Penry Williams – The Melting Pot

The Cyfarthfa Philosophical Society – part 1

by Andrew Green

Penry Williams, Cyfarthfa Ironworks interior at night (1825). (Cyfarthfa Castle Museum and Art Gallery)

The end of the eighteenth and the beginning of the nineteenth century saw the rise of local ‘literary and philosophical institutions’ throughout the British Isles. They aimed to bring together like-minded people to discuss issues of the day. The label ‘philosophy’ usually meant not logic or metaphysics, but an interest in the latest developments in science and technology, at a time when their study was in rapid flux as the industrial revolution gathered pace. Typically, members gathered to listen and respond to lectures by visiting speakers. Some societies also owned premises, issued publications, maintained libraries and museums, and even, as in the case of the Swansea Philosophical and Literary Institution (later the Royal Institution of South Wales), equipped and ran a scientific laboratory.

Most literary and philosophical societies were dominated by the upper and middle classes: members of the gentry and clergy, scientists, industrialists and engineers. And so, on the face of it, was the Cyfarthfa Philosophical Society, set up in Merthyr Tydfil in 1807. But all was not quite as it seemed.

Penry Williams, Crawshay’s Cyfarthfa Ironworks (1817) (National Museum Wales)

At this time Merthyr was entering its heyday as one of the most dynamic and rapidly expanding towns in Britain, thanks to the numerous iron works set up in and around its centre. The ironworks – Cyfarthfa was one of the two largest – employed large numbers of skilled and semi-skilled workers, and the town also housed the works’ owners, engineers, managers and agents, and others like shopkeepers who serviced the residents. Early on in its explosive growth, despite its lack of physical infrastructure, like decent housing, sanitation and schools, Merthyr had a lively community culture, centred on its many chapels. From the start of the nineteenth century its people developed a tradition of industrial protest and political radicalism. In 1831 disaffection boiled over into what became known as the Merthyr Rising.

Most of what’s known about the Cyfarthfa Philosophical Society comes from Charles Wilkins’s A History of Merthyr Tydfil, published much later in 1867. This is how Wilkins (left) describes how the Society began, apparently with a strong interest in astronomy:

On December 15th, 1807, sixty persons, living in Merthyr and its neighbourhood, met together, and subscribed a guinea each towards buying such apparatus as was deemed suitable; but that sum proving inadequate, it was augmented by a good many of them subscribing another half-guinea. The instruments were had, a code of rules drawn up, and a few books on astronomy purchased. It gives us a tolerable notion of the capacity of the members when we learn that the list of instruments was composed of a good reflecting telescope, a pair of globes, a microscope, a planetarium, an orrery, an equatorial, and other philosophical apparatus. (p.269)

Wilkins gives the names of the most prominent of the founding members:

J. Bailey, Esq., an M.P., and a large iron-master; the poet and stone-cutter, Rees Howell Rees; John Griffiths and William Williams, afterwards famous as engineers and mechanicians; William Aubrey, the mill contractor; Thomas Evans, the philosopher, astronomer, and mathematician, of Cyfarthfa ; Benjamin Saunders, the ingenious moulder; Henry Kirkhouse, the mineral agent; and several others more or less able in their respective callings.

Joseph Bailey was the nephew of Richard Crawshay, the founder of the Cyfarthfa Ironworks. He inherited a quarter share in the works, but sold it in 1813 and bought the Nant-y-Glo works. Later he added the Beaufort works. He converted much of his large profits into land, and lived at Glanusk Park. Possibly Bailey was chosen as the ‘respectable figurehead’ of the Society.

