The name Robert Lugar may not be one that most people are familiar with, but he is someone who has left an indelible mark on Merthyr’s history, as he was the architect who designed Cyfarthfa Castle.
Little is known of his early life, but he was born c.1773/4 in Colchester, the son of Edward Lugar, a carpenter. From about 1799 he was practising in London, being based at Featherstone Buildings, Holborn, and exhibited at the Royal Academy for the next twenty years. In 1812 he succeeded John Johnson as County Surveyor of Essex, a post which he held until 1816.
Lugar first made his mark with the publication of his first book ‘Architectural Sketches for Cottages, Rural Dwellings and Villas’ in 1805, and this was followed by ‘The Country Gentleman’s Architect’ in 1807. The following year he completed his first major commission Dunstall Priory, and this was followed in 1808-09 by Balloch and Tullichewen Castles. The resemblance between Tullichewen Castle and Cyfarthfa is remarkable.
Tullichewen Castle
In 1810, Lugar took on an apprentice to work with him at his Holborn offices – the 20 year old Archibald Simpson. Simpson would go on to be one of Scotland’s most important architects, who along with his rival John Smith is regarded as having fashioned the character of Aberdeen as “The Granite City”.
It was in 1824, that Lugar was commissioned by William Crawshay II to build a new home for him and his family, befitting his status as one of Merthyr’s great iron-masters. The new home designed by Lugar was Cyfarthfa Castle, which was completed by 1825 at a cost of £30,000.
Ground floor plan of Cyfarthfa Castle from 1827
In 1834, a fire all but destroyed the Houses of Parliament in London, and a competition was held to design a new building. Lugar entered the competition in collaboration with fellow architect John Burrell, but lost out to architect Charles Barry. Interestingly, Charles Barry is another architect closely connected with Merthyr – a friend of Lady Charlotte Guest; he designed both Dowlais Central Schools and the Guest Memorial Hall.
Robert Luger continued designing houses for the rest of his career, his most important works being Wyelands House in Monmouthsire (1830) and Bardon Hall in Leicestershire (1837). He died at his home at Pembroke Square, London on 23 June 1855, aged 82.
William Edward Jones made himself unique among the portrait painters that have settled in Merthyr Tydfil, because not only was he exceptionally talented, but he also was father to six children, several of which were named after famous renaissance artists, who became artists themselves.
William Edward Jones was born in Newmarket, Flintshire, in 1825. He was the son of James Jones, an Ironmonger, but it is unclear the path William took to become an artist instead of an Ironmonger. What is clear is he was ‘a “born” painter, gifted with an intuitive apprehension of the principles of his art, as well as great capacity for applying them…’ Though it is unknown if he had any formal training as an artist, by the age of 24, he had moved to Wrexham and was working as a portrait artist. He then went to Liverpool and eventually to London. While in London he displayed artwork at the Royal Academy and became a well-regarded portrait painter, but competition there was fierce. A chance meeting with two men that were bound for Merthyr Tydfil made William realise that maybe he could go to this iron metropolis and make a name for himself.
In 1853, he arrived in Merthyr Tydfil and it was not long before he established a portrait painting business on Glebeland Street, Merthyr Tydfil. 18, Glebeland Street would be his residence and studio for the rest of his life.
One of his first notable commissions seems to be of Lord Aberdare, Henry Austin Bruce, in 1853, and from there steady commissions would continue.
Henry Austin Bruce, c 1853, William Jones, Peoples Collection Wales, LLGC
By 1856, William had accepted what would be his most impressive portrait yet, a portrait of John Evans, the Dowlais Works Manager. Evans was retiring and those who admired him at Dowlais decided to commission a portrait. The portrait was unveiled at a Temperance Choir concert in the Dowlais Schools in May 1856. The portrait of Evans is one of only two known portraits painted by William that are still in Merthyr Tydfil. It hangs on the walls of Cyfarthfa Castle and is a huge canvas with astounding details, such as a painting of Dowlais Works on the wall in the background, along with engineering documents strewn across the table in front of John Evans. The portrait is one of two created by William in 1856, the other is a portrait of John Evans brother, Thomas Evans.
