The Bottle Kiln at Winchcombe, last fired in 1954, awaiting restoration.
There has been a working pottery on the site at Winchcombe, Gloucestershire since the late 1700’s – barring closure during the 1st & 2nd World Wars. Emblematic of country potteries of the 18th & 19th century were bottle kilns; massive wood-fired or coal-fired kilns filled with everyday wares by a team of “repeat throwers” and taking two-three days to reach temperature.
An example of Slipware Pottery, typical of the Greet Pottery Period
The Bottle Kiln at Winchcombe is in a sorry state – it stands sprouting vegetation and without the surrounding pottery sheds. Some would say it is madness to attempt resusitation but the kiln is part of a fantastic story that tracks change in the ceramic industry through this period to present day.
Winchcombe has clay – lots of it – which is why the pottery started here. The first recorded pottery on the site, Greet Pottery, made chimney pots, plant pots, rhubarb forcers, tableware for local people. Michael Cardew – student of Bernard Leach – spotted the possibility of setting up his first workshop here after its closure was forced by the outbreak of the First World War . His era at Winchcombe began in 1926 and marked the shift from rustic traditions to studio pottery. Cardew recruited two locals; importantly, Elijah Comfort, aged 63 and who had worked before in the pottery and a little later the 13 yr old Sidney Tustin. Cardew wanted to follow the old traditions of English Slip-decorated Earthenware and was successful in this, continued filling the enormous bottle kiln and expanding his workforce.
Bottle and Casserole by Michael Cardew
The Second World War brought change; Cardew moved to Bodmin leaving the young chemist, Ray Finch to carry on the pottery, which was, again, forced to close during Second World War. Finch returned, bought the pottery and welcoming student potters – many of whom have become well-known in their own right – but the pottery struggled and the bottle kiln was fired for the last time (to date!) in 1954.
Large Stoneware Plate by Ray Finch
Ray Finch, influenced by the stoneware pottery of Shoji Hamada, began to equipping the pottery with kilns to fire stoneware alongside earthenware and this gradually became the mainstay of the pottery which flourished during the 1960’s and benefitted from a craft pottery revival with the interest in a “wholemeal” life. Ray’s sons, Mike and Joe, followed their father into the crafts – Mike with this own pottery in Wales and Joe continuing at Winchcombe until his retirement in 2016.
Winchcombe Pottery is right now entering a new phase. Matt Grimmitt (a descendent of Elijah Comfort) took over the “wheels” from Mike Finch and, working together with John Forster and Joseph Fuller, there is a real sense of new life being brought to the historic pottery at a time when there is, as there was in the 1960-70’s, renewed interest in the crafts across the board and in pottery, especially. Winchcombe continues to make stoneware but has just produced the first slip-decorated earthenware pitchers and, who knows, could this be a return to Winchcombe roots in earthenware? Possibly even in a bottle kiln? If you would like to help Matt and his team restore the bottle kiln, you can donate to their restoration project here.
Stoneware Tableware from Winchcombe, 2019
Having just received our first delivery of Winchcombe Tableware at Tinsmiths, we are delighted in the shapes, surfaces and feel of the ware which is robust, versatile, serene and undemanding on the eye – a real pleasure to use daily. We wish the new team at the pottery all the very best – we’ll be watching for how this incarnation of Winchcombe Pottery develops and visiting regularly.
At the Eastern fringes of the Brecon Beacons National Park, on the edge of the Black Mountains, where wild untrammelled landscapes becomes fields and winding lanes, the tiny hillside church of Patrishow or Patricio looks out over panoramic views.
About five miles from Crickhowell on the southern slopes of the Gader Range, this is an isolated place and not easy to find as you wind upwards along hedgerow thickened lanes.
Before you reach the church you will pass a spring where Issui, a sixth century Celtic saint, murdered by a traveller who had refused conversion, had his cell. The site became a place of pilgrimage and there is still a pagan feel as coloured ribbons hang from trees and offerings and coins have been left on the stone steps that lead down to the spring.
Further up the hill, the stone church named for St Issui was built in the eleventh century and then extended in the fourteenth century. It was further restored in the early nineteen hundreds.
The church is a simple Gothic with a stone gable and bellcote but it contains treasures. Within are four groups of wall paintings, of which the skeleton, known as the Figure of Doom, is the most spectacular. He is holding a scythe and an hourglass and has a spade hanging over his arm. He would have been a visual reminder to an illiterate congregation that they must use their limited time on earth wisely. Legend has it this figure has been whitewashed over many times but keeps reappearing.
