MARQUESS OF ANGLESEY COLUMN
Conservation Plan Chambers Conservation Ltd, March 2020 – Issue 1 (draft)
Prologue
This report, commissioned by the Anglesey Column Trust, has been written by Jennifer Chambers BA (Hons) BArch RIBA SCA IHBC of Chambers Conservation Ltd. The purpose of this report is to assess the history, character and significance of the building and its components to help guide future decision making and change.
Chambers Conservation Ltd [email protected] 07484 133270 [email protected] 07919 300428 Registered address: 88 Tattenhall Road, Tattenhall, Chester CH3 9QJ www.chambersconservation.com
1.0 Introduction
1.1 Chambers Conservation Ltd has been appointed to write this Plan to help inform project to repair and once again provide visitor access to the column.
1.1.1 Well-known architect Thomas Harrison was commissioned in 1816 to design a monument for the people of Anglesey and Caernarfon to commemorate the Marquess of Anglesey. 1.2 The column and surrounding site are owned by the Anglesey Column Trust. The Trust is a group of local volunteers, chaired by the current Marquess of Anglesey, who are passionate about restoring the Column site to its full glory so that future generations can enjoy what this wonderful landmark has to offer.
2.0 Context
2.1 Description of the Heritage Assets:
Column 2.1.1 The column is a grade II* listed structure.
2.1.2 The Doric column is 34.2m high from base to the top of the statue. The base consists of three levels of large squared steps topped with a single-storey element which has a doorway on the west facing side and engraved memorials (in English, Welsh and Latin) on the remaining sides.
2.1.3 The shaft is a stop-fluted cylinder, made up of large ashlar blocks. The top approximately two-thirds has concave fluting, the bottom third, simply faceted. There are regular slot windows providing glazing (and probably originally ventilation) to the stairway. 2.1.4 At the head there is a small projecting capital, supporting a simple square platform which comprises two layers of thick stone slabs. A railing has been fixed to the edge of this platform.
2.1.5 On the platform there is a single-storey cylindrical element that acts as a plinth to the later statue. The plinth as a domed top and a doorway leading from the top of the stair. Above the door is a plaque.
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2.1.6 The statue is constructed of bronze and stands 3m tall. It depicts the Marquess of Anglesey, Henry William Paget of Plas Newydd in his military regalia. The statue faces approximately south-east, towards the Britannia Bridge.
2.1.7 The exterior is constructed from grey marble quarried at Moelfre. 2.1.8 Internally, there are 115 timber steps supported by a long timber newel at the centre.
Column Cottage
2.1.9 The cottage is a grade II listed building. 2.1.10 The cottage is situated at a lower level, about 300m to the north of the column. It is a simple, single storey stone building with later additions. It is thought that it was built as a caretaker’s cottage but more recently served as a ticket office for the visitor attraction with toilets around the back. Front elevation of the cottage, now sadly boarded up
2.2 Surroundings
2.2.1 The top of the column is understood to give spectacular views over North West Wales, including Snowdonia, Anglesey and the Llŷn Peninsula. 2.2.2 The column is situated just over 100m above the Menai Strait. The Britannia Bridge rail and road crossing is less than a kilometre away and the Menai Suspension Bridge is just a little further along the Strait.
2.2.3 It is within the largely residential area of Llanfairpwllgwyngyll but close to more open areas, in particular that of the Plas Newydd estate. Llanfairpwllgwyngyll acts as a gateway to Anglesey and is a tourist attraction in its own right. 2.2.4 An area wrapping around the column (and two other separate areas) have been designated a Site of Special Scientific Interest known as Anglesey Blueschist SSSI.
Main driveway access
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3.0 History
Construction of the Column 3.1.1 Following the Napoleonic wars of 1803–1815, there was a nationwide desire to honour those who had served their country. North-east Wales was no exception and their local hero was the Marquess of Anglesey (William Henry Paget) who had an estate nearby at Plas Newydd. Paget had been the Earl of Uxbridge prior to being honoured and given the tiles ‘Marquess of Anglesey’ in 1815. The local community wished to commemorate his roles in the Peninsular War and as commander of the Allied cavalry in the Netherlands at the battle of Waterloo, where he lost a leg.
3.1.2 Initially there had been two separate funds for the memorial project – in August 1815 a meeting had been held in Caernarfon which resolved to start a fund to erect a monument ‘as a testimony of their sense of the gallant conduct of the noble Marquess’. A second fund had been started by the ‘Gentlemen, Clergy and Freeholders of Anglesey’. It was only when a meeting was held in September 1815 in Beaumaris that the two groups united in their cause (reported later in the North Wales Gazette of 5th of October 1815):
‘A subscription commenced, pursuant to Resolutions entered into, at a General Meeting of the county of Anglesey, held at the Grand Jury Room, Beaumaris, on Tuesday the 26th of September, 1815, for the purpose of enabling this county further to testify its high admiration of the heroic conduct of the gallant Marquis of Anglesey, in the memorable battle of Waterloo; and also to afford an opportunity to the other counties of North Wales , of uniting to shew their sense of the brilliant achievement of their distinguished countryman, by erecting an Obelisk, or other Trophy, to commemorate his fame’.
3.1.3 Just a month later the position of the memorial was apparently fixed as being near the ‘Bangor-ferry’ which provided a vital transport link between the George Hotel, Bangor 1913 OS plan and Porthaethwy, Anglesey – one of the ancient ferry routes across the Straits. 3.1.4 By 1816, the well-known north-west architect Thomas Harrison had been appointed for the project. It was started in June 1816 and completed in September 2017. The column was built of ‘mona marble’ a limestone quarried in Moelfre (before being shipped to the shore, near the site) and the mason listed as Mr Milnes of Oswestry. It is understood that there is no mortar was used in the stonework joints - it is likely the
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brass clamps were used, as they were known to have been incorporated into the very similar Lord Hill’s column in Shrewsbury just a year earlier. It should be noted that the initial construction did not include the statue – the cylindrical plinth at the top was left bare. 3.1.5 The 1844 tithe map shows no detail for the site, but the associated apportionment lists it as being a ‘parc y twr’’ (park and tower), it being occupied by Pierce Jones and owner by ‘The Most Noble, the Marquis of Anglesey’.