Anon., William Williams, Chief Engineer of the Cyfarthfa Ironworks (c1810) (Cyfarthfa Castle Museum and Art Gallery)

Most of the other men Wilkins mentioned were highly skilled technologists connected with the Cyfarthfa Ironworks. John Griffiths and William Williams were both engineers there. Griffiths built steam-engines. In 1829 Williams invented the first machine for testing the tensile strength of metals. In later life, it was said, he became so large that he had to be moved around the works in a specially built trolley. His son, Morgan Williams, became the leading Merthyr Chartist. William Aubrey of Tredegar helped design the extensive water systems at Cyfarthfa. ‘None of his contemporaries’, his obituary in Seren Gomer said, ‘was as skilful as he was in inventing and setting up all kinds of engines and machines worked by fire and water’. Benjamin Saunders, the ‘ingenious moulder’ at the Cyfarthfa works, later described as ‘an amalgam of an inventive brain and a deft hand’, built a planetarium, a quadrant, a thermometer, a water-gauge and a weather-glass. Henry Kirkhouse was the mineral agent at Cyfarthfa for more than half a century, and ‘retained the respect of all who came in contact with him – from Mr Crawshay to the humblest miner’.

To be continued……

Reproduced with the kind permission of Andrew Green. To see the original, please click https://gwallter.com/history/the-cyfarthfa-philosophical-society.html

Keeping up with the Joneses: A Family of Merthyr Artists – part 2

by Christopher Parry

Predictably, with the immediate family gone from the town many of the younger children ended up with distant relatives outside of Merthyr Tydfil.

Leonardo ended up as a Grocers Assistant at Holywell, in his father’s native Flintshire. He would then marry and become a Grocer in Birkenhead.

Francis Lawrence Jones all but disappears from the records. A letter held at Cyfarthfa Castle hints that he left for London and painted ‘for the great theatres in London.’ There is a correction on the letter however, indicating that an earlier sentence, referring to Angelo, was actually referring to Francis instead. This sentence states that Angelo went ‘to an uncle in Australia who was an engineer’. This narrative does not match up with other information on Angelo, so it is possible the author of the letter was referring to Francis. A 16-year-old Francis Lawrence Jones, from Merthyr Tydfil, did become part of the Royal Navy and sailed to Australia, eventually settling in New Zealand. While it is not certain, it is possible Francis left for naval service and never returned around 1880. Little is concrete with this family member though. Little is concrete about Rosa and Ernest too, as they all but disappear from records. Which leave the two eldest, Angelo and Raphael.

Raphael followed his father, and became an artist. He displayed work in shop windows throughout the town and became a well-regarded artist in his own right, creating and displaying work frequently around Merthyr Tydfil. An oil painting on display in a High Street shop window gained high praise in 1895, with newspapers stating it ‘reflects great credit on the young and talented artist.’ By 1900, Raphael would go for broke of sorts; he would leave Merthyr Tydfil and head to London to become a painter. He would spend the rest of his life in the Hackney are of London, creating illustrations for various magazines until his death in 1938. The museum at Cyfarthfa Castle holds a fantastic watercolour by Raphael called ‘Mountains and Lake’, painted in 1929. After suffering from ill health Isaac Wilkinson, a former curator at Cyfarthfa Castle, based at the National Museum of Wales, sold some paintings by Raphael to raise funds on his behalf. Cyfarthfa Castle purchased two watercolours in March 1937, one of them being ‘Mountains and Lake.’

William Angelo Jones clearly took a keen interest in his father’s work also. At the Merthyr Drill Hall Eisteddfod in 1875, he won first prize for free hand drawing. He attended the ‘Penydarren Art Classes, Merthyr Tydfil, from their inception, and studied under Mr J Bush, then under Mr G F Harris, artist and portrait painter, and assisted G F Harris for three winters.’ William Angelo would eventually leave Merthyr Tydfil to study art formally in Birmingham where he would also take up an art teacher position. It is unclear exactly when he left Merthyr Tydfil for Birmingham, as he possibly studied there from 1893, but was certainly living between there and Merthyr until at least the early 1900s, as several pieces of art were created by him of the area and in the town in that period. He would donate 12 pen and ink sketches to Cyfarthfa Castle in December 1937, the same year his brother’s artwork was purchased by the museum. These were all sketches intended to be printed as Christmas Cards. The images are full of floral patterns, art deco deigns, Santa Claus, trumpeting angels, turkeys and Christmas puddings, everything associated with the festive period.

