which took place during the period after 1742. Charles Evans-Gunther has opened up a debate which adds interest to the mystery of the original location of Caergwrle’s gateway. It is, of course, possible that the main entrance to the Castle was through the North Wall, but the defensive ‘barbican mound’ seems to have received a bit of a battering. It could be that this is a mystery that may never be solved. The views expressed in this article are those of the author and do not reflect the policy of Flintshire County Council. Readers are welcome to contact the author with any news or views on the local heritage at [email protected] or by telephoning 01978 761 523.
0 Comments
This evocative photograph, taken by Delwyn Ellis, serves to remind us of the beauty of our heritage when it is cared for and protected. Caergwrle’s Packhorse Bridge is probably the oldest bridge to span the River Alyn and it is one of the finest examples of its type in Wales. However its story acts as a reminder of the need to take prompt action when required.There have probably been bridging points between Hope and Caergwrle from the earliest of times and it seems likely that this included one at the current Fellows Lane location. A bridge here was probably repaired, with timber, upon the orders of the Black Prince in 1365. It was in a dilapidated state again by 1654 when Squire Ellis Yonge, of Bryn lorcyn Manor, petitioned Flintshire Quarter Sessions to repair “Pont Caergwrley” over the River Alyn. Yonge seems to have been the driving force behind moves to construct a more robust one from stone. Although it has been repaired several times, with some alterations, the essential design of the bridge stems from this period. Packhorse bridges were generally of a narrow construction and the Caergwrle example contains two V-shaped recesses in the parapet walls for pedestrians who might meet a packhorse train whilst crossing the bridge. Writing in 1957, George Lloyd considered there to have been another two recesses in the original structure as well as an additional two cutwaters, one of either side of the bridge. (Flintshire Packhorse Bridges, Flintshire Historical Society Record Series Vol. 17.) The low parapets were intended to allow the passage of bulging packs slung on each side of mules and packhorses.Illustration by Anne Robinson for Discover Hope & Caergwrle The bridge made a seven-arched connection between Hope and Caergwrle and also served to link Chester to the Ffrith Packhorse Bridge, which crosses the River Cegidog. Relatively remote parts of North Wales, as far afield as Bala, were given direct access to the most important market centre in the region. Although the bridge was narrow, no one could accuse the Squire of skimping when it came to its length. Seven arches may seem an extravagance, the normal flow of water not appearing to merit them. However, it is now apparent that they were needed in order to take the full force of the flow during exceptional times of flooding. Perhaps the squire had witnessed periods of serious flooding and there was a degree of wisdom in his design. That foresight and wisdom has not always been present and it is clear that there have been times when the bridge has suffered through neglect. On 25th May, 1956, the Wrexham Leader carried an article drawing attention to the silting up of the seven arches and complained that even the tops of the arches were no longer visible. The article went on to argue that young trees were sprouting from the aged masonry and expressed the fear that the weakened structure of the bridge would be “damaged by heavy flood-water”. The Parish Council at the time urged the then Flintshire County Council and Dee Conservancy Council to carry out the necessary repairs but it seems insufficient was done to address the problem. Half a century later, in November of 2000, the prophetic words of the correspondent came true: the Packhorse Bridge was hit by the freak floods which wreaked havoc across Britain. The blocked arches could not cope with the torrent of rushing water and the bridge itself became a dam. By checking the river’s flow, the bridge actually forced thousands of gallons of water across the floodplain and into nearby homes.Neighbouring residents only received relief from flooding when the weakened masonry of the bridge finally gave way, releasing the surging torrent to tear into the downstream banks of the Alyn. The early warnings had not been heeded and it was left to the successor authorities to foot the bill. In summer of 2001 the Packhorse Bridge was given a new lease of life as a result of restoration work, carried out by Flintshire County Council. The estimated cost of repair was in the region of £100,000, and was split between the then Welsh Assembly and Flintshire County Council. Past experience shows that regular work is required to ensure that the Packhorse Bridge does not suffer from further structural damage. Silt accumulates under the archways, trees sprout from the masonry and the mortar in the stonework continues to need