Installation of the Statue and Construction the Cottage
3.1.6 In editions of the North Wales Chronicle of August and 4th September 1858, an advertisement was placed in the on behalf of ‘The Marquess of Anglesey’s Column’
asking for a contractor to erect a circular wooden staircase inside the column – it is Etching of the column from 1823, prior to the erection of the statue presumed that no stairs had been in place prior to that time. It is almost certain that and railings the stairs were an agreed prerequisite to the installation of a statue to the top of the column, following the death of the Marquess in 1854. Similarly, there were no railings initially, so it is likely that they were installed at this time – it is unclear from photographic evidence as to whether the upper doorway was in place or not in the initial construction.
3.1.7 The first mentions of a statue appear in the North Wales Chronicle in January 1859: ‘An eminent London artist (Mr. Noble) has undertaken the work, and to place it in its position for the sum of £1,000, of which the family have contributed £600 – a further fund-raising campaign was commenced’. 3.1.8 The statue, cast in bronze by ‘Messrs. Robinson and Cottam’, was hoisted into place on 24th of November 1860 – the hoist was an elaborate structure designed by J.S. Haslam, who was associated with the Plas Newydd estate. The installation method was described in detail and illustrated within the Illustrated London News 15th December 1860. The work was carried out by Welsh carpenters and Anglesey ‘seamen’. The spectacle was reportedly witnessed by around a thousand people, including Haslam and sculptor Matthew Noble.
3.1.9 Very little is known about the cottage – it does not appear on any nineteenth century photos or illustrations, although this may be more to do with a topography of the land and the artistic eye of the illustrator. By its appearance, it is likely to date from around the mid nineteenth century – this would logically tie it to the time of the installation of the statue – with the stair and railway having been installed, there would have probably
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been a need for more management of the site and it may have been that point where a fee was charged for people to go to the viewing platform. In 1903 there was newspaper reference to the cottage being the home of Harriet Roberts who at that time was in charge of the place and admission of visitors – this was in connection to the sad death of a lady who committed suicide from the tower.
3.1.10 The cottage is clearly on the 1913 ordnance survey map. This plan also gives a little bit of an impression of the landscape that the column sat within – footpaths connected the monument to the roads to the north and south and would have allowed for a number of looped perambulations around the site – allowing views both out to the land cape beyond and of the unusual blueschist rocky outcrops.
Later Changes
3.1.11 The column was floodlit in 1958, with electric cables run up the interior and notched into the south-facing steps. At some point in the 20th century, the platform railings were changed. 3.1.12 The Column was listed grade II as a building of special interest in 1952 - its designation was lifted to grade II* in 1992. 3.1.13 The history of the cottage is not clear, particularly as no access has been possible into the interior prior to writing this report. However, the evidence of the exterior and the OS mapping indicates that the building would have once been a simple cruciform shape, consisting of 3 rooms – at the time of construction it is likely that there was a separate outside toilet. Probably, around the turn of the 20th century, an inside toilet and bathroom would have been built on the north-east corner – it is not clear whether there is anything left of this fabric or whether it was rebuilt completely during the mid- late 20th century construction of the flat-roofed elements. These late additions included public toilets (accessed from the rear) and a conservatory, which has been more recently rebuilt in UPVC. Image from the London Illustrated News 1860 of the statue being installed
The Column Site Today
3.2 The Anglesey Column Trust was incorporated in the UK in June 2007. In May 2008 the company was granted a 999 year lease of the Marquess of Anglesey's Column at an annual peppercorn rent. The Anglesey Column Trust was formed to maintain and
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protect The Marquess of Anglesey's Column and its surroundings for the benefit of the local community and visitors to Anglesey.
3.3 A large area wrapping round the column was designated a SSSi on 21st October 2010 . 3.4 Sadly, the Column itself was closed to the public in 2012, when the internal staircase was deemed unsafe. 3.5 In 2016, the Anglesey Column Trust commissioned a structural engineers report, which concluded that the Column is structurally sound but requires significant work to restore the central staircase. 3.6 In November 2018 the National Lottery Heritage Fund approved a Development Phase grant of £59,800 for the Trust to develop more detailed plans for a full grant application for £640,000 to be considered by the National Lottery Heritage Fund in 2020. Grant support has already been additionally awarded by the Anglesey Charitable Trust (£10,000) and by the Architectural Heritage Fund (£5,000).
3.7 It is intended that the cottage near the base of the Column will provide a tearoom, shop, interpretation of the heritage and architecture of the Column, and space for Plan of the cottage showing relative ages of building fabric learning activities, school visits and wider educational use. The project will feature an interpretation scheme throughout the site that will tell stories about the local area and the significant history connected with the Column. This response facilitated the development of costed plans to carry out a full repair and restoration of the Column 19th century fabric and the cottage at the base of the Column to provide a tearoom, shop, interpretation of the heritage and architecture of the Column, as well as space for learning activities, Possibly c. 1900 school visits and wider educational use. The plans also include the innovative idea of installing an accessible viewing platform from the base of the Column so that everyone Mid 20th century can enjoy the magnificent views afforded by the Column's location.