Christmas Card – c 1896-97, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery

Christmas Card – c 1903 William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.

Christmas Card – c. unknown, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery

More amazing is how he worked local landscapes into the cards, giving us stunning images of Heolgerrig and other localities around Merthyr Tydfil. These images were created ‘under most difficult adverse circumstances…’ No doubt William Angelo was struggling financially and like many artists before special occasions were an opportunity to raise funds.

On the Graig, Merthyr – c 1901 William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.

Moody’s Pond, Merthyr – c 1901 William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.

When the artist Penry Williams was struggling, he would regularly rely on Valentine’s Day to make ends meet, when he would create cards for sale. Struggling circumstances were what possibly pushed William Angelo to move on from Merthyr Tydfil fully and it is likely he died in Birmingham in 1938.

We often focus on the large-scale industrialists when looking into Merthyr’s past and overlook the many trades and professions the iron industry attracted to the town. Several painters opened studios in the town over the years, without whom, in an era where photography was in its infancy, we would have no visual record of the people and places that make up Merthyr Tydfil.

Opening of the Welsh Kitchen

From the Merthyr Express 80 years ago today….

The Welsh Kitchen. Photo courtesy of the Alan George collection

Memories of Old Merthyr

We continue our serialisation of the memories of Merthyr in the 1830’s by an un-named correspondent to the Merthyr Express, courtesy of Michael Donovan.

Mr William Davies was the forge and mill manager at Cyfarthfa, and Mr John Jones, the furnace manager at Ynysfach. Mr Wiltshire was the vet or farrier (for the Veterinary College had not so many members then), but others also occur to me in other spheres of labour.

John Pritchard was the weigher on the top of the yard (approaching Gellideg). He was the father of the Dr Pritchard many of your readers may recall, living in High Street, opposite Glebeland Street. There was also a weigher at Ynysfach yard some few years later whose name I wish to mention; it was John Morgan, and his contributions to the mathematical part of the Gentleman’s Magazine of that time is ample evidence of his knowledge.

Possibly some of the descendents of those mentioned yet exist, and may read this – some can be recalled. Mr Davies, the mill manager had two daughters, one became Mrs John James (draper). Mr James married a Miss Kirkhouse, Llwyncelyn, an elder sister (half sister really) of the Rev Howell Kirkhouse. I do not think they had a family; nor can I recall either of Mr Jones’ brothers – William, who went to North Wales; or Charles, who went to London – having any; perhaps he (Charles) made up for it by becoming the secretary of the Welsh Girls’ School at Ashford.

William Crawshay II by an unknown artist. Courtesy of Cyfarthfa Castle Museum & Art Gallery

At the present time, when ‘combines’ for trade purposes are rife, and ever and anon a paragraph appears respecting what Mr Robert Thompson Crawshay said he would have done of the workmen had fallen in with his views, perhaps it may be appropriately state what Mr Wm. Crawshay did do in order to meet the varying conditions of demand for produce.

No matter what the marketable produce may have to be – whether bars, rails, sheets or slit rods – all were made from puddled bars rolled to 3 and 3½ inches wide and one-half to five-eighths thick; these were all cut when hot to suit the length of the ‘pile’, as a rule these may be about 18 inches only. After being cut to the length they were taken to an open place – there was one in front of what was afterwards erected and called the Pandy Mill – where they were packed up in the form of a shed, with the roof on, say 16 feet or 18 feet long, 12 feet wide, and 10 feet to the commencement of the slope forming the roof. The weight of one of these ‘houses’ would be about 500 tons. In very bad times, many of these would be built; I think as many as twenty have been seen at one time at the spot indicated, besides others elsewhere, so that there was a stack of 20,000 tons ready for working off when the demand required.