attention. It has been necessary for Flintshire County Council to take remedial action of a number of occasions since 2001, most notably in January 2009 following the collapse of an arch in 2008. Once again the cost was borne jointly by Flintshire County Council and the Welsh Assembly, the latter contributing the sum of £43,966. The Packhorse Bridge before restoration work in July 2015 By late July of 2015 it was apparent trees were sprouting from the walls once again. In addition, the deterioration of the parapet stonework was so bad in some places that the bridge was an easy target for vandalism. Flintshire County Council was made aware of the situation; work on the Packhorse Bridge was already on the list. On the evening of 24th one of the coping stones was removed and thrown into the river. A further stone was removed on 27th: Caergwrle’s heritage was under attack and this time it was from those who should have known better. It has to be acknowledged that Flintshire County Council tackled the job at breakneck speed, turning what might have been perceived as a threat into an opportunity for improvement. An inspection was carried out by Streetscene on 28th. A team was on the job on 29th and by 30th the Packhorse Bridge was looking better than it had looked within the living memory of many residents. The Streetscene team recovered the missing stones from the River Alyn and put them back into place. They removed rooted trees that were causing structural damage and took a large amount of weed and silt from beneath the blocked archways. They completely exposed an archway that had virtually disappeared and opened up another channel for the river to prevent further damage by flooding. Six of the seven original archways are now open for floodwater to pass through.Flintshire’s swift action has been greatly welcomed. If the area is hit by freak flooding again every effort has been made to avoid damage to the bridge. The team involved deserve to be commended. Recent experiences do, of course, provoke several questions. Are there ways by which we, as a community, can work to preserve important parts of our heritage? Can we engage young people in ways which generate respect for monuments like the Packhorse Bridge and Caergwrle Castle? How will these monuments be managed during a period of severe austerity given the apparent expense involved? To what extent can the community itself act so that future generations can enjoy our heritage? The views expressed in this article are those of the author and do not reflect the policy of Flintshire County Council. Readers are welcome to contact the author with any news or views on the local heritage at [email protected] or by telephoning 01978 761 523. I have recently had the privilege to accompany 42 students and four staff from Castell Alun High School on a three-day Battlefields Tour to Ypres and the Somme. I am indebted to Mr David Goodchild, Humanities Learning Manager, who made excellent arrangements for the tour and to Mrs Meryl Jones, Miss Carys Parry and Mr Jonathan Roberts for an experience that will remain with me forever. The tour also highlighted the value of the work done by http://www.flintshirewarmemorials.com/ and those from the Parish of Hope, who have researched our fallen servicemen. We laid wreaths for those, who fell at Ypres, but whose bodies have not been identified. The School took part in the Last Post Ceremony at the Menin Gate. Connie Jones (9M), Nia Shone (8R) and Alex Moutrie (9M) laid a wreath in memory of all who fell. I was accompanied by Lucy Randles (8N) and Jamie Jones (9T) from Caergwrle Ward and laid a wreath in memory of Private John Edward Speed and Acting Sergeant Robert Owen Rowlands, both of whom were from the Parish of Hope and are remembered on panel 22 of the Menin Gate. Thanks to the work of Gill Roberts we were able to learn more about the lives of these soldiers and identify more fully with the loss borne by our community at the time. http://www.flintshirewarmemorials.com/memorials/22549-2/hope-soldiers/rowlands-robert-owen/ The Menin Gate records the names of 54,896 Commonwealth soldiers who went missing at Ypres. At Tyne Cot Cemetery we found Private Geoffrey Trevor-Roper was named on one of the many panels there that remember another 35,000 officers and men who fell at Ypres and whose bodies were never identified. The Menin Gate was not big enough for all those who went missing and there are separate memorials for soldiers from New Zealand and Newfoundland. Viv and Eifion Williams have researched the Trevor-Roper brothers as they are named on the Mold Urban Memorial as well as those within the Parish of Hope. They were the family associated with Plas Teg and their case shows that losses were also felt by well-to-do members of the local community. In this case two brothers died at Ypres within a fortnight of each other. The son of Captain Charles Cadwaladr Trevor-Roper was the famous Dam Buster, Richard Trevor-Roper, who is named on our Second World War