3.8 To support this project the Anglesey Column Trust, in collaboration with Bangor University and The Institute for the Study of Welsh Estates (ISWE), appointed a ‘Research Officer’ via the University’s Internship scheme to carry out research into some aspects of the history of the column. This report was published in 2019 and provides some useful refernces for primary sources of evifence such as minutes and newpaper articles.
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3.9 Heritage Context
Other columns and Similar Monuments
3.10 Lord Hill’s Column in Shrewsbury is remarkably similar to the Anglesey Column and has connections to Thomas Harrison, although he did not prepare the initial design. The Shrewsbury column was initially designed by local architect Edward Haydock – his commission had been on the basis that Harrison would make alterations to his design and take responsibility for its construction. Harrison reportedly changed the style from Roman Doric to Greek Doric and introduced a much higher base, which included lions. The column was built by 1817 and stood to commemorate Lord Hill, who had been famous for his role in the victories at the Peninsula War and, with similarity to the Marquess of Anglesey, his role alongside Wellington at the battle of Waterloo. Lord Hill’s column is similar in size to the Anglesey Column, although it has a larger base – presumably as it is on much flatter ground and therefore the visual stability of the structure is important, whereas in Llanfairpwllgwyngyll the hill itself provides a visual base. Again, to provide a stronger base, projections were placed at diagonally at each corner of the base. The statue at the top of the monument was completed at the same time as the column as is made of Coade stone. Another major difference is the internal cantilever stone stair, instead of the presumably cheaper timber one. A more subtle difference is the fluting continues the full height of the shaft, instead of the stop-fliting in Llanfairpwllgwyngyll. Where the columns are remarkably similar is in their upper two-thirds – the seven window vents, capital, platform and cylindrical plinth on the top are nearly identical.
3.11 Considerably nearer to the site, just on the shores of the Menai Straits, is the Horatio Nelson Memorial Statue. It was erected by Admiral Lord Clarence Paget, the fourth son of the 1st Marquess of Anglesey. It was unveiled on the banks of the Menai Strait in 1873 as a landmark for mariners to mark dangerous rocks in the neighbouring The very similar Lord Hill’s Column in Shrewsbury channel of water. It is considerable smaller in height than the Marquess of Anglesey’s column – it stands on a simple random rubble square stone base. The statue itself is stone also and like its taller neighbour, it is on a square platform with a balustrade that can be accessed from a stair in the base. 3.12 Elsewhere in the UK, there are few much earlier examples of commemorative columns. Wren set a much earlier precedent for monumental columns in 1671-77, when he designed the monument to the Great Fire of London (known simply as the ‘Monument’. The Cobham Monument in Stowe, Buckinghamshire is also significant for being an earlier structure (c. 1740) designed by Gibbs and/or Capability Brown and represents
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the fashion for using columns and other classical structures or ruins as ‘eye-catchers’ within designed landscapes or views.
3.13 A significant trend for columns came immediately after the Napoleonic wars (1803– 1815). Structures built immediately after this time include the Waterloo Monument in Dumfries in 1816 and near Jedburgh on the Scottish borders was built between1817 and 1824. Both of these are towers of a simpler form than the columns but no less effective as local landmarks. 3.14 Nelson’s Column and the Duke of York Column in London were both built later, completed in 1843 and 1832 respectively. 3.15 A later column of a similar size can be found in Liverpool – the Wellington Column on William Brown Street, near St George’s Hall, was built to commemorate Wellington, but was not completed until 1863, partly due to delays in finding a suitable site. The design was by Andrew Lawson of Edinburgh
Wellington Column in Liverpool
Thomas Harrison (1744-1829) 3.15.1 The Marquess of Anglesey Tower was designed by the renowned Thomas Harrison, who worked extensively across much of the country but most notably in Chester and Lancaster, where he designed significant new bridges across both the Dee and the Lune as well as the civic buildings at the Castle, Shire Hall and Armoury (now the Crown Court) (Chester) and Gothic Shire Hall and Gaol (Lancaster). Harrison studied for a period in Rome, at which time he carefully recorded some of the ancient ruins and undoubtedly gaining a love of classical architecture and an understanding of the precision needed to design such buildings. Harrison left a considerable legacy of late- Georgian predominately neo-classical buildings and structures, greatly varied in form and type. Unusually, Harrison seemed to also have quite a passion for engineering, designing notable bridges as well as towers and columns. 3.16 Harrison’s work on the column in Shrewsbury has already been noted – it is thought that his commission in Anglesey must have come about from his work in Shrewsbury Admiralty Arch, Holyhead – in the month the last stone was laid in Shropshire in June 1816, the first was being laid on Anglesey. After his work in Anglesey, he advised in a letter dated 1819, that there might be better uses of money – first example by building buildings to house the recently acquired collections, such as the Elgin Marbles. However, he designed a second monument on Anglesey in 1821 – a gateway to Holyhead to commemorate the landing of George IV (known as Admiralty Arch).
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3.17 Slightly earlier is the Jubilee Tower on Moel Famau, near Mold in North-East Wales – also by Harrison - it was built between 1810-12 to commemorate George III’s golden jubilee. It was originally built as an obelisk standing on two-stage base – sadly only the base survives after an 1860s storm caused severe damage. It was built in the Egyptian Revival style.
3.18 John Champness reports in his book, ‘Thomas Harrison: Georgian Architect of Chester and Lancaster 1744 – 1829’ that Harrison had prepared 14 different designs to act as a ‘testimonial’ to the defeat of Napoleon (these are now reportedly housed in the Cheshire Archive).
Matthew Noble
3.19 Matthew Noble was a portrait sculptor from near Scarborough. He was the son of a stonemason but left for London at an early age to study under sculptor John Francis. He regularly exhibited work at the Royal Academy and was known for his competition- winning design for the Wellington Monument in Manchester in 1856 as well as other busts and full-sized monuments around the country.