John Evans, c 1856, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery
The portrait of Thomas, who was an agent and manager at Dowlais also, was commissioned by those in Dowlais who were saddened by his passing in 1846. This was a problematic commission for William, as he had never seen Thomas and no reference to what he looked like existed. Those who knew Thomas gave William descriptions and the rest was down to the artist’s skill to create a perfect likeness. When the painting was complete ‘no one having formerly known Mr. Evans, can mistake who the painting is intended to represent’. The painting was unveiled in August 1856, and was transferred to the possession of the local council by the early 1900s. The portrait of John fell into the ownership of the council too, eventually being one of two paintings that hung in the council chambers until 1910, the other being a portrait of Henry Richard by William Gillies Gair. The portrait of Thomas Evans is heavily damaged but remains in Merthyr Tydfil.
William would go on to create a painting titled ‘The Last Bard’, which won him awards at the National Eisteddfod in 1859. In 1863, he was commissioned to paint the Mayor of Neath, Evan Evans, which was praised for its ‘fineness of execution and accurate delineation of feature…’ William would even produce pencil drawings, most notably he would capture the chaos of the moment disaster struck in 1874, when runaway carriages collided with a train and destroyed part of Merthyr’s Central Station.
Scene of the terrible accident at the Vale of Neath Station – c 1874, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.
William was a Freemason and was commissioned frequently to paint other members, which meant he was solidly painting throughout the late 1850s, right until the late 1870s. There is currently no overall known number of how many portraits William created when he was living in Merthyr Tydfil. Many portraits had been commissioned for people outside of the town, for widowers of Freemasons, industrialists that moved on from the town and so on. In the aftermath of William’s death in 1877, there was an auction of work from his studio and one advertisement stated that there were over one hundred pieces for sale.
Merthyr Telegraph – 2 November 1877
The paintings have undoubtedly gone everywhere across Britain and further afield, so they are now incredibly difficult to trace. Dr Fred Holly, in an article appearing in Merthyr Historian: Volume 6 has made the best attempt to collect information on the artwork that survives, but even that list is miniscule compared to the actual art William created in his heyday.
On July 2, 1858, William married Elizabeth Wilkins, daughter of William Wilkins, who lived on Morlais Street, in the Glebeland. William Wilkins was a Hotel Keeper, who managed the Temperance Hotel, which was also in the Glebeland at Merthyr Tydfil. William and Elizabeth would have six children in all. The eldest, William Angelo, named after the famous renaissance artist. Then James Raphael, named after another Italian artist. Francis Lawrence followed, named after Thomas Lawrence, the English portrait painter. The only daughter then followed, Rosa, named after the French artist Rosa Bonheur. Then Leonardo Devinci (spelt with an E not A) Jones; another nod to beloved Italian artists. Finally, Ernest probably named after the French artist Ernest Meissonier.
The 1870s, when many of them were coming of age, must have been a devastating time for the children as Elizabeth died in 1870. Her father William Wilkins moved into 18, Glebeland Street to help William, but he then passed away in 1873. William then, while putting the finishing touches on a portrait, died in 1877.
This article is a transcription from a publication now in the public domain:Dictionary of National Biography (1st supplement). London: Smith, Elder & Co. 1901
On the formation of the British Iron Trade Association in 1876, Clark was elected its first president, and his ‘Inaugural Address’ (Newcastle-upon-Tyne) attracted much attention, provoking considerable controversy in the United States by reason of its trenchant exposure of protection. Few employers of labour have ever studied the social well-being of their workers so earnestly as Clark. At his own expense he provided a hospital for the Dowlais workmen, while the Dowlais schools, the largest in the kingdom, owed their success almost entirely to his direction. He was an early supporter of the volunteer movement, and himself raised a battalion in the Dowlais district. He was chairman of every local authority in the place, and his manifold services in the work of local government are commemorated by a marble bust, the work of Joseph Edwards, placed in the board-room of the Merthyr poor-law guardians. He was sheriff of Glamorganshire in 1868.