memorials. http://www.flintshirewarmemorials.com/memorials/mold-memorial-2/mold-soldiers/geoffrey-trevor-roper/ At Mametz Wood we were moved by the sight of the Welsh Dragon clutching barbed wire, the symbolism of the bravery of Welsh soldiers leaving us with lumps in our throats. We remembered Corporal William Frederick Maddock who worked at the Red Lion as a brewer’s clerk. His battalion fought here in one of the most iconic battles involving Welsh soldiers and he died on 9th July 1916. Andrew Moss has enabled us to establish a local ink with this memorial: http://www.flintshirewarmemorials.com/memorials/22549-2/hope-soldiers/maddock-william-frederick/ At the Thiepval Memorial to the Missing of the Somme we found the memorial itself to be undergoing renovation and we could not look for the names of those who are remembered there. Corporal William Frederick Maddock, is listed here. We also remembered Lance Corporal Edward Thomas Roberts, the butcher’s errand boy who served as a messenger between trenches on the Somme. His family lived in the Gwalia in Caergwrle and the loss was so great that his mother was reluctant to accept it. The word ‘missing’ is engraved beneath his name on the memorial in Hope Church. We are indebted to Andrew Moss for his research:http://www.flintshirewarmemorials.com/memorials/22549-2/hope-soldiers/roberts-edward-thomas/ Our tour also took in several other sites of great interest. At Musee Somme 1916 in Albert we explored a 230 metre long tunnel gallery which was filled with cases of World War One memorabilia and reconstructions of aspects of trench life. We also visited Lochnagar Crater Memorial, where we saw what has been described as ‘the largest crater ever made by man in anger.’ It was created as a result of mines being planted at the end of a tunnels constructed by Tunnelling Companies of the Royal Engineers in order to blow up German positions. Many parts of this area are strictly out-of-bounds because of the amount of live ammunition which is found. Farmers still uncover the remains of soldiers who died here. We found poppies, the flower associated with those who fell in World War One, to be particularly prolific in the fields in this area. At Sanctuary Wood Museum we were able to experience something of the conditions of the trenches ourselves although we had to wear wellingtons or boots which we had brought for the occasion. We found British and Commonwealth cemeteries to be well maintained and set out in ways which showed real respect for those who lost their lives. There was a sharp contrast between the Canadian Beaumont-Hamel Newfoundland memorial site and the German cemeteries of Fricourt and Langemark, which had mass and multiple graves for soldiers. Our last day concluded with visit to a further two iconic Welsh memorials. We visited Artillery Wood and saw the grave of Private E. H. Evans, also known as Hedd Wyn. He was the Welsh language poet who was killed at Passchendaele in 1917 and posthumously awarded the bard’s chair at the National Eisteddfod, held that year. The other iconic Welsh memorial was that of the Welsh dragon which stands on a cromlech near Ypres where soldiers from Wales fought on the first day of the Battle of Passchendaele. It remembers all those of Welsh descent who took part in the Great War.The whole visit was an incredibly moving experience, enhanced by the good company of friends on the staff and the excellent students who took part. The views expressed in this article are those of the author and do not reflect the policy of Flintshire County Council. Readers are welcome to contact the author with any news or views on the local heritage at [email protected] or by telephoning 01978 761 523. It is pleasing to see that much-loved feature of Our Heritage, the Hope, Caergwrle and Abermorddu Carnival is now firmly re-established as a permanent event. Credit must go to those on the committee, under the Chair of Cllr Lynn Davies, who have laboured hard to bring us this event once again. For 2015 the Carnival Queen will be Esther Rhodes-Leader. The Ladies-in-Waiting will be Eloise Williams and Holly Cropper and the Hope Rose Queen will be Alesha Williams. This article takes the opportunity to publicise the programme for the day: The Carnival has an appeal to residents and visitors of all ages and contributes greatly to a sense of community cohesion. Everyone will have their own favourite aspects of the Carnival. One of the features which I personally welcome is the way in which it keeps alive some of the features of our village traditions. Do join us in welcoming the return of the Old King and Queen by the River Alyn at Bridgend around 7pm on Friday 3rd. Rumour has it that the event is going to be something of a ‘hoot’ this year. The Carnival will also be keeping alive features of re-enactment which formed a distinctive part of Our Heritage during the period of the Caergwrle Historical Festivals. Paul Harston will be marching the Roman group Deva Victrix on to the field. At the time of writing the community awaits further news of Paul’s exciting Park in the Past Project with baited breath. Photograph by Keith Bell