The value of a ton of puddled bars varied from £3 up, so that if 20s were added to the value, there was a virtual profit of about 30 percent on the full amount. Tin-plate manufacturers work for stock occasionally, and the pig-iron manufacturers can deposit their produce and obtain an advance thereon, but rail makers, or bar-iron makers cannot do so to a great extent. In the one case, because of the section, on on the other, the difficulty of avoiding the oxidation. Is it any wonder that the Crawshays are wealthy?

“Cyfarthfa Ironworks at Night” (1825) by Penry Williams. Courtesy of Cyfarthfa Castle Museum and Art Gallery

To be continued at a later date.

Watkin George

Today marks the 200th anniversary of the death of one Merthyr’s greatest pioneers – Watkin George.

Watkin George is not a name that most people think of when talking about Merthyr’s great men of the past, but his contribution to the town’s history and his legacy is incalculable.

Born in about 1759 in Trevethin, Pontypool, very little is known about his early life, other than he trained as a carpenter, but by his early thirties, he had had married Anne Jenkins (of also of Trevethin), and had moved to Merthyr to work at the Cyfarthfa Ironworks as an engineer, as his expertise in designing and building metal structures had become well known.

He soon became the foundry manager at the Cyfarthfa Works, and in 1792, Richard Crawshay appointed him as a partner in the business. One of his first projects as partner was designing the Pont-y-Cafnau (Bridge of Troughs), a combined tramroad and enclosed aqueduct built to supply the works with limestone and water.

The Gwynne Aqueduct leading to the Pont-y-Cafnau (middle right) from a painting by Penry Williams

Pont y Cafnau Aqueduct, rendered still in a south-east isometric view, taken from the 3D Studio Max model. © Crown copyright: RCAHMW. This image is Crown copyright and is reproduced with the permission of the Royal Commission on the Ancient and Historical Monuments of Wales (RCAHMW), under delegated authority from The Keeper of Public Records.

This was closely followed by the incredible and innovative design for a mechanism to pump air into the blast furnaces – a huge timber aqueduct spanning the River Taff and providing water to power a 15m diameter waterwheel, used to work an air pump for blowing the iron smelting furnaces. The Gwynne Aqueduct and ‘Aeolus Waterwheel’ soon became famous throughout the country, and visitors would come to Merthyr just to see them. Indeed Some contemporary accounts actually referred to the Aeolus Wheel as ‘the Eighth Wonder of the World’.

‘Cyfarthfa Works and Waterwheel’ by William Pamplin. The Aeolus Waterwheel can clearly be seen at the centre of the illustration. Photo courtesy of Cyfarthfa Castle Museum & Art Gallery

In 1799, George designed what would become his most iconic structure – the Old Iron Bridge, and two years later he designed the Ynysfach Ironworks.

In about 1805, having helped Cyfarthfa Ironworks expand, George left the partnership. Reports vary on the amount of money he amassed for his 13 years of service, either £40,000 or £100,000 — “equal to one share”. He joined Pontypool Ironworks as partner to its owners Capel Hanbury Leigh (1776-1861) and Robert Smith, restructuring the works and making great improvements to balling and refinery operations.

In 1811 he prepared a design for Chepstow Bridge – a series of cast iron spans on the existing piers. His design was not adopted, and the new bridge was eventually designed by John Urpeth Rastrick. George’s designs for the Chepstow bridge are his last known work.

Watkin George died on 10 August 1822 and was buried at St Cadoc’s Church in Trevethin.

Today, of his works, the Ynysfach Ironworks Engine House still stands, and his Pont-y-Cafnau is the oldest surviving example of a cast iron railway (tramway) bridge and aqueduct, and is probably the second oldest surviving iron bridge in the British Isles (after Ironbridge in Shropshire), so he is certainly someone who should be remembered amongst the great men of Merthyr.