Stretching across the interior, below the whitewashed vaulted ceiling, is one of the finest pieces of medieval art in Wales: an intricately carved Rood screen, carved in Irish bog oak, from the late fifteenth century.
The font is one of the oldest in Wales and dates from the tenth century whilst within the churchyard stands a rare medieval churchyard cross .
When we arrived on a Sunday morning in September, we found no one about. As we were leaving, we met a charming be-suited older man carrying a battered electrical heater under his arm. He told us he was preparing for the upcoming morning service, ‘and’ he added, ‘you can certainly let your dog out of the car, he’s welcome here”. When we commented on how we found church so beguiling and its setting, with the views stretching away below, incredibly beautiful, he told us many who visit the church will mention its particular atmosphere of quiet serenity.
The churchyard is crossed by a footpath that leads walkers right to St Issui’s main entrance. Whether you are modern day pilgrim or a traveller to this part of Wales, take a detour to seek out Patrishow’s gem of a parish church. And, it is good to know that even in its remoteness, it continues to be a living place of worship.
Here on the cropped grass of the narrow ridge I stand,
A fathom of earth, alive in air,
Aloof as an admiral on the old rocks
England below me
WH Auden 1936
Spread along the horizon to the north-east of Ledbury, stretches the bumpy spine of the Malvern Hills: a designated area of outstanding natural beauty, enhanced by iron age hill forts and ancient pathways.
At over six hundred million years of age the geology of this formation is one of the oldest in the country. The Malverns has stood as a natural barrier between olden realms, while today they divide Herefordshire and Worcestershire and have Gloucestershire meet them to the South.
Walk up to its ridge and beacons, and the spectacular views roll away—the Black Mountains of Wales in the West, less populated and wilder than the Severn Valley and the Cotswolds to the East. On a clear day you can see thirteen counties and the cathedrals of Worcester, Gloucester and Hereford.
Strung along a thirteen kilometres length, twenty-two hills make up the Malverns. Some of their names; Raggedstone, Midsummer, Hangman’s Hill, Swinyard and Perseverance, evoke an England of long ago. You are walking in the footsteps of the past. It is now believed that the Shire Ditch running north-south along the ridge is a prehistoric pathway from Midsummer Hill fort to the Worcester Beacon.
It is the walk up to the Herefordshire Beacon—otherwise known as British Camp—to which I regularly return. Protected as a ‘Scheduled Ancient Monument’, the Beacon is an Iron Age fort whose top ramparts are the relic of a Norman motte fortification. Its fallen meringue of earthworks winding around the hill, date from the second century BC. Folklore has it this is where Caractacus, the Ancient British chieftain, had his last stand against the Romans. This may be apocryphal but, certainly when you are here, you want to believe it.
I come here in all seasons and in all weathers and it is always a joy. My favourite time is the early part of the morning when the light is soft and thin mist often rolls up and over the hills like steam. As you walk the ridge from the Beacon summit and head south to the distant Monument, the weather clears and,on either side of you, the patchworks of fields sweep away to the far horizons.
The Malverns have influenced too many artists to name-check, but famously this is where William Langland’s fourteenth century epic poem “Piers Plowman” is set. The views here inspired the famous shires of JRR Tolkein and perhaps the Narnia of his great friend and fellow Malvern Hills walker CS Lewis. Elgar roamed these hills and is buried nearby and WH Auden taught English at the nearby Down’s School.
When you walk the Malvern Hills, you still look out on a timeless England, mostly untouched by modernity. In the seventeenth century, diarist John Evelyn described the view from British Camp as ‘One of the godliest vistas in England’. It still is.
If you are making a visit to Ledbury, it is hard to miss its parish church. Its spire can be seen from many miles around but disappears when you find yourself on the town’s High Street.
Follow the picturesque cobbled lane that leads away from the distinctive black and white timbered Market House and you will arrive at the gates of St Michael and All Angels set back within a walled churchyard filled with crumbling tombstones.
The building itself is perhaps larger than you would expect for a town of Ledbury’s size. Nikolas Pevsner called it the premier parish church of Herefordshire and, in his England’s Thousand Best Churches, Simon Jenkins gives it four stars, calling it ‘a church of all periods’ .
It is believed that the church might have been built on an ancient site of pagan worship, whilst the present building has been added to over the centuries; the beautifully carved Norman West door, dating from a time when the church was narrower and darker, faces you as you enter the churchyard.