Jubilee Tower, Moel Famau, near Mold Neoclassicism 3.19.1 Britain gained a taste for mainstream revival classical styles following the publication of a number of significant and influential works on the subject such as Palladio's Four Books of Architecture (1715), although the country had of course seen the seminal work of Inigo Jones a century earlier. This Palladianism led on to Neoclassicism by the 1750s which included a broader range of classical influence, most notably from Ancient Greece. Designers such as Harrison were inspired by the excavations at Pompeii as well as the work of British contemporaries such as Robert Adam and William Chambers. John Soane was a particularly important architectural figurehead of this period, bringing his detailed understanding of classical architecture (learnt on the popular Grand Tour) into his publicly important buildings which included the Bank of England and the Royal Academy.
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4.0 Significance 4.1 Significance – Introduction:
4.1.1 Cadw suggest that to help reach a shared understanding of the special qualities of our historic assets, we can consider significance as a family of four heritage values. These are:
• Evidential value
• Historical value
• Aesthetic value
• Communal value 4.1.2 This report then goes on to describe the specific significance levels of the site’s elements:
• The column
• Column Cottage
• The immediate column grounds
• The wider grounds and setting
th 4.2 Evidential value: Early 20 century postcard images of the column
4.2.1 Evidential value is the potential of a place to yield evidence about past human activity. 4.2.2 The column survives remarkably intact – there are no known elements missing from its original form. The later additions mostly date from the c. 1860 addition of the stair and statue. The statue itself is intact – whilst the stairs are in poor condition and probably beyond repair, they would still provide good evidence of how they were built – the newel for instance is possibility of high interest as it is suggested that it was constructed from old ships masts – this can probably be checked when safe access becomes available.
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4.2.3 The cottage appears to provide a connection to the Plas Newydd estate, in terms of its similarity to other lodges – externally it retains original features, but the condition of the interior is not known – any internal features are likely to help reveal the date and original use of the building. Looking from the plan, the original layout of the cottage remains legible.
4.2.4 Due to the high degree of survival of original fabric and features, the column has very high evidential value. Depending on the survival of internal features, the cottage is likely to have moderate evidential value.
4.3 Historical value:
4.3.1 Historical value is the ways in which past people, events and aspects of life can be connected through a place to the present. 4.3.2 The column is an important reminder of a period in British history. It reminds us of the Napoleonic wars but also the 19th century trend for figureheads, local and national, being seen to make improvements to the lives of others, in this case by building a permanent reminder the great acts of a local hero. In terms of the local area, I was also built at a period of great change, as Anglesey – significant improvements were being made at the time of the erection of the column in terms of the turnpike roads and by the time of the installation of the statue, both bridges across the Menai Straits had been put in place.
4.3.3 The column is clearly significant for its commemoration of the Marquess of Anglesey, who played a vital role in the Peninsular War and at the battle of Waterloo. The good level of documentation on the column also provides an interesting account of the local gentry and figureheads who donated to the column fund.
4.3.4 The connection of Thomas Harrison, one of the country’s best-known Georgian architects, adds further to the historic value of the column – he design of neo-classical structures was incredibly well respected and he only carried out a handful of commissions in Wales. 4.3.5 The sculptor of the statue, Matthew Noble was also known on a national level and his work was clearly of a very high standard, as evidenced by it being featured at Royal Academy exhibitions.
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4.3.6 In summary, due to the connections with the Marquess of Anglesey, Thomas Harrison and Matthew Noble, the column has a very high degree of historic value. Relatively little is currently known about the cottage’s history, therefore it can only be considered as having moderate historic value, but this may change if more information comes to light.
4.4 Aesthetic value:
4.4.1 Aesthetic value is the ways in which people draw sensory and intellectual stimulation from a place.
4.4.2 The column is a meticulously designed structure – Harrison would have given great attention to detail in its design, with proportions being vital to the successful formation of any classical object. An example of this is the stop-fluting, which is only on the top two-thirds of the column. The quality of the stonework is considerable – it is likely to have been built without mortar – with the stones held together with brass clamps – this would have entailed considerably skill and precision in the cutting of the stones and their erection. The visual affect is of a very smooth and almost seamless community of lines. 4.4.3 The statue was also crafted with great skill and care – considerable detail was incorporated into the casting – whilst it has not been possible to view the statue up- close in recent years, photographs available prior to the 2012 closure show that even the texture of the fabric of the Marquess’s uniform is shown, as is that of the feather of his hat.
4.4.4 As well its aesthetic qualities that can be appreciated close-up, the column was also designed to have a positive impact on its surrounding landscape. The picturesque movement had become an important influence in design in the late 18th century and had led to a fashion for classical features to be set within natural or created landscapes. Columns or other tall objects such as obelisks were often placed on hills as ‘eye-catchers’ to be seen across many miles and in particular from the estates of wealthy land-owners. It is clear that this was also the intention here – that it can been seen from Plas Newydd as the end of the vista along the Menai Straits – this is a view that the Marquess himself would have benefitted from, but also any visitor to Anglesey would have seen the column perched picturesquely on top of the hill as a welcome to the island. Illustration of the statue from 1860
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4.4.5 The cottage itself has a good degree of aesthetic value, at least without the temporary security measures (such as the boarding over of windows). The form of the original building is very attractive and its roofscape is of particular importance as it is viewed from above – the chimneys are grouped together as three diagonally set stacks and the gable end parapets with a simple finial at each apex. The stonework is attractive with a pleasing mix of gritstone quoins and random rubble infill. 4.4.6 In summary the column has a very high aesthetic value due to the quality of its design and visual contribution to its setting. The original elements of Column Cottage would have a high aesthetic value once the temporary security measure could be removed.
4.5 Communal value:
4.5.1 Communal value is the meanings of a place for the people who relate to it, or for whom it figures in their collective experience or memory.
