It’s a sign: Penarth

I haven’t published a blog about signs for a while so, without further ado, here are some I’ve seen on my local exercise walks.

Dogs must be led
To mark the passing of 117 years since its opening, I blogged about Penarth’s Alexandra Park back in June 2019. This sign, mandating that ‘dogs must be led’, can be found on one of the park’s main entrance gates. I’m not sure if the sign is as old as the park or, indeed, what dog control bylaws were in place in 1902. Regardless of the instruction, or the current bylaws, almost every dog owner ignores this sign and allows their dog (or dogs) to roam at will. This may surprise readers in other countries, as it also surprised me when I first moved to Britain from New Zealand, where dog control laws are much stricter and more tightly policed.     

Do not cut bait on the decking
I also blogged about the opening of Penarth’s pier on its anniversary, this time the 124th anniversary (Penarth: the opening of the pier, April 2019), though this is, of course, a much more recent sign. Fishing off the pier is actually banned during the summer months of June, July and August, and, at other times, is restricted to specified areas but, even there, it seems the anglers have been damaging the wooden boards with their knife work, hence the need for this sign. It’s not one I’ve seen anywhere else.

Dangerous cliffs. Keep away
I rather like the contrast between these new and old signs, warning those who dare to walk along the shore beneath the Penarth Head cliffs, of the danger of falling rocks. Unfortunately, despite plenty of visual evidence of recent rock falls and even, in places, the sound of constantly falling pebbles, many people ignore these signs and walk far closer to the bottom of the cliffs than is healthy.

As you can see, the old sign also warns the unwary of being caught by the high tides. This should also not be ignored, as the Bristol Channel has the second highest tidal range in the world, at between 12 and 14 metres, and there is literally nowhere to go if you get caught below these cliffs when the tide is at its highest extent. 

I find it particularly interesting that, while both signs give their warnings in English and Welsh, the old sign also repeats the message in French. Were the majority of tourists visiting Penarth in times past of French origin, or were the locals expecting an invasion?

Hedgehog crossing area
I definitely approve of signs like this, warning vehicle users to be aware of animals, of all kinds, crossing roads, though in this case the sign seems rather superfluous. 

It’s at the blocked end of a little-used lane, where at most two residents’ cars would pass. Also, the gate to which it’s attached doesn’t have a hole at the bottom for hedgehogs to pass under and into the garden beyond. 

Perhaps the residents just want to show their general appreciation of and support for any hedgehogs that happen to be passing. Can hedgehogs read, I wonder?

Cardiff art: Three Ellipses

If you’ve ever walked over the Cardiff Bay Barrage, you might have noticed splotches of yellow paint, seemingly splattered randomly around the lock area, under your feet, on parts of railings and halves of benches, partially covering life buoys, swiped across fixtures and fittings. It’s really quite bizarre!

As well as being the colour of sunshine and warmth, yellow is also a colour of caution, warning of the need to be careful, to take safety precautions, so painting surfaces yellow can indicate trip hazards, concealed danger, potential obstacles. But that doesn’t seem to be the case here.

The colour yellow is also known for its high visibility, which is why it’s often used on road safety signage, on ambulances, police vehicles and fire engines. The colour can be seen, the painted shapes recognised from a distance. Now maybe we’re getting closer to an explanation of the Barrage blotches?

There’s only one way to solve this mystery, and that’s to stand in one specific spot on the Barrage near the locks and look seaward. Only then can you see, in its entirety, the amazing artwork that is Three Eclipses for Three Locks.

The brainchild of Swiss artist, Felice Varini, who specialises in optical illusional artworks, this piece was painted on the Barrage in March 2007, by a team that included professional mountain climbers to paint the less accessible spaces. I love it for the way it challenges the mind of the viewer to figure out and complete the fragmented puzzle but I do think it’s time the Cardiff Harbour Authority repainted it. It would be a great shame, and a huge waste of the initial cost of £25,000, if this piece was allowed to fade into obscurity.

Llandough: inside St Dochdwy’s

I’ve blogged before about St Dochdwy’s Church in Llandough, the exterior of the church (Llandough: St Dochdwy’s Church, 3 April 2020) and, a few days later, the magnificent Irbic cross in the church yard (Llandough: the Irbic cross). At that stage, I hadn’t been inside the church but, recently, completely by chance, I had the opportunity to have a brief look inside and to grab some quick photos.

Completed in 1866, by Penarth builder David Jones to a design by Bristol architect Samuel Charles Fripp, the current church incorporates elements of the previous church on this site, in particular ‘the original Norman Chancel arch, which now links the south aisle to the bell tower’ (as per the St Dochdwy’s website).   

 An article from the Cardiff Times, 13 July 1866, reports on the opening of this new church:

RE-OPENING OF LLANDOUGH NEW CHURCH.

The consecration of the church at Llandough, near this town, which has recently been rebuilt and enlarged, took place yesterday (Thursday). A large and highly respectable congregation was present, and it was with difficulty that sufficient accommodation could be provided for the worshippers. The new church was built in consequence of the old one being too small for the requirements of the increasing population, and the rebuilding was principally brought about through the exertions of the rector, the Rev. H. H. K. Rickards, and Mr. R. E. Spencer. The new edifice has been erected on the east side of the old church. The design belongs to the decorative period of Gothic architecture. Both externally and internally it has a good effect. The chancel arch of the old church has been restored and used in the new building. The church is built of Leckwith stone, lined with bricks, and freestone is used for the windows, doorways, and pillars. There is a conspicuous tower, and the church being on elevated ground, it is visible from a great distance. The principal entrance is to the west, and immediately opposite the altar, over which is a large stained memorial window, to the late Rev. James Evans and his son the Rev. Charles Evans. Two fine freestone pillars on either side support the aisle arches and open stained wood roof. The side windows are also ornamented with stained glass. The pews are of stained wood and without doors. In the course of time, should further accommodation be required, this can be provided by taking down the west wall. The cost of the re-building is £2,600, all of which has been subscribed with the exception of £500. Mr. Fripp, of Bristol, was the architect, and Mr. David Jones, of Penarth, the builder ...

When I entered the church, my eye was immediately drawn to the design of its brickwork, a stunning example of ‘the decorative period of Gothic architecture’ referred to in the newspaper report. This polychromatic brickwork is very similar to that inside Penarth’s St Augustine’s Church, designed by renowned architect William Butterfield, though it is not believed to be Butterfield’s work.   

The church also features some beautiful stained glass windows, including a 5-light traceried window in the west front wall, though I didn’t have time to examine the many windows closely. And I’m sure there are other features that will repay a second visit, when the current pandemic restrictions allow that to happen.