St Michael, Clyro

      Of all noxious animals, too, the worst is a tourist.  And of all tourists the most vulgar, ill-bred, offensive and loathsome is the British tourist.

     To Hay-on-Wye on Thursday (only four books bought).  Thursday chosen because it was market day - always the best day for visiting a country market town.  On the way back home we made a small detour to Clyro, just over the Wye from Hay and at the very south east tip of old Radnorshire.  My interest was sparked a couple of years ago by watching, on YouTube, a documentary made for the BBC by Sir John Betjeman on the 19th century clergyman and diarist Francis Kilvert.  'Vicar of the Parish' was made in 1975/6 (broadcast Thursday 29th July '76), directed by Patrick Garland and produced, for BBC Wales, by Derek Trimby.  It has a wonderful melancholic air and good use is made of the 'Sea Slumber Song' from Elgar's 'Sea Pictures'.  There is, sadly, evidence of Betjeman's increasing Parkinson's Disease; he spends most of the time in front of the camera sitting down.

     Francis Kilvert, born 1840 in Wiltshire, came to Clyro in 1865 as curate.  He stayed until 1871, when he returned to Wiltshire before returning to the Marches in 1876 to the living of St Hamon in Radnorshire. From 1877 until his death two years later he was vicar of Bredwardine over the border in Herefordshire. His diaries, started in 1870 and continued until his death, open a window onto rural provincial life in the 1870s.

     And so to the church.  It stands in the midst of a large graveyard.  All that remains of the Medieval structure is the study w tower - belfry stage added 1897.  The rest of the church was rebuilt in the 1850s by the Hereford architect Thomas Nicholson (1823-1895).  Chancel and nave with north aisle.  Decorated detailing. Local rubble stone with bath stone (?) dressings.  Betjeman sometimes wondered if Victorian churches would ever 'soften'; judging by St Michaels perhaps not.  The interior, with the exception of the chancel is light-filled and not at all bad, though on the dull side.  There are few furnishings of note.  Lavish funerary monuments in graveyard.

Habitat Catalogue 1981/2

     So here I am with yet another vintage Habitat catalogue.  This time from 1981.  A rather jaunty cover, mainly blue and yellow, busier than before with just a smidge of vulgarity.  The aesthetic has changed - more sharper and hard-edged, less homely.  That change detected in the 1978 edition continues to grow. The catalogue interior, however, tells a slightly different story, in that it is more evenly balanced between the new hard style and the old humanism.  In fact some of the images, say of the 'Arbour' bedroom range, look like they've been used in earlier editions, however the presence of a new wallpaper range 'Kandi' on the wall shows that the image was taken specifically for the 1981/2 edition. Habitat as evolutionary, and perhaps even conservative.  As for the eclecticism of earlier catalogues, apart from the lighting, Art Deco Revival has disappeared, as have the Liberty prints, but the Laura Ashley inspired 'ditzy' print 'Tangleweed' remains.  Brown is on the way out and there is an increase of bright primary colours and pastels, with mixed results.  
     One of the delights of the Habitat catalogue are the little extras in the way of articles.  This edition has four written by members of the Conran stable such as Stephen Bayley* (Bauhaus furniture), and Antonio Carluccio (Italian cooking).  I guess, in a way, it makes Conran seem like Henri Gautier Villars.

     Several of the new style home sets, it has to be said, are really quite awful. The worst is the room created by Stafford Cliff; perhaps not bad, but hardly domestic.  More suitable for a commercial space. Born in Australia, Cliff, I should remind you at this point, had been the Art Director of the Habitat Catalogue for 10 years from 1971; this then could be either his final catalogue, or the first without him.  I know that this is tantamount to heresy, but I'm that not that impressed with the room set designed by Terence Conran either.  It just seems a bit tired.  The work of a man with a busy schedule and little time to spare. But then, I suppose, Habitat seems to have quite the history of bad design**, in the same way it was quite good at simulacra.  Anyway the good....

The bad....

 And the strange....

*  Described once as Robin to Conran's Batman

** For example, pattern design, which, on what ever surface, was always a bit of a weakness.

The Mechanics Institution, Neath

      To Neath Great Fair on Wednesday.  Soft, almost wistful, sunshine and the streets of the town centre full of stalls and people.  The founding charter was granted in 1280 by Gilbert De Clare, making the oldest Charter Fair in Wales.  At one point it was one of nine fairs held in the town annually.  As you might have guessed it is the sort of event I approve of, however it has, perhaps, seen better days.  We went home after an hour

     It was my first visit to the town and I must say I was pleasantly surprised though the place is in need of some tlc.  Its bones, however, are good, and it is certainly pleasanter than the centre of Swansea.  There is enough to draw me back.  Nestling in the quiet enclave of Church Place we found this rather fine example of Victorian Classicism:  The Mechanics Institution of 1847.  Alfred Russell Wallace was the architect. It is still in the Georgian tradition, yet the detailing, which has a curious flatness to it, has a freedom that would have not been tolerated back in the day.  Interesting play between textured wall and smooth mouldings.  It is now the office of the local civic society.