A Cyfarthfa Ghost Story

The following article is provided courtesy of ‘The Spooky Isles’ website.

140 years ago today in the August 17th 1881 edition of the Western Mail, the paper’s anonymous but “esteemed correspondent” sent in an “extraordinary narrative” which he “vouched for on the most unimpeachable authority.”

The story concerns the dormant ironworks at Cyfarthfa, Merthyr Tydfil and although the Mail declared its scepticism it published anyway because “the story is a good one.” And it is, very nicely told.

The Ironworks – A Little History

First opened in 1765 by a London merchant, by the 1790s the Cyfarthfa ironworks, under the direction of Richard Crawshay, became one of Britain’s most important iron producers – always handy for a nation almost perpetually at war somewhere in the world and in the midst of the industrial revolution.

The Crawshay family remained in charge, overseeing the works’ slow decline in the face of heavy foreign competition and rising costs. Still a hugely important local employer, profits from the ironworks were used to build William Crawshay II a grand home (Cyfarthfa Castle).

In 1875, the works closed, were re-opened and rebuilt to become a steelworks – a restructure that wasn’t completed until 1884, some time after the Western Mail’s story was published.

Cyfarthfa Works. Photo courtesy of the Alan George Archive

The Ghosts of Cyfarthfa Iron Works

The tale’s unnamed narrator begins by mysteriously half-explaining that he and a friend visited the works although why “must remain unexplained” and it was “towards the gloomiest part of the night that we sallied forth, and made our way over tramroads and intricate paths to the scene.”

From here, it’s worth simply quoting the rest of the correspondent’s description in full, reading as it does, like a classic Victorian ghost story a novelist might have conjured up.

“Cyfarthfa Works had been familiar to me for many years, but they were associated with the fullest activity, with the glare of furnaces, the whirl of the rolls; and that picture was vividly in my imagination when we stood at length before the works that were slumbering in thick darkness, and as silent as the grave.

No change could have been greater, no stillness more profound. We were far enough from the town to lose its glare and its noise, and out of the way of the people journeying from one place to another. No place could thus be more isolated, even as no contrast from the wild dash of work to the utter quietude could be more intense.

We stood a while just within the dense shadow of one of the mills, just tracing the ponderous wheels and the dimly outlined rolls when suddenly the two huge wheels creaked and began to revolve, the rolls to move, and in a moment there was all the whirl of industry again, only needing the glare of light and forms of men to assure us that the works were in full action.

My companion, with an exclamation of profound astonishment, clasped me by the arm. Cool, iron man as he is, strong-minded and proof against the superstitions of the age, I felt his voice tremble as he said, ‘This is most strange. There are no men here; the works are stopped; no steam, no motive power.’

And the grip on my arm became severe.

I, too, felt alarmed, and am not ashamed to confess it. My imagination, livelier than that of his, conjured up misty shades, and I saw shapes flitting to and fro, and heard the cry of men and boys amidst the clanging iron. Involuntarily we stepped back into the air, and as suddenly as the medley arose, so it died away; not a wheel moved, all was hushed, and at rest.”

‘Cyfarthfa Ironworks Interior at Night’, by Penry Williams

The Old Man

“We walked away a little distance, our purpose unaccomplished, and talked to each other about this extraordinary incident. My friend, better able than I to afford a clue, was, like myself, utterly at sea, and could give no explanation. ‘But,’ said he, resolutely, ‘it must be fathomed, and we will find it out.’

With those words he hurried back to the works. I followed, and in a few minutes again stood looking into the silent mill. There was the same strange hush, the same weird gloom that appeared palpable did we but attempt to grasp it; but no sound.

‘Was it fancy?’ said my friend with his cheerful laugh. He had scarcely spoken when the great wheel again revolved, and machinery here and there, to the right, to the left, ponderous wheels and rolls, all sprang into motion, and the din of work was perfect in its fullness.

