I get the impression that we’re in for another record breaking season of Atlantic storms – this one’s called Arwen but it might be better to name it COP1 and then carry on through to COP26 or more if needed. Down here in the relatively mild Southwest of England the main problem was wind overnight which, rather than battering the windows in gusts, seemed to seep through any gaps like a prolonged polyphonic sigh. These gigantic air masses fascinate me as they flow across the earth’s surfaces, competing, invading and clashing with their neighbours like ethereal versions of the tides, and just as potentially dangerous. Elsewhere there was snow, but here the drifts comprised leaves piled around the parked cars. The trees have taken on their winter form and the wet trunks gleam in the rain. The fabulous colours of the tulip tree beyond the window are now shining briefly on the grass before they’re gathered up. Some of them will end up on the allotment as leaf mould. Walking down to the farmers market today we suffered a bitingly cold northeasterly wind that, to our surprise, hadn’t deterred the crowds at all although some of the stallholders had moved pitches to get out of the bite of it as much as possible.
I haven’t written yet about our trip to Cardiff last week. Madame woke up at three o’clock last Sunday morning and said “I’m bored – I’m just so bored!” – which I took to be an announcement of lockdown fever rather than a premonition of impending divorce. We both feel more vulnerable now that the crowds are back, than we did when the streets were deserted and the shops closed, even though we’re both triple vaccinated. Anyway, I can take a hint so I renewed our lapsed railcards as soon as we got up, and booked a trip to the National Museum of Wales. It’s a brilliant place, and they run some really excellent and challenging exhibitions. They also have fine collections of ceramics and art. We’ve been watching a series called “The Story of Welsh Art” – actually we’ve seen all three episodes three times because they’re so interesting. Presented by Huw Stephens they show what a powerful and neglected tradition of art has existed in Wales. Coincidentally, Huw Stephen’s father Meic was the poet who first inscribed the slogan Cofiwch Dryweryn on a wall near Aberystwyth and which became the most memorable text associated with a very brief arson campaign aimed at holiday cottages. These two words were, he later said – ( a little ruefully perhaps), the best known two words he’d ever written. Trywern was the village flooded in order to provide a water supply for Liverpool. Whatever you think about that old campaign, the fact is that the artificial inflation of house prices by wealthy incomers has made it all but impossible for many young people to establish themselves in Wales – at great cost to the communities and the language.
Our train ride was made even more interesting than usual because I booked the tickets from memory and inexplicably I asked for returns to Grangetown rather than Cathays which is four stops in the opposite direction. We only thought about it when we got off the local train on a totally unfamiliar platform in a place we’d never visited before. Luckily there was a friendly woman who pointed us in the right direction.
The present exhibitions include one called “The rules of Art?” – the question mark is an essential part of the title and it addresses a question that always drops into my mind whenever we go there. The grand building and its huge collections – however priceless and rare they are – was enabled through the terrible exertions of men and women who created wealth out of coal and steel. Wealth that they never shared. It’s pretty much first cousin to the travails of the National Trust in England who are just beginning to address the fact that many of their grandest properties were built on slave money. I’ve never yet been inside Dyrham Park House, although we often visit the estate and gardens, because until recently the source of its opulence was never even captioned. Fortunately that’s now changing. I was delighted to see a collection in Cardiff of small paintings by William Jones Chapman who was a third generation member of an extremely wealthy steelworks family who took himself out of the grand family pile and lived in a small cottage near the steelworks and befriended and painted portraits of some of the workers there. These are thought to be the only named portraits of working people in the eighteenth century – isn’t that extraordinary? The exhibition really squares up to the dominant artistic traditions of the past and sets them against an alternative historical backdrop – it’s marvellous stuff! When the winds begin to blow, who knows where they will take us ?
Here’s my absolute favourite among the portraits – it’s of Thomas Euston – the Lodge Keeper at Hirwaun – I guess from his apparent age, a retirement job. The artist, William Jones Chapman was greatly liked by the workers who addressed him as Mr William – which seems to combine respect with familiarity and affection; a rare commodity, I imagine, in those rapacious days.