4.5.2 The fact that the building of the column and subsequently the erection of the statue both made national news shows that the site has always had a wide appeal. It is in a prominent position and many people will associate it with arriving on the Island of Anglesey, which historically, would have been a considerable undertaking by road. 4.5.3 Certainly, after the erection of the statue, it would have become a tourist destination in its own right – and therefore people would have had many positive memories from visiting. The cottage would be included as part of this experience as it would have been used as the pay-point and probably for 4.5.4 Sadly, since its closure, the communal value of the site will have diminished – public access is no longer possible, and trees have grown up to such an extent that its visual impact is lower. Where decades ago the communal value would have been very high, in its present condition the site could be considered as having a moderate communal value as it would not feature in the collective memory of as many people.
4.6 Significance of the Column
4.6.1 The above analysis shows that the column has a very high significance across three of the heritage values – the third, communal value, is of a lesser magnitude but only,
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hopefully due to the temporary nature of the site’s closure and the subsequent lack of maintenance of the surrounding vegetation.
4.6.2 The column is quite remarkable for the survival of its key components in an intact condition and through the connection to the historical events, figureheads and designers. The aesthetic value is considerable both in terms of the close-up quality of the design and detail but also in terms of its contribution to the wider setting. 4.6.3 The overall very high significance of the column is demonstrated by its status as a grade II* listed building.
4.7 Significance of the Column Cottage
4.7.1 The significance of the Column Cottage is harder to define at this stage without knowledge of the interior or very much information of its construction. At present, the evidential, historical and communal value of the Cottage is considerable to be of a The cottage viewed from the near the column moderate level. The more considerable contribution of the building is in its attractive appearance (again not considering the temporarily security measures) and contribution to the setting of the column – this aesthetic value is of a high magnitude and justifies the building’s status as a grade II listed building.
4.8 Significance of the Immediate Column Grounds
4.8.1 The immediate grounds do not appear to have any features that predate the past few dates – elements such as railings and fencing are of a basic quality and do not made a positive contribution to the site. There are some modern elements such as sheds and large floodlights that detract from the setting of the column. The planting is mixed – there some attractive elements (such as camellias or other shrubs), but it is not likely to be historic. 4.8.2 The visual connection between the column and cottage is still present and the winding path between the two elements gives an appropriate approach. The column viewed from the near the cottage
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4.9 Significance of the Wider Grounds and Setting
4.9.1 The wider setting includes the remarkable blueschist rocks that have resulted in the SSI designation. These rocks are fascinating in their own right and many local residents often enjoy walks through the wooded areas around the column, although there is no current connection to the top of the hill. The 1913 OS plan shows paths in the setting of the column – most of which still exist today. No manmade features have been found as part of this study in the surrounding area except perhaps the steps leading up to the side gate next to the cottage, which may be 19th century in origin, albeit with more recent alterations.
4.9.2 Sadly, the column is almost entirely hidden from the areas of paths around the site – Postcard image of the view from the cottage old images show that it would have once been quite prominent. The significance of the surrounding grounds, therefore currently relates only to the blueschist rocks and to a small extent the paths that were known to exist at least one hundred years ago. The aesthetic value, in terms of the visual connection to the column is almost entirely lost.
4.9.3 The column remains an important feature within its wider setting of the Menai Straits however as it is visible over many miles and is still an important ‘eye-catcher’ in many views, for example from the shore at Plas Newydd. the
4.10 Defining Significance levels:
4.10.1 It is useful to define the relative significance of the various elements to help guide future change. It should be noted that this assessment should be expected to change as the understanding of the historical development and importance of the fabric inevitably evolves over time. One of the many long-distance views towards the column – from Y Felinheli, near Caernarfon 4.10.2 The following categories are used to define significance levels for this building:
• Very High significance: an element of considerable architectural, historical or social interest, that plays a vital role in the significance of the site as a whole
• High significance: an element of architectural, historical or social interest, that plays an important role in the significance of the site as a whole
• Moderate significance: an element with some general architectural, historical or social interest but with few specific features
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• Limited / Neutral Significance: an element without features of interest or known specific historic or social interest
• Detrimental: an element that is detrimental to the significance of the site as a whole
4.10.3 The plan on the following page is to help define the relative significance of the site and to help guide future change. They cannot say where change can take place, but guide where it is most likely to be appropriate, subject to further investigation and obtaining the necessary consents.
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SHEDS
Driveway from road
COTTAGE
Steps from car park
Very high significance
High significance
Moderate / Limited Significance
Detrimental
COLUMN Unknown
PLAN SHOWING SIGNIFICANCE OF SITE ELEMENTS
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5.0 Risks and Opportunities
5.1 This section explains what is happening to the site, how it might be vulnerable and what the potential threats are to its long-term survival.
5.2 Risks and Threats
Condition of Building Fabric
5.2.1 It was only possible to view the column and cottage from the outside at ground level. Information on the condition of the column (in particular concerning the interior and upper levels) was also gained from the condition survey by Adams Consulting Engineers Ltd dated 2016. 5.2.2 The condition of the stone elements of the column appears to be good – there is no Base of the column – the door is now boarded over. The railings / immediate threat to it its long-term survival. The main issues with the stonework are handrails leading to the entrance are poor quality and visually largely aesthetic ones – staining means that it is less easy to see within the landscape intrusive and may detract visitors. Run-off from the bronze of the statue and rusting from the railings has added to this general staining.
5.2.3 In addition, there are a few other, currently relatively minor, issues concerning the columns exterior:
• The railings on the viewing platform are rusting badly and are likely to be beyond repair. Where they are fixed into the stone slab there is a risk that the expansion of the ferrous material may cause damage to the stone.