With this came the clanging of falling iron, the rattle of trams sounded strangely alike and again the impression was strong that puddlers and moulders flitted by, and ghostly labour went on. This was sufficient for us.

We hurriedly left the scene, and on our way home met one of the old ironworkers of Cyfarthfa to whom my friend related the circumstance. He knew the man as an old and respectable inhabitant, and made no secret of what we had heard.

‘Ha,’ said the veteran, stopping and leaning on his stick, ‘I have heard it too’: and, sinking his voice, he continued, ‘it always comes when the works are stopped.

It did one time before, many years ago, and when Mr Richard [Crawshay, died 1810] was living it came again. No one can say what is the reason, and perhaps it is best not to make any stir about it.’”

To read the original article, and also some other ghostly stories about Merthyr, please visit:

https://www.spookyisles.com/welsh-ghosts-western-mail/#A_Cyfarthfa_Ghost_Story_%E2%80%93_August_17th_1881

Memories of Old Merthyr

We continue our serialisation of the memories of Merthyr in the 1830’s by an un-named correspondent to the Merthyr Express, courtesy of Michael Donovan.

An extract from the 1851 Public Health Map showing a more detailed view of the area covered in this article.

What may be called Ynysfach rows were close by, but we cross the bridge over the canal, and on the right was the coalyard of Waunwyllt. Just fancy! The coal was sold out in ‘drafts’ by one of Mrs Thomas’ sons. Coal or colliery proprietors would think it infra dig to let their sons do so now, and yet it was done, and done properly then with results that satisfied them.

The small cottage and workshop in the garden adjoining was the residence of the father of Penry Williams, one of, if not the greatest painters Wales has produced. John (*see below) Williams, whom I knew, was a clever artist, but was unfortunately deaf and dumb. The father and son carried on the glazing business here while Penry was in the zenith of his fame in Rome. There was also a sister, Miss Sophia Williams, who carried on a school for many years.

Penry Williams’ painting of his father’s cottage. Photo courtesy of Cyfarthfa Castle Museum & Art Gallery

In the house just around the corner Mr Abraham Jones, the nailer, resided and a timber yard followed. Upon the other side, the corner house, opposite the coalyard, was a grocery establishment, opened by a Mr Rees. He was connected with the Waunwyllt family, and if I mistake not, an ancestor of the family of that name of Lletty Shenkin.

Several small cottages followed, and the last house bordering the river was the Heathcock Inn, at one time kept by Mrs Williams after her husband had, with John Frost and William Jones, been banished to Australia for their connection with the Chartist rising.

We re now at the Iron Bridge – I mean the old one, going straight across to Ynysgau-not the modern one erected by the old Local Board, and going to Victoria Street. I have crossed it on many occasions, have felt its vibrations when a heavy load passed over a rough place, and yet always thought it was a well-developed structure, reflecting credit on some whose names I have never learnt. Remembering the time and state of knowledge when it was put up, it was a wonderful example of daring skill.

Crossing this, the locality to the left was analagous to China. The road direct in front, leaving the chapel to the right, would bring us to an archway or a narrow opening over which the upstairs room of one of the houses extended, and to the end of Castle Street; but we turn at the foot of the bridge, and keeping the chapel on our left instead go down Bridge Street.

*Penry Williams’ father was named William – as can be seen from the portrait. The original writer either made an error with his name or he was actually known as John as well. We will probably never know!!!

Right – A portrait by Penry Williams of his father William. Photo courtesy of Cyfarthfa Castle Museum & Art Gallery

To be continued at a later date…….

**Many thanks to Dr John Taylor for the following….

Isn’t the “John”, referred to above, the deaf and dumb brother of Penry Williams? Accordingly, this would not conflict with the father’s name, William. The deaf and dumb brother is made reference to in the blog post for 17 July 2020 ‘Death of Penry Williams’.