George Thomas Clark by Joseph Edwards
Clark’s reputation, however, mainly rests on his archaeological work, and, to a lesser extent, on his historical research, though these were but the relaxations of an otherwise busy life. For half a century he was recognised as the highest authority on all mediæval fortifications, and was the first to give a clear insight into the military and historical importance of the earthworks of this country, and especially to show the use made of the mound – ‘the hill of the burh’ – in Norman times. Before going to India he took a prominent part in the movement which brought about the foundation in 1843 of the Archæological Association (now the Royal Archæological Institute), and, after his return, was constantly associated with its work for the rest of his life contributing papers to its journal, attending its annual meetings, and acquiring a unique reputation as a field-lecturer, inasmuch as the castles visited were ‘called up to their first life by his massive vigour’.
He was also one of three trustees of the Cambrian Archæological Association. Commencing with an account of Caerphilly Castle as early as 1834, he contributed to the ‘Transactions’ of various societies, and to the ‘Builder,’ a large number of articles dealing with his favourite subject. In 1884 these were collected in his ‘Mediæval Military Architecture in England ‘ (London, 2 vols) a work which is not likely to be superseded, though its information may be supplemented with minor additions of detail.
Next to his purely archaeological attainments should probably be ranked his knowledge of heraldry and genealogy. He wrote the article on heraldry for the ‘Encyclopædia Britannica,’ while his privately printed pedigree of the Babington family has been described as ‘perhaps unsurpassed for its dimensions and grandeur of type.’
His other works were for the most part elaborate contributions towards the history of his adopted county of Glamorgan, the following being the more important among them:
‘Thirteen Views of the Castle of St. Donat’s, with a Notice of the Stradling Family,’ Shrewsbury, 1871.
‘Some Account of Robert Mansel and of Admiral Sir Thomas Button,’ Dowlais, 1883.
‘The Land of Morgan, being a Contribution towards the History of the Lordship of Glamorgan,’ London, 1883, 8vo.
‘Limbus Patrum Morganiae et Glamorganiæ. Being the Genealogies of the Older Families of the Lordships of Morgan and Glamorgan,’ London, 1886, 8vo. Most of these pedigrees had been published ‘nearly a quarter of a century’ previously in the ‘Merthyr Guardian.’
‘Cartæ et Alia Munimenta quæ ad Dominium de Glamorgan pertinent.’ Sumptuously printed, for private circulation only, this great collection of Glamorgan charters extends to 2,300 quarto pages, making four volumes, of which the first was issued in 1885 from a private press at Dowlais, and the other three (in 1890-1-3) from Cardiff.
Clark also edited some devotional works by his father and his ancestor, Samuel Clarke (1599-1682), and wrote numerous articles on the history and antiquities of Glamorgan.
Clark died on 31 Jan. 1898 at Tal-y-garn, near Llantrisant, where he had resided during his later years, and was buried there at St. Ann’s Church, which he had built to the memory of his wife, Ann Price, second daughter of Henry Lewis of Greenmeadow, near Cardiff, and coheiress of Wyndham Lewis. She was married to Clark on 3 April 1850, and died on 6 April 1885, leaving a son (Godfrey Lewis Clark) and a daughter.
In the post war period it is thought that many, and possibly as many as half, of the women employed during the war across all sectors of the economy left or lost their jobs. In particular, the Restoration of Pre-war Practices Act 1919 underlined the expectation that women employed during the war would give up their jobs to returning service personnel. In January 1919 the Merthyr Borough Council served warning to all married female teachers that their contracts were to be terminated.
The Director of Education reported that having regard to the probable early release from Military Service of a number of men teachers he had given notice to all married women (temporary) teachers now serving under the Authority to determine their engagement at the end of January, and that any further employment after that date would be subject to a week’s notice on either side. Merthyr Tydfil Borough, Education Committee, minute book no. 29, BMT1/29 p.183.