Norman West Door
The square bell tower, with its nine foot thick lower walls, was built originally as a stronghold against the Welsh invaders – hence its separateness from the main church – with a steeple added five hundred years later. Within are housed eight bells, the earliest dating from 1690, whose chimes can be heard all over town all through the day and night. If you are lucky enough to get permission to climb the bell tower you will have an incredible bird’s eye view of Ledbury town.
Once within the church, the pronounced sense of overlaying centuries is even more obvious. In the oldest part – the Chancel – there are round headed arches and ‘porthole’ windows of an earlier structure. Like a church within a church, these portholes now look out to the north and south aisles. On the north side is an unusual extension, the Chapter house, also called St Katherine’s chapel, built in the 14th century.
When you look upwards to the 15th century carved roof you will notice the main columns, built on the original Norman bases, lean very slightly outwards towards the two adjoining aisles.
Ledger Stone Detail
As you walk around the interior you tread over Ledbury’s history. There are over 150 floor memorials or ‘ledger stones’ commemorating nearly four hundred past residents of the town. Some are now indecipherable but many tell of prominent local citizens of the past.
All about the walls are effigies and monuments. There are misericords carved in the choir stalls, a beautiful seventeenth century font, unusual pillar carvings of mythical beasts, brass effigies and the many designs of the embroidered tapestry kneelers.
There are twenty four stained glass windows that span the centuries, including ten windows by the celebrated Victorian Charles Eamer Kempe. I was advised by one of the volunteer guides – on hand most days to share a wealth of historical information and enthusiasm – that the south aisle stained glass window would have been more appropriate as the main window behind the altar.
I was also told of a fascinating – but hard to spot – detail of a small red window that can be seen when looking up from the Nave. History tells that it was inserted during the Reformation when the red sanctuary light of the Catholic faith was forbidden.
The oak pulpit was carved in 1833 by the church’s rector Reverend John Jackson. The story goes that he infamously had to resign in disgrace after his maidservant carried her baby up this aisle to where he was preaching to the congregation, demanding he acknowledge his bastard child.
My favourite memorial is the 17th century Skynner family tomb to the right of the Chancel . All the figures, except the baby, are wearing Tudor ruffs. The husband faces his wife in her splendid hat, their tiny deceased baby between them, whilst at the base of the memorial their ten children kneel at prayer. One of the daughters holds a skull to indicate that she too died before her parents.
Skynner Family Tomb
In June this year the church confirmed an extraordinary finding. It would seem that one of its two Last Supper paintings, recently restored by Artist and Conservator Ronald Moore, has been identified as an original large scale Renaissance Altar Piece, perhaps even influenced by Veronese. “It’s probably mid-16th century from an Italian Renaissance painter who was aware of Leonardo’s Last Supper in Santa Maria delle Grazie in Milan….I think this is the lost Last Supper of Polidoro and friends “ Ledbury Reporter August 2018
The Last Supper showing details (below) from the whole (above) which stretches over 13 ft across.
If you do come to Ledbury, take the time to visit here. I might have noted a selection of some of St Michael and All Angels’ beguiling aspects, but there is a great deal more to Ledbury’s Parish Church.
Cork Harvesting – a one-man job
Cork, a beautiful material which has fallen from favour in recent years following over-exposure in the 1970’s, has a fascinating history and stunning properties. In a world that must manage resources more and more carefully, re-considering the use of cork is a great idea.
“Unusual” Uses of Cork
Portugal is the largest producer of cork by far and the wine stopper remain the most common use of the wood. But, would you consider sitting in a car seat made from cork? If you did your car could be 45 kg lighter, use less fuel and at the end of its life the seat would be entirely recyclable. This is one of the new applications being pioneered by Magna, the world leader in automotive parts. It is undoubtedly a supremely functional material, light, warm, water resistant and sustainable but what about good looking too? Here are some examples from Tinsmiths’ Homewares.
Tinsmiths’ Corkage – cork for bathroom, dining table and kitchen.
Rectangular Cork Placemat
Thick Cork Teapot Stand
Cork Shower or Bath Mat
Insulating Cork Tea or Drinks Tray
Large Round Cork Placemat
Cork Facts: Cork oak grows in areas of the world that would suffer desertification without it and provides employment for local people with specialist knowledge. Cork Oak is harvested from the outer layer of the tree every nine years, for an average of 150 years and when expertly done, the tree is unharmed. There is no waste in the processing of cork as even the smallest or least valuable pieces are used in a composite material that can be shaped and moulded.
The world’s largest and oldest cork oak is called Assobiador (whistler). This name is inspired on the sounds of the songbirds that land on its branches. This Cork oak was planted in 1783 and it is over 14 metres high and has a trunk perimeter of 4.15 metres.