I think that clears up a lot – the original author could easily have been mistaken.

Death of Penry Williams

135 years ago today, Penry Williams, the famous Merthyr-born artist died in Rome. The article transcribed below appeared in the Cardiff Times on 8 August 1885.

DEATH OF PENRY WILLIAMS, THE MERTHYR ARTIST.

LETTER FROM MR C. H. JAMES, M.P.

We have received an intimation that Mr Penry Williams, the artist, died at Rome on Monday morning last, in his 86th year. Mr C. H. James, M.P., writing to, us from Brynley, Merthyr, thus speaks of the deceased painter:- “He was Merthyr born, and attained considerable renown in his profession, several of his works having got into our National Galleries, and into many of the houses of lovers of art in England.”

BIOGRAPHICAL SKETCH

A recent “History of Merthyr” states that Penry Williams was the son of William Williams, a house painter; and after his childhood had passed, with its indications showing the bent and genius of the lad, he began to assist his father, until his remarkable skill in drawing and painting attracted the notice of Mr W. Crawshay, who eventually acted the kind patron, and sent him freighted with letters of introduction to influential people in London. Amongst others he was introduced to Fuseli, then keeper of the Royal Academy – one of those kind-hearted and eccentric men who are apt to be misjudged until thoroughly understood. Penry showed him several sketches he had taken amongst the Welsh mountains, to the great delight of Fuseli, who insisted on purchasing them, and from that time became his staunch friend, and gave him the entrée into the academy until he had won his right to enter there by an exhibition of his artistic powers. This he did in a short time, and steadily worked his way upward to renown.

Years passed in the tedious and often painful struggle for a secure position in the world of art. Every now and then he would visit Merthyr, and the seats of gentlemen who had shown an interest in his welfare, and from them always received hearty welcome and good commissions. For Sir John Guest he painted some charming pictures that were the special favourites when exhibited at the British Institution in Pall Mall: and others of our leading iron-masters were only too proud to possess some of his gifted productions. From that era we trace his career, and see him in the most delightful scenes of England, studying the ever-changing beauties of nature with an eye that never tired and a love that never faltered. Amidst the lonely mountains of his own home, in the ravines of the North, among the bosky shades of Tintern, and then again on the Continent amidst all that nature has perfected in its witchery of beauty, and man has made classic and immortal, there was he to be found perfecting his artistic powers until they ripened in fair proportions, and he became known and famous.

Sir Thomas Lawrence, Gibson, the sculptor, Sir Charles Eastlake, and many others of the gifted band were proud to call him friend, and began a friendship that ended only when, one after another, these peerless men passed away. The story of his efforts and of his triumphs is a long but a triumphant one, for the lad who painted Merthyr signs, and knew many of life’s hardships in his youth, eventually reached the highest eminence, was singled out and patronised by royalty and, far more than this, besides distinction and approval from royal hands, became one of those world-honoured artists of whom Britain is justly proud.

A brother of Penry, deaf and dumb, exhibited singular ability in youth as an artist, but he died ere a prominent position had been won.

Merthyr Historian Volume 30

The Merthyr Tydfil Historical Society is pleased to announce the publication of Volume 30 of the Merthyr Historian.

There will be a book-launch for the new volume on Tuesday 3 December at 2.00pm at The Red House (The Old Town Hall), and all are welcome.

The cost of the book will be £10. If anyone would like a copy, please get in touch via the e-mail – merthyr.history@gmail.com and I will pass on any orders.

The contents of Volume 30 are below.