• The door at the base of the column is decayed at its base
• The railings leading to the main door are very crude in quality and appearance.
• The floodlights at the base of the statue are rusting and causing staining.
• The plaque at the top of the column has been damaged by graffiti and the inscription is in danger of being lost
• A small section of the moulding at the top of the column has come off – there is Damage to the steps caused by the installation of electrical cables no evidence that this is likely to occur elsewhere, however.
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• There is a crude strip of mortar (approx. 50mm wide) going up the steps at the base where the electricity cables have been let into the face of the stone
• There is a (historic) crack to the domed base on which the statue stands
• The steps up to the doorway on the base are crude – they are made up of large loose-laid sections of stone simply laid on the existing large steps 5.2.4 Internally there are the following main issues:
• The timber steps are extensively decayed – they are not safe to use
• The steel connectors at the bottom of and between the sections of the timber newel are rusting badly
• Electrical / light fittings are rusting badly and will no longer be safe to use 5.2.5 The cottage is only visible externally – no information on the condition of the inside was available. External issues include: Rear of the cottage • Blocked rainwater goods and valley gutters – this is likely to be causing water ingress internally
• The parapets at the gable ends have been patched over repeatedly – this indicates a history of water ingress internally
• Some of the stone walls to the side and rear have been rendered over (it is assumed) – this render is likely to be hard and cementitious, which may add to the damp problems.
• The modern extensions are very crude in quality and appearance and are detrimental to the character of the listed building
• The boarding over of windows and doors is likely to make any damp problems considerably worse as there will be no ventilation. 5.2.6 The site itself is in fair condition – it is clear that attempts are being made to keep planting in check and it is not currently becoming too overgrown. Side of the cottage
Accessibility
5.2.7 In summary, access is a major issue and the column site would not currently meet the requirements of the Equality Act if it were to reopen with just the necessary repairs
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made. Whilst ascending to the top of the tower is likely to be an activity that is inevitably more suited to the fit and healthy, the following aspects means that the site falls far short in terms of even basic provisions, e.g.:
• Not allowing views out across the Menai Straits and surrounding area
• Not allowing for a close-up view of the column to those with difficulties in walking
• Lack of any provision of interpretation again for those with any sort of disability
• Lack of accessible WC facilities
• Difficulty in using walkways with no handrails
Use / Designations
5.2.8 There are / may be the following issues regarding the use of various parts of the site:
• Potential conflict between the needs of the listed buildings and the SSI – in particular in terms of the enhancement of the setting / restoration of views. There are also likely to be protected species in the site that would be affected, for instance, if the height of trees was to be reduced
• Increased knowledge of the site may result in more trespassing and therefore vandalism
• Intensifying the use of the site to generate necessary income may mean that there is a greater need for obtrusive alterations – this would be in terms of the need for more buildings / facilities but also signage / bins etc that might clutter the setting of the column
• The residential use of the area surrounding the site may cause some difficulties for a project that included enhanced facilities as vehicular access would probably be limited together with restrictions on noise etc from events.
Impact of Alterations
5.2.9 If not carefully designed, alterations to the fabric or fittings of the buildings could have a negative impact on their appearance or significance. If changes are not adequately considered by an experienced and suitable team, the trust may waste money on detailed design work that is either a) rejected by a conservation officer / other statutory
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body; b) is implemented without consent and there is a risk of enforcement action; or c) is of an inappropriate quality and the work is needed to replace the affected fabric in a short period of time, costing more money in the long term.
5.2.10 Given the simplicity of the column, any change to it would have a large impact. 5.2.11 The south and east sides of the cottage, as well as its roof, are very prominent from the column, therefore change will impact the setting of the column – on the far sides alteration / extension will have little impact as long as the height of the structures in kept low.
Impact of Works to Reduce Carbon Emissions 5.2.12 As with any heritage asset owner, over the trust will undoubtedly be taking action over the forthcoming years and decades to reduce any carbon emissions it makes – clearly at the moment this is negligible, however, this would change if the site once again used regularly. If not considered carefully, works to reduce carbon emissions might put the appearance the building, its setting or even the historic fabric at risk. Issues might include:
• Erection of solar panels or turbines in positions that adversely affect the setting of the listed buildings
• Changing of windows to the cottage - this would impact on the building’s appearance
• The introduction of insulation to walls, roofs or ceilings to the cottage – this might affect the breathability of the existing structure and in turn lead on to problems such as condensation.
Security Measures
5.2.13 Ineffective security measures put the fabric of the building at risk from vandalism, fire or theft.
5.2.14 However, security measures themselves may have a detrimental impact on the appearance or setting of the buildings. These might include:
• Poor quality or inappropriately designed / positioned barriers
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• Poorly positioned cameras / alarm boxes
• Installations such as security shutters
5.3 Opportunities
Preserving and Enhancing the Significance of the Building
5.3.1 The column has only been slightly altered over the years since the installation of the statue – there is an opportunity to enhance the significance of it further by:
• Replacing the added-on steps and railings near the lower door
• Replacing the old flood lights with more discrete alternatives
• Carrying out necessary stone repairs (to be undertaken by an experienced stone mason)
• Carrying out stone cleaning (to be undertaken by an experienced stone mason) – particular care needs to be used around the inscriptions.
• Replacing the existing steps up the column and repairing the timber newel
• Repairing the existing doors
• Proving ventilation to the interior of the column shaft
• Replacing the existing platform railings, removing all ferrous fixings into the stonework 5.3.2 The cottage has been altered in a more significant manner – there is an opportunity to Steps up from the car park and woods below enhance the significance it further by:
• Carrying out roof repairs, focussing on lead valleys and flashings as well as the refurbishment / renewal of rainwater goods
• Carrying out joinery repairs to windows and doors
• Removal of hard render to the chimneys and rear elevations (subject to trial areas)
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• Removal / replacement of the modern extensions – if replaced they should be of a more appropriate quality and designed and carefully positioned to cause the minimum impact when viewed from the column.