Assobiador – 235 years of cork from the oldest known tree.
If you think, when strolling around Sagrada Familia Cathedral in Barcelona, that sounds are “soft” and the floor is warm – well guess what? Yep, cork.
Sagrada Familia Cathedral Cork Floor (Gaudi, Barcelona)
Finally, to make an even more forceful case for cork, let’s compare CO2 emissions; cork versus plastic stoppers? A plastic closure emits 10 times more CO2 than a cork stopper and an Aluminium cap closures emits 24 times more CO2 than a cork stopper. Hurrah for cork and its future use.
The beautiful little church of St Mary and St David at Kilpeck is one of the glories of Herefordshire.
Head west from Ledbury towards Wales, between the Dye and Dore valleys, to the tiny hamlet of Kilpeck (pop 211) and there you will find an architectural gem; a church built around 1140 decorated with masterpieces of red sandstone carvings and sculptures of such diverging themes and styles that no one interpretation of them seems to exists.
Described as one of the ‘most perfect Norman Churches in England’* the Parish Church of St Mary and St David at Kilpeck has stonework that has survived, relatively unscathed, the vagaries of war, famine, plague and religious fervour. These carvings are recognised as the best examples of the Herefordshire School of Romanesque Sculpture.
The church is open every day from nine until dusk. I have visited twice, once on a bitterly cold winter day and yesterday, in the heatwave heat of early June. On both occasions I have had the place to myself. This isolation and quietude add much to the experience of a visit there. There is the feeling you have stepped out of the twenty-first century and back into history.
Look closely at the carvings that abound at Kilpeck, both within and without. Here is the magnificent entrance of the South Door with its Tree of Life tympanum; it’s column stems where strangely dressed figures dubbed the ‘Welsh Warriors’ are clothed in soft shoes and Phrygian caps such as French revolutionaries might wear.
Look up at the corbel table and its gallery of over eighty ‘grotesques’ that runs around the whole of the outside of the church. Styles change with almost no repeating patterns or images. It is said that the lack of symmetry is a unique Herefordshire quality. There is a wealth of detail in the carvings and you will wonder what exactly is being represented here and where the carvers’ influences might have come from.
This mystery of interpretation makes the carvings particularly beguiling. The feudal society that built this church was dominated by early Christian culture and perhaps the images were used to educate an illiterate congregation? But that can only be a part explanation. Were the masons influenced from Scandinavia as well as the pilgrimage routes of southern Spain and France? Is it agreed there is a mix of styles from Vikings, Saxons, Celts, Frank and Spaniards?
The Welsh Warriors
Amongst the corbel carvings there are mythical creatures and there are scenes of religious iconography and daily life. Records show there was a weekly fair at Kilpeck: do these dancers, musicians and animals; a ram, dogs, doves, bears, rabbits and an upside down pig represent the nature of village life? With the Green Man and the Sheela-na-Gig are we reaching back into a pagan past that has been absorbed and reinterpreted by early Christianity ? At least two terrifying creatures, the Mantichore and the Basilisk are recognizable from the Medieval Bestiary. Are those two entwined figures, wrestlers or dancers or perhaps lovers or maybe even, as someone has suggested, a gay couple? Are the snakes a symbol of Christian evil or are they pagan symbols of rebirth and the continuation of life?
Snake detail on South Door
Sheela-na-Gig and Monster
Even today we have no certainly of interpretations but the history of interpreting can be entertaining. The rare Sheila-na-Gig, a woman holding her vulva wide open, was apparently described by a straight-laced scholar as ‘A fool opening his heart to the devil’! Perhaps it was this interpretation that saved the explicit carving from destruction. Was it Victorian puritanism that removed some of the other missing corbels? More speculation.
Within the simple whitewashed interior of the church there are more treasures to wonder at. There is a pre-Saxon stone stoup, carved as two hands clasping a pregnant belly that has been given snakes for feet and which today has been filled with June flowers.
On the day of my visit, a poster on the village green invites everyone for tea the following Sunday to meet with the new vicar. It seems incredible that there has been continuous worship for over a thousand years at Kilpeck.
On my visit to the church I felt a calmness and spirituality all about, but most of of all I felt a profound connection to the past. The skill of those early Herefordshire craftsmen present in the survival of their artistry transported me beyond the twenty first century and the rural farmlands of the Marches into a collective past that places us firmly within the history of Europe and early Christendom.
* Simon Jenkins England’s Thousand Best Churches