Volume 30 (2019) ISBN 978 0 992981 0 6 Eds. Christine Trevett and Huw Williams

An Editorial Statement

A tribute to Dr T. Fred Holley at 90

Three Merthyr Artists (with particular Reference to William Gillies Gair) by T.F. Holley and J.D. Holley
The Crown Inn, Merthyr, in the Nineteenth Century by Richard Clements
Facets of Faenor (Vaynor) by Lyndon Harris
David Irwyn Thomas of Treharris (1923-2018): a Story of Wartime Survival and Search by David Irwyn Thomas
‘Yr Aberth Fwyaf’ (‘The Greatest Sacrifice’): Words, Images, Messages and Emotions in the First World War Memorials in Merthyr Tydfil County Borough by Gethin Matthews
Sir Pendrill Charles Varrier-Jones (1883-1941): The Papworth Medical Scheme and the Fight Against Tuberculosis by Huw Williams
J.D. Williams Jeweller, High Street, Merthyr and an iconic building by Carl Llewellyn
Merthyr Tydfil and industry – decline and commemoration, 1859 and 1899 (transcriptions and photograph) by Stephen Brewer
Rhyd –y-Car, Wales’ most popular cottages: a success in Preservation by Clive Thomas
Penry Williams: from Georgetown to Rome – Journey of an Artist by Ben Price
From Zero to Hero: William Thomas, Brynawel (1832-1903), Mining Engineer by T. Fred Holley

The Aeolus Waterwheel – Merthyr’s Great Wonder

When Rev Sir Thomas Cullum (8th Baronet Cullum) visited Merthyr Tydfil in 1811, one of the sights he was most taken with was the mighty Aeolus Waterwheel at the Cyfarthfa Ironworks, and he even called it ‘the wonder of the place’. Some contemporary accounts actually refer to it as ‘the Eighth Wonder of the World‘. I wonder how many people in Merthyr have actually heard of it nowadays?

When Richard Crawshay became sole owner of the Cyfarthfa Works in 1791, he began making plans to extend the works and come up with innovative ways to increase iron production. In 1792, he made the engineer Watkin George a partner in the firm, and the latter began making significant progress in maximising the potential of the works.

His major contribution was the construction between 1793 and 1797 of a huge overshot waterwheel to provide the air for the four blast furnaces.

According to volume 5 of Rees’s Manufacturing Industry (1819-20):

“…..the water-wheel is 50 feet in diameter and six feet wide: it is chiefly made of cast iron, and has 156 buckets. The axle is a hollow tube, and is strengthened by twenty-four pieces of timber applied around it. On each end of the axis is a cog-wheel of twenty-three feet diameter, which turns a pinion. On the axis of these are two cranks, and fly-wheel twenty-two feet diameter, and twelve tons weight; each of the cranks gives motion to a lever, like that of a large steam-engine, and works the piston of a blowing cylinder or air-pump 52½ inches in diameter, and five feet stroke, which blows air into the furnace, both when the piston goes up and down. The work on the other side being the same, it actuates in the whole four of these double cylinders; the wheel makes about two and a half turns per minute, and each cylinder makes ten strokes.”

At the time, it was the largest waterwheel of its kind in the world and was named Aeolus after a character in Greek Mythology. Aeolus, as mentioned in the Odyssey and the Aeneid, was the keeper of the winds and king of the island of Aeolia, one of the abrupt rocky Lipara islands close to Sicily. Later classical writers regarded him as a god.

The wheel was operated by water fed from streams across the river and transported by a massive iron and wood double aqueduct mounted on stone piers between 60 and 70 feet high. This was the famous Gwynne Aqueduct. Sir Charles Manby (later Secretary of the Institution of Civil Engineers) visited Merthyr and commented that the aqueduct:

“…..maintained an apparent lightness of the whole that contrasted with the massy [sic] boundary of the river, has not only a singular, but also a very interesting and pleasing appearance.”

Gwynne Aqueduct from a painting by Penry Williams

This is the same aqueduct that was mentioned in the previous post about the Pont-y-cafnau (http://www.merthyr-history.com/?p=678)

The Aeolus Waterwheel continued to power the blast furnaces until the 1820’s when it was replaced by a steam powered engine, and was subsequently demolished.