• Reinstatement of any lost internal finishes / features 5.3.3 The setting of the column and cottage can be enhanced by:
• Reducing the height of trees around the site to allow for views out and a complete view of the column from its surroundings
• Adding to the existing planting and replacing plants and trees where necessary
• Improving lighting
• Improving the footpaths
• Considering making specific ‘glimpse’ views of the column from the surrounding woodland
Public Awareness 5.3.4 Increasing public awareness of the site will enable more funding to be raised to enable the repair of the buildings and provision of enhanced facilities. 5.3.5 Once the project is complete, increasing public awareness will help generate income to ensure its long-term viability. It will also increase the numbers of people who visit and will therefore promote an understanding of what is special about the site and its connection to historical figureheads and events. It will also support other local attractions, such as Plas Newydd.
6.0 Policies 6.1 Introduction
6.1.1 This section sets out the guiding principles for looking after the listed building(s), informed by the previous sections of the document.
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6.2 Conservation
6.2.1 In order to conserve or enhance the existing building fabric, resolve any conflicts between the differing needs of the building / structure and meet conservation standards, the building owner and any tenants should:
• Carry out a regular update of the condition survey (every five years is recommended)
• Use this Conservation Plan to inform conservation-led change over the coming years and update it at regular intervals.
• Agree targets for implementing any required work and a process for recording progress
• Maintain a regular log of works carried out, in particular keeping records of material used (e.g. mortar mixes, paint types etc)
• Agree and record a protocol for maintenance works that can be carried out without professional help – for example, the use of specific paints, fixing methods, plaster, pointing etc. If should be noted that professional advice will be required to establish this initial list.
• Use the services of an architect or surveyor with proven experience in working with historic buildings for the specification and implementation of any other repair or alteration works. It would usually be expected that a conservation architect would have professional accreditation (e.g. AABC or RIBA SCA) – this is required by a number of grant-funding bodies.
• Ensure all contractors working within the building are experienced in dealing with the requirements of listed buildings / structures – this can be done by regularly Column glimpsed from the woods below – the blueschist rocks are clearly visible using the same people (e.g. maintaining a list) or by seeking out references from other listed building owners / managers.
6.3 New Work
6.3.1 It is important that any new design or building work:
• Does not damage heritage unnecessarily.
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• Anticipates impact on the listed buildings. Includes action to reduce that impact. (e.g. opening up and recording work).
• Is based on a proper understanding of what is significant.
• Makes use of appropriate materials
• Is located in the most appropriate place.
• Uses an appropriate approach to restoration, reconstruction and the reinstatement of lost features.
• Is of a suitable scale
6.3.2 The above objectives should be achieved by:
• Always referring back to this Conservation Plan before whilst making design decisions.
• Using the services of an architect or surveyor with proven experience in working with historic buildings to specify and monitor implementation alteration works.
• Consulting with heritage bodies at an early stage. 6.3.3 Alteration work should seek to include the reinstatement of lost elements or removal of detrimental elements from the historic buildings where there is good evidence of their design / form is available – this is likely to mostly apply to the cottage. Items may include:
• Reinstating lost windows and doors
• Reinstating fireplaces
6.3.4 Wider changes should also include:
• Addressing issues of accessibility around the site
• The provision of suitable facilities that will generate an income or help attract visitors e.g. toilets and a café
• Improvements to the landscaping of the wider area
6.3.5 The impact of any significant changes should be tested through the production of a Heritage Impact Assessment by an experienced conservation architect or heritage advisor.
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6.4 Management and Use:
6.4.1 The following policies should be implemented with regards to the management of the site:
• The trust should continue to get the best possible advice with regards to the viability of a visitor attraction and what level of visitor facilities are best to support it.
• Any proposals should make full use of the existing cottage building
• The numbers of trustees / volunteers should be regularly assessed, together with their needs to ensure that numbers are maintained.
• The level of security provision should be regularly assessed.
• The Trust should continue to expand its public awareness programme
6.5 Effects on the Environment
6.5.1 The trust should consider ways in which they can reduce effects on the environment by ways that will have little impact on the historic fabric of the building, for example:
• Encouraging visitors to use public transport
• Conserving energy (e.g. by changing light fittings or replacing an old boiler, more appropriate heating)
• Minimising waste
6.5.2 Construction projects should carefully consider:
• Inclusion of appropriate insulation (e.g. in the roof of the cottage if reslating or at ceiling level)
• A wider re-appraisal of the heating and electrical systems
6.5.3 It is vital that the impact of any changes is properly assessed, or example:
• The impact on the external appearance of the buildings and their setting
• Other physical effects, such as to fabric breathability
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6.6 Managing Information about the Building:
• All staff, volunteers and trustees are to have access to the Conservation Plan and will be made aware of its contents and purpose. It will also be made available to future architects or designers working on the buildings to ensure that decisions are based on the available information on its history and special interest.
• Historic information on the building, such as old photos, should be catalogued and stored in an agreed location so that they are available when needed in the future. The desirability for more information will be made public, so that further photographs or documents could be included within the collection if available.
7.0 Adoption and Review
7.1 This Conservation Plan will be formally adopted by the Trust.
7.2 It is to be reviewed every five years or at intermediate intervals when, for instance, more information comes to light or physical work is undertaken. 7.3 This Plan is to be stored both on paper and digitally by the Trust and copies are to be sent to the local authority conservation officer and record office.
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Appendices:
Appendix A - Sources
The main sources of information used in the production of this Statement were the fabric of the building itself and the detailed listed building description.