This year the established groups will be joined by Historia Normannis, a 12th century group which focuses on the period of events between the reign of Henry I and King John. This group was featured on TV’s “Weekend Warriors” and are very popular locally at Whittington Castle.Members of Historia Normannis at Whittington Castle The views expressed in this article are those of the author and do not reflect the policy of Flintshire County Council. Readers are welcome to contact the author with any news or views on the local heritage at [email protected] or by telephoning 01978 761 523. June 2015 They came, they saw and they conquered Fagl Lane Quarry There was a tremendous sense of both relief and achievement on the face of Cellan Harston as he arrived at the site of Fagl Lane Quarry with 20 other Roman re-enactors who had undergone the sponsored 10-mile march from Chester to raise funds for The Parc in the Past Project. Roman re-enactors had travelled from London, Devon, Hadrian’s Wall and the Midlands to take part in the tremendous feat. The Parc in the Past Project is expected to include a re-constructed Roman fort and Iron Age village. As a glimmer of light appears at the end of what has been a long and challenging tunnel, this month’s article celebrates a fantastic achievement: the Romans came, saw and conquered what, at times, seemed to be an unobtainable objective. Thanks should also go to those who walked with the soldiers, keeping them safe from the traffic and collecting donations along the way. Phil and Jan Bradshaw of the White Lion were good enough to host an exhibition on the Parc in the Past Project at very short notice. Members of the public were briefed on what the project hopes to achieve by directors Amanda Brewer and Robin Brown.
The actual fort building, which will draw on the lessons of the previous season, is scheduled to take place in 2016. It is hoped that a Celtic Iron Age village will also be constructed so that the contrast between the two forms of settlement can be seen.(Photograph by Keith Bell) This, of course, is only one aspect of the Parc in the Past Project which also aims to make an innovative contribution to biodiversity by seeking to enhance the site in ways which will see the return of species which the site has lost. The quarry used to be the best site in Clwyd for nesting sand martins. It used to be a breeding ground for little ringed plover. It was pleasing to see these two species receive specific mention as target species in the exhibition which was on display in the White Lion Pub. More ambitious plans include the planting of black poplar trees. Where these exist elsewhere in parts of England they have sometimes been associated with the extremely rare and exotic golden oriole. As the list of what may be achieved goes on we see that we are really planning for the future and talking about developments that will really be of benefit to our grandchildren and their grandchildren. Meanwhile it is understood that Flintshire Countryside Services are working on a plan to link the Offa’s Dyke National Trail to the start of the Wales Coastal Path and to have a link which goes through Caergwrle, where separate developments are likely to give rise to a raising of the heritage profile of the village. Friends of Hope Church have their own plans for a new trail of the Church and the National Trust is believed to be interested in the future of Plas Teg. In time it is possible that the Hope, Caergwrle and Abermorddu area will see and benefit in part of the renaissance of interest in tourism in Wales, which currently brings in £1.7 billion as a result of receiving 10 million visitors from other parts of Britain.The views expressed in this article are those of the author and do not reflect the policy of Flintshire County Council. Readers are welcome to contact the author with any news or views on the local heritage at [email protected] or by telephoning 01978 761 523. In 1953 restoration work in Hope Parish Church revealed remains of mural paintings on the plastered walls. Part of a wall painting of Saint Christopher, dated to the early 16th century, was exposed on the short south wall between the tower arch and the western respond of the arcade. Today only fragments of this fresco remain in a case. How can we be sure that these fragments do represent St. Christopher and why was he of such importance? We can be fairly certain that the identification is correct. St Christopher is one of the few subjects that occur regularly in medieval wall paintings in churches. E. Clive Rouse, in Medieval Wall Paintings states: St. Christopher is almost always found near or over a doorway or on a length of wall opposite the main entrance. Images of the saint were often repainted, especially when a church underwent structural alterations or the entrance changed. Being able to see the image of St. Christopher, as soon as a person entered the church, seems to have been very important in medieval