Once again Claudia George and Margaret Davies were casualties of the Authority’s decision. At subsequent meetings the Authority agreed to re-employ 28 male teaches on release from the Armed Forces in February and further 10 in April 1919 (Merthyr Tydfil Borough, Education Committee, minute book no. 29, BMT1/29 p.246 and p.474)
This might have been seen as surprising in the light of the provisions in the Sex Disqualification (Removal) Act of 1919 that removed restrictions on the appointment of women. In practice employers saw the Act as providing the opportunity to appoint women to previously all-male professions. However, it was not seen as establishing a right for women to be considered for employment on the same terms as men. This was graphically illustrated in the teaching profession in south Wales in 1923 when 58 married women teachers dismissed by the Rhondda Education Authority brought a case against the Council. In Price v Rhondda Urban District Council it was ruled that the Council had not violated the Sex Disqualification (Removal) Act by dismissing the teachers. During this period the imposition by many local authorities of a formal marriage bar in the teaching profession was based on the belief that employers could, where they wished, continue to restrict employment to one sex.
The First World War led to new opportunities for many women in the teaching profession. Many schools could not have continued without the influx of married women and for the first time, in most areas of Wales, women were employed in boys’ schools. Set against this, in the post war period, in the limited circumstances where married women were able to secure employment in schools, their contracts were likely to be terminated with a month’s notice. The records for Dowlais Central confirm that, on 4 March 1919, there were 21 teachers employed at the school – 12 men and 9 unmarried women (Dowlais Central School, log book, EMT 9/6 p.91. The creation at the end of the First World War of the National Union of Women Teachers was, therefore, a potent symbol of the further battles that lay ahead to improve equality of opportunity.
Dowlais Central Schools. Photo courtesy of the Alan George Archive
This article is reproduced here with the kind permission of Glamorgan Archives. To view the original article, please follow the link below.
The First World War provided an unprecedented opportunity for women to move into roles and occupations previously reserved for men. The creation of the Women’s Land Army and the Women’s Army Auxiliary Corps were very visible examples of women moving into new areas. It is estimated that approximately 1.5 million women joined the workforce during the First World War and just about every sector of the economy saw an influx of women to meet both the increased demand for labour and to fill the gaps left by men away in the armed forces.
In many respects the experience of 1914-18 led to momentous changes. The Sex Disqualification (Removal) Act 1919 enshrined the principle that individuals should not be disqualified from jobs on the grounds of gender. In addition, the Representation of the People Act 1918 enfranchised approximately 8.5 million women. However, while wartime pressures opened new doors many women still encountered discrimination at the workplace both during the war and in the immediate post war era. The school log books and local authority minutes at the Glamorgan Archives chronicle both the advances made by women in the teaching profession in this period and also the setbacks frequently encountered.
Schools were particularly hard hit by the loss of male teachers to the armed forces from August 1914 onwards. In response, local authorities were forced to relax the convention that, on marriage, women resigned from teaching posts in schools. However, as in the pre-war era, they were only employed where there were staff shortages and it was accepted that appointments were liable to be terminated at a month’s notice if suitable alternative candidates could be found.
An entry by the Head teacher of Dowlais Central, Richard Price, in the school log book for December 1915 provides just one of many examples of the precarious nature of work in school for married women in this period.
Mrs Margaret Davies, TCT, commenced duties on Monday December 6/15. Mrs Davies is a married lady and left her last appointment at Abermorlais Girls’ School in July 1907. Dowlais Central School, log book, EMT 9/6 p.37.
Mrs E Claudia George, TCT, commenced duties on Wed afternoon, 8 December. Mrs George is a married lady and left her last appointment as TCT at Tyllwyn School, Ebbw Vale at Xmas 1908. Dowlais Central School, log book, EMT 9/6 p.38.
Yet only 7 months later Richard Price confirmed that Claudia George and Margaret Davies, along with a Mrs Cummings, had ‘finished their duties at this school’ (Dowlais Central School, log book, EMT 9/6 p.50).
This was just the beginning of an ongoing round of employment and dismissal for Claudia and Margaret throughout the war. By October 1916 both had been re-employed (Dowlais Central School, log book, EMT 9/6, p.52). However, two months after the end of hostilities, on 31 January 1919, both women had ‘left the service of the Education Authority at this school on the afternoon of this day’ (Dowlais Central School, log book, EMT 9/6, p.86).