Reports referenced Include:
• Report on aspects of the history of the Marquess of Anglesey’s column Peter Crosby Research Officer - Undergraduate Internship Bangor University, for Institute for the Study of Welsh Estates (ISWE), Bangor University School of History, Philosophy and Social Sciences and The Anglesey Column Trust - V3 Final Edit 09.09.2019
• Structural Engineers Report Marquis of Anglesey Column by Adams Consulting Engineers, 27.06.2016
• Architect’s Submission Drawings - Maredudd ab Iestyn RIBA
Books referenced include:
• Champness, John - ‘Thomas Harrison – Georgian Architect of Chester and Lancaster 1744-1829’ University of Lancaster, 2005)
Websites / pages referenced include:
• Concerning the Horatio Nelson Memorial Statue: https://statues.vanderkrogt.net/object.php?webpage=ST&record=gbwa110
• Concerning Matthew Noble: https://www.npg.org.uk/collections/search/person/mp07372/matthew- noble
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Historic Newspapers from The British Newspaper Archive include:
• Chester Courant, July 1816 – description of laying of first stone
• Chester Courant, Sept 23rd 1817 - description of laying of last stone
• The Carnarvon and Denbigh Herald, January 15th 1859 – appeal for funding for statue
• Illustrated Times, December 15th 1860 – p. 1 – illustration of statue erected
• Illustrated Times, December 15th 1860 – p. 378 – detail of statue and description of erection
•
• The Illustrated London News, December 15th 1860 – p. 1 – illustration of statue erection
• Western Mail – June 30th 1958 – p. 2 – text on floodlighting of column
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Appendix B – Listed Building Descriptions
Anglesey Column
Entry Name: Anglesey Column Listing Date: 5 February 1952
Last Amended: 21 April 1998 Grade: II*
Source: Cadw Source ID: 5432
Building Class: Commemorative Location: Prominently sited on a hill called Cerrig y Borth overlooking the Menai Strait, N of the A4080(T) Holyhead road, on the approach to Llanfairpwll. County: Isle of Anglesey Town: Llanfairpwllgwyngyll
Community: Llanfair Pwllgwyngyll Built-Up Area: Llanfair Pwllgwyngyll
History
Built to commemorate the military achievements of Henry William Paget of Plas Newydd (1768 - 1854), leader of the British Cavalry during many campaigns of the Napoleonic era; the most notable being as Second in Command to the Duke of Wellington at the Battle of Waterloo on 18th June 1815, for which the Prince Regent showed his appreciation by raising the then Earl of Uxbridge to be the first Marquess of Anglesey. In September 1815 a meeting was held in Beaumaris to consider how best to commemorate the deeds of the heroic Marquess and to show the county's appreciation of him. It was decided that a tower or obelisk be raised on Cerrig y Borth,
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an ancient common about to be enclosed, from which the monument would be visible from Arfon as well as Anglesey. On the first anniversary of the Battle of Waterloo, 18th June 1816, the foundation stone was laid by Paul Panton of Plas Gwyn. It was hoped that the last stone would be in place by the second anniversary but work was not completed until 8th September 1817. The column as it stands today was not completed until 1860, after the Marquess had died, when the brass sculpture was placed on the top. The architect of the column was Thomas Harrison of Chester and the sculptor of the statue, Matthew Noble.
Exterior
Greek Doric column in ashlar, built of grey marble quarried at Moelfre, surmounted by railed platform enclosing circular plinth on which stands a brass statue of the Marquess in naval uniform. On the foundation stone there is an inscription, which also reads in Welsh and Latin;
The inhabitants of the counties of Anglesey and Caernarvon have erected this column in grateful commemoration of the distinguished military achievements of their countryman HENRY WILLIAM, MARQUESS OF ANGLESEY the leader of the British Cavalry in Spain throughout the arduous Campaign of 1807 and Second in Command of the Armies confederated against France at the memorable battle of Waterloo on the 18th of June 1815. Thomas Harrison Architect.
Interior The platform at the top of the column is reached by a spiral staircase lit by narrow lights.
Reasons for Listing An impressive commemorative monument, notable both for the architectural quality and scale of the original Greek Doric obelisk, and for the fine figure which surmounts it. A well preserved and conspicuous landmark on the NW shore of the Menai Strait.
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Column Cottage
Entry Name: Column Cottage Listing Date: 20 April 1998
Last Amended: 21 April 1998 Grade: II Source: Cadw
Source ID: 5464 Building Class: Domestic
Location: In an elevated position N of the A4080(T) Holyhead Road, c.50m N of the Anglesey Column.
County: Isle of Anglesey Town: Llanfairpwllgwyngyll
Community: Llanfair Pwllgwyngyll Community: Llanfair Pwllgwyngyll
Locality: Llanfairpwllgwyngyll
Built-Up Area: Llanfair Pwllgwyngyll
History A mid C19 estate cottage, with the picturesque styling and casement windows characteristic of Plas Newydd estate properties. Used by the caretaker of the Anglesey column and recorded in the 1841 census returns. The column was built to commemorate the military achievements of Henry William Paget of Plas Newydd (1768 - 1854), leader of the British Cavalry during many campaigns of the Napoleonic era; its foundation stone was laid in 1816 and the column finished in 1817.
Exterior
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Single storey estate lodge, symmetrically planned with central gabled porch to front and central rear wing. Built of rubble with gritstone dressings; slate roof with stone copings, kneelers and finials and three central diagonally set rendered stacks with ashlar scoring. Main entrance through 4-centred voussoir arch in porch, flanked by 2- light, 8-pane side hung casement windows with hood mould carved into lintels over. Windows in gable end as for front. Modern flat-roofed extension to rear.
Reasons for Listing
Listed as a good example of a mid C19 estate cottage, retaining much of its external character, and notable for its association with the Anglesey Column.
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