Dafydd ap Gwilym’s Kestrel

by The Curious Scribbler

There is a celebrated yew at Strata Florida.  It is certainly old, and by tradition is deemed to be the yew under which the fourteenth century poet Dafydd ap Gwilym is buried.    Its status was marked by a painted stone bearing  his dates which lay in the undergrowth at its foot, and was then further established with an inscribed slab installed by the Honorable Society of Cymmrodorion in 1951.  To further advertising the poet they at the same time installed an even larger inscribed slab within the adjoining abbey ruins.    Walking through the footings  of the north transept one cannot miss the huge commemorative slate rectangle, like an outsized gravestone, officiously engraved in Welsh and Latin,  which is affixed to the wall by iron cramps.

Current scholarship is a little less emphatic. The excellent little book, The Poetry of Strata Florida, by Dafydd Johnston examines the evidence and exposes the assertion to a measure of doubt.  The antiquary John Leland writing in 1540 stated that there were 39 vast yews in the cemetery, while by 1874 there were only three.  Statistically, Dafydd ap Gwilym could have been under any one of these trees!

Johnston further points out that he may not be buried there at all.  A substantial strand of evidence for the grave under the tree has been a poem by ap Gwilym’s contemporary poet Gruffud Gryg.  The poem is addressed to the yew tree above Dafydd ap Gwilym’s grave.  However I now learn that writing marwnadau ffug  – mock elegies –  was a popular pastime for fourteenth century poets.  There are several known instances of pairs of poets writing reciprocal elegies for one another – obviously at least one in each of these pairs must have been alive at the time, and possibly both were.  These elegies were complimentary, as were the praise poems which poets composed about the homes of the the princes and landowners they visited.

Dafydd ap Gwilym was a native of Llanbadarn Fawr and may have learnt to write at the abbey scriptorium.  He was not just a professional sycophant turning out eulogies about broad acres, fat cows, and fine houses.  Much of his work celebrates nature, love and indeed lust.  He sounds like a cheerful chap, addressing his love poems to Dyddgu  or Morfudd or indeed improper suggestions to the Cistercian nuns of Llanllugan in Montgomeryshire.  He depicts woodland as a church and bird as clergy, or holly as a lover’s bower.

So irrespective of the exact truth it seems very apposite that he should have a tree as his memorial.  When I visited it today,  the silence of this deeply rural spot was only broken by a party of screaming swifts  flying low over the ruins and the intermittent  clamour of baby birds from the top of the yew.   I discovered that  pair of kestrels have chosen to rear their nestlings in the top of Dafydd ap Gwilym’s tree.   This is surprising, for kestrels barely build a nest and typically nest in crags or old buildings.  Perhaps an old crow’s nest has provided a sufficient platform for their eggs.  I feel sure Dafydd ap Gwilym would have approved.

St Mary’s church Strata Florida and Dafydd ap Gwilym’s yew

 

An alternative stratagem for remembrance  is represented by the huge black marble memorial situated between the church and the abbey wall.  Sir David and Lady Grace James died in the 1967 and 1965 respectively.   His business interests had expanded  from his father’s  London dairy business to foodstuffs and cinemas.  He acquired a country estate, Sutton Hall, Barcombe,  and a knighthood. His roots were at Pantyfedwen and the couple  were justly proud of their wealth  and their worth as  philanthropists and patrons of Welsh culture.  Bold capitals on six faces of the column assert their names, their charitable trusts, their characters and their  claims to fame in considerable detail.   Will this massive memorial outlast the reputation of the poet, or vice versa?

The memorial to Sir David and Lady Grace James.

 

 

Idyll and Industry at the National Library

by The Curious Scribbler,

The leading exhibit in the Gregynog Gallery is undoubtedly the Canaletto, loaned out for the summer under an initiative to share the National Gallery’s collections with those of us in far flung corners of the UK.

The Stone Mason’s Yard by Canaletto

The Stonemason’s Yard was painted in about 1725 and donated to the National Gallery by Sir Thomas Beaumont a hundred years later.  It depicts an early morning scene in  a lesser square the Campo San Vidal.  The rising sun casts long shadows across the scene and, as the accompanying caption describes, there is much human activity going on.  There are gondolas and gondoliers on the Grand Canal, and women attending two lines of washing  in the middle distance. The foreground shows women engaged in traditional activities – housework, spinning and childcare.  At centre are the stone carving activities, a man with a mallet  and chisel is carving a large block of limestone, while another with his back to us is splitting stone into pavier slabs. But the third stone mason on the right of the picture is the one who caught my attention, for here, working on the interior of a huge freshly carved basin or well head is undoubtedly a burly woman.  It is unexpected to find a woman mason, but it appears that Canaletto painted what he saw.  Surprisingly  she is not mentioned in the caption.

The lady stonemason

The rest of the exhibition is spread out to either side,  Turn right for ‘Idyll’  scenes of rural Welsh landscape in paintings in the collections of the National Library, or turn left for ‘Industry’, –  iron works, mines and quarries depicted over two centuries.  Adjoining the industrial views are also a few abstracts, so abstract that only the initiated would know that they are about Wales.  I’ve learnt a useful expression –  ” deeply personal response”  is a good description for baffling representations of named locations!

Among the more representational works, are pictures by Turner, Ibbotson, Richard Wilson, Thomas Jones of Pencerrig, David Cox and other well-known artists.   For locals like me it was interesting to see a 1955 painting of Hafod by Joyce Fitzwilliams of Cilgwn, Newcastle Emlyn. The house is party roofless and viewed I think from the path up towards Pendre cottage.  Demolition of the Italianate wing added by Henry de Hoghton has already begun.

Joyce Fitzwilliams’ Hafod 1955

Also of local interest was a painting by  World War I Belgian refugee Valerius de Saedeleer of the land dipping down to the sea, probably near of Llanrhystud.

Valerius de Saedeleer Coastal landscape near Aberystwyth painted during WWI

Turning to the industrial side  there are some powerful images such as Miners returning from Work by Archie Rhys Griffiths, a depression-era painting which nonetheless evokes the grandeur of toil.  Many of the more  recent industrial views  are more grim or dismal in tone.

Archie Rhys Griffiths 1932 Miners returning from work

But my eye was caught by a work by Penry Williams, thought to depict the Dowlais Iron works. Like the Canaletto, the scene is bright and lucid, with long shadows cast across a foreground of great activity.  The bare grassy uplands gleam in the background with neat fields and scattered farmhouses on the slopes, while lurking in full view is the industrial behemoth.  Four tall chimneys, five flaming beacons, long sheds with with rows of chimneys each emitting a gleam of fire and puffs of white smoke.  Everything is neat and new and sharply designed.  The tall chimneys have ornamental tiers, and a huge sphere on a stone pedestal indicates an owner of wealth and  discernment.  Doubtless many men worked perspiring in the heat of these sheds, but the only humans we see are two top hatted gentlemen on horseback and a gardener with his wheelbarrow, meticulously edging a broad graveled path through the immaculate garden which adjoins the works.

Penry Williams’ evocation of industrial glory in the early 19th century

There came a time when industrialists moved away from their factories to unspoilt rural locations, sometimes donating their former parks to the people, but in the early 19th century one can sense the excitement of new industry bringing huge rewards to the iron masters, and new jobs to the rural poor.  Penry Williams came from a modest family of stonemasons in Merthyr Tydfil.  Without the patronage of the newly enriched iron masters he would never have studied at the Royal Academy or  settled in Rome to pursue a career painting Italian scenes for young gentlemen on the Grand Tour.