During the war the records of Merthyr Tydfil Borough Council confirm that there were frequently up to 40 married women teachers employed in schools in the borough. This included appointments to boys’ schools that would have been unheard of prior to 1914. However, the advice provided to the Borough Council Education Committee in July 1916 by Rhys Elias, Director of Education, underlined that, while the authority felt that it had little option but to employ married women in schools, there was a determination to end the appointments as soon as possible.
The committee agreed that notice be given to all married women teachers and to terminate their engagements at the end of the month of July 1916. Claudia George and Margaret Davies were, therefore, just 2 of 40 women that lost their jobs as a result of this decision. Their places were filled by students completing their College Course or Pupil and Student Teachers finishing their period of apprenticeship. (Merthyr Tydfil Borough, Education Committee minutes, BMT1/26 pp.602-3). This approach was followed throughout the war with married women employed to meet shortages on short term contracts that were terminated as soon as alternative candidates could be found.
To be continued…..
This article is reproduced here with the kind permission of Glamorgan Archives. To view the original article, please follow the link below.
One of the few remaining historical buildings in Dowlais is the Guest Memorial Hall, or the Guest Keen Club as it is more commonly know today. It has a fascinating, if troubled history.
When Josiah John Guest died in 1852, his widow, Lady Charlotte began thinking of projects to commemorate her husband. Her first project was to build a school for the children of the Dowlais area, and the Dowlais Central Schools were completed in 1855. Whilst the school was under construction, the work-men of the Dowlais Ironworks also wanted to contribute to another memorial to their former employer.
In March 1854, a public meeting was held, and it was proposed that a library and reading room should be built in memory of Josiah John Guest. A committee was set up, and subscription lists were issued – they even placed an advertisement in The Times newspaper. A sum of £2,200 was eventually raised, and Sir Charles Barry was commissioned to design the building.
The Times – 7 June 1854
Sir Charles Barry was one of the foremost architects of the day, his most famous work being the Houses of Parliament. A personal friend of Sir Josiah and Lady Charlotte Guest, he had been responsible for designing the Dowlais Central School.
Unfortunately, Barry’s plans proved too grandiose for the funds available. Work started in early 1855, but by the end of the year, over £5,000 had already been spent on the project. New trustees were appointed, and they were dismayed to discover that not only had a huge amount been spent in excess of the budget, but only the walls and roof timbers had been prepared.
The trustees, having paid for slating the roof and glazing the upper story, called an emergency public meeting. They offered two alternatives: firstly the subscribers could try to find the extra money required to complete the work; or secondly, they could hand over the project to the Dowlais Iron Company who would finish the work, and thus own the building. The subscribers decided on the latter course of action.
The Dowlais Iron Company took over the project, and the original subscriptions were returned to the trustees who used the money to provide annual scholarships for the children taught in the Dowlais schools.
A postcard of the Guest Memorial Hall from the early 1900s. Photo courtesy of the Alan George Archive.
The new library, which was a classical style cruciform two-storey building, the main rooms raised on a basement storey, built of massive stones with a Bath-stone balustraded pillared portico on the first floor, was finally opened in 1863. The total cost of the building was £7,000. The new library was equipped with an excellent collection of books in both Welsh and English, and newspapers and magazines were also available to the public. A part of the building was also set aside to be used as a museum, and fossils that had been discovered in local pits and quarries were displayed there.
The library closed in 1907 when the new Carnegie Free Library opened in Dowlais. The building subsequently became a social club and remains open to this day as a restaurant and as an events venue.
He was also one of three trustees of the Cambrian Archæological Association. Commencing with an account of Caerphilly Castle as early as 1834, he contributed to the ‘Transactions’ of various societies, and to the ‘Builder,’ a large number of articles dealing with his favourite subject. In 1884 these were collected in his ‘Mediæval Military Architecture in England ‘ (London, 2 vols) a work which is not likely to be superseded, though its information may be supplemented with minor additions of detail.