times. Indeed, St Christopher is of continuing importance; medallions, key-rings and other souvenirs are usually part of the standard merchandise sold at religious sites today. Hope Parish Church may have provided host to several different versions of the image as the church underwent structural change itself. Golden Legend of c1260 The legend of St Christopher is the starting point in understanding the importance of the saint in medieval times his continuing appeal. Although there are early Greek, Latin and earlier medieval versions of the legend, artists almost certainly based their interpretation on that in the Golden Legend, which was compiled in about 1260. According to this legend Christopher was a very tall pagan giant, by the name of Reprobus. He was eager to serve the greatest prince on earth but found his chosen masters to have failings. Even the Devil himself had been struck with terror when he saw the image of a cross. Intrigued by this the giant went in search of the Lord who had the power to do this. A hermit told him that he would find Christ if he served Him by carrying travellers across a river. Reprobus set about doing this and one day a child asked to be carried across to the other shore. The giant took the child up in his arms and strode into the water. However, as he did so the child became heavier and heavier and the water more treacherous and difficult to cross. He was only just able to reach the other shore. When he got there Reprobus asked the child why he was so heavy and the child answered ‘Wonder not, Christopher for not only hast thou borne the whole world upon thy shoulders, but Him who created the world.’ From that moment on the giant was known as Christopher or ‘child-bearer.’ Christ is said to have demonstrated His powers by telling Christopher that if he thrust his staff into the ground it would bear fruit. Christopher is said to have done this and the staff produced leaves and fruit like a palm tree. Christopher then went on to proclaim Christ for the rest of his life. The Llanynys Wall Painting The best surviving medieval wall-painting of St. Christopher in north Wales is to be seen in the church of Llanynys in Denbighshire. However, for our purposes it is convenient to view a modern artist’s version of that painting, which may be seen in St. Asaph Cathedral. This shows the saint carrying the young Christ on his shoulders. The deep water is suggested by cliffs either side of the river. Fish swirl round Christopher’s feet in the turbulent water. Even the hermit is seen holding a lamp to guide the way to safety. The staff, which Saint Christopher is using to steady himself, is already sprouting the leaves that are referred to in the legend. ‘Once his image had been seen it provided protection’ St. Christopher has generally been taken to be the patron saint of travellers but he was much more than that to ordinary people in medieval times. It was Christopher, rather than Joseph, who assumed the role of the paternal protector of Christ and he was also adopted as the protector of humanity in general. Once his image had been seen it provided protection, for that day, against someone dying without having undergone confession and receiving a final communion. At Woodeaton (Oxon) a fourteenth century wall painting of the saint is accompanied by a Norman-French text, the translation of which reads: ‘He who sees this image shall not die an ill death this day.’ In addition, seeing the image of St. Christopher also provided protection against fatigue, misadventure and disease. The fragmentary Latin inscription above the Westminster Abbey image has been translated as: ‘Whoever sees Saint Christopher this day will not be laden with tiredness.’ Indeed, the earliest known reference to a Saint Christopher wall painting is an instruction from Henry III, in 1240, when he ordered ‘an image of St Christopher holding and carrying Jesus is to be made and painted where it may best and suitably be placed’ in the Chapel of Saint Peter ad Vincula in the Tower of London. St. Christopher wall paintings provide an insight into the medieval mind. At a time when people did not have rational and scientific explanations for the disasters and diseases which befell them the teachings of the Church assumed great importance. Evidence suggests that there was a widespread belief that it was essential for the image of St Christopher to be painted in a prominent position in parish churches. We can therefore be virtually certain that the Hope fragment of wall painting does show St Christopher, as has been suggested. For those readers who wish to pursue this topic in greater detail there is a doctrinal dissertation on the topic St Christopher Wall paintings in English and Welsh Churches c1250-c1500 by Eleanor Elizabeth Pridgeon at https://lra.le.ac.uk/bitstream/2381/7964/1/2010pridgeoneephd.pdf Readers are welcome to contact the author with any news or views on the local heritage at [email protected] or by telephoning 01978 761 523. |
AuthorDave Healey Archives
December 2020
Categories |