The National Museum of Wales owns two fine oil paintings of Margam House, viewed from the north and the south, completed sometime around the turn of the 17th century. A closer look reveals a substantial garden pavilion, known as the Banqueting House, at a little distance from the house. Margam’s mansion has been remodelled a number of times, and the Banqueting House too has seen some changes: it was relocated in the 19th century and survives today as the facade of a very imposing  cottage.

The Banqueting House at Margam was probably built by Sir Edward Mansell, 4th baronet (1637-1706), and was still new and fashionable enough to make a big impression when the Duke of Beaufort and his train stayed at Margam on the Duke’s Progress through Wales in 1684. Thomas Dineley accompanied the Duke and kept an illustrated journal: he records that on Saturday 16 August the party were conducted to the ‘Summer Banquetting-house’ which he described as symmetrical and ‘after ye Italian’ with ‘excellent sculpture’. Inside an ‘infinity of Dutch and other paintings [made] a lustre not to be imagined’. The floor was of marble from Mansell’s own quarries in Wales, and was richly designed in ‘black, red, mixt and white’ stone. The Banqueting House has long been attributed to Inigo Jones, but there seems little evidence, and Dineley makes no mention of an architect.

Bishop Pococke, the constant traveller and diarist, reached Margam in September 1756, and saw the ‘very fine summer house’. He described the interiors as having a fine walnut staircase with balusters carved as Corinthian pillars, an inlaid floor, and a ‘wainscot carved and gilt’. He also admired the floor of the entrance which was paved with ‘very beautiful’ marble from the ‘quarries of Gower’.

The Banqueting House was probably taken down in the late 18th century when Thomas Mansel Talbot (1747-1813) demolished the old mansion, although he continued to maintain and develop the park and gardens as a pleasure ground to visit from his new home at Penrice. Christopher Rice Mansel Talbot (1803-1890) built the Margam Castle that we see today a generation later, and it is he who is credited with re-erecting the facade in its current position at the entrance to the walled garden in around 1837 (neither cottage nor walled garden appear on an estate map of 1814). The rather smart cottage became home to the gardener, and over time the building became known as the Temple of the Four Seasons, after the statues that were installed later in the century (although there is an argument that the statues are not actually representations of the seasons).

A number of 19th century gardening magazines featured the gardens at Margam, but it is curious that the temple was seldom noted, although visitors did tend to be sidetracked by the ancient Chapter House and the late 18th century orangery, which measured over 100m in length. There is a rare mention of the structure when the ‘front of the gardener’s house’ was admired in 1861.

The ‘interesting fragment’, with the statues in situ, was noted in 1909, but by then it seems to have been allowed to decline: old postcards show it covered with climbing plants and slowly disappearing into the surrounding shrubbery. It is no surprise to learn that it became known locally as Ivy Cottage.

Margam was purchased by the local authority in the 1970s, and opened to the public as a country park. In 2011 experts began to look for a sustainable use for the grade I listed building as part of the Heritage Lottery Funded restoration of the park. It was decided to restore the cottage as a holiday let, and project architect John Malaiperuman drew up plans. The historic front was repaired and conserved, and the Victorian cottage behind it renovated using traditional materials.

Margam Country Park is fascinating and full of interest, especially the amazing orangery – which is a tale for another day. Meanwhile, you can learn more here http://www.margamcountrypark.co.uk/15996

For more on the holiday let see https://www.holidaycottages.co.uk/cottage/14865-ivy-cottage-at-margam-country-park

In the late 18th century industry was booming in the area around Swansea in Wales. Ever more sophisticated machines were powering the various works, and coal was required to fuel the industry. With copper works and coal mines, John Morris was a wealthy man and lived in style at the newly-built Clasemont , a grand classical mansion. The unusual structure he had constructed to house some of his workers was also eye-catching, but within decades it was dismissed as a folly.

John Morris (1745-1819) was a partner in Lockwood, Morris & Co., the biggest of the copper smelting enterprises in the area, and the rapid expansion of the works meant further housing was needed for his workforce. On the hill called Cnap Lwyd he built a vast fortress-like structure, with four corner towers and a central courtyard, which quickly became known as Morris Castle. It provided homes for a number of families (accounts vary between 20 and 40), and was one of the earliest examples of a tenement for estate workers. Probably designed by architect John Johnson, who also designed Clasemont (or Clas Mont or Glasmount), the castle had decorative quoins and battlements made of copper slag, a by-product of the smelting process. The waste could be moulded into blocks, their darker tone and soft sheen contrasting nicely with the local building stone.

But whilst handsome, Morris Castle was not practical. A passer-by in 1776, only a few years after it was completed, found there was already dissent: ‘Mr Morris has built a very large house on a high hill which makes a striking appearance for the Workmen to dwell in, but they complain of clambering up to it’. By 1796 the grand hillside fort was shown to tourists as ‘Morris’s Folly’: the development had been an experiment that failed. Would the workpeople ‘go the summit of a high hill and live in “flats” … when there was plenty of space for pretty little white-washed cottages?’, queried a later writer, before concluding: ‘They would not!’.

Morris learned from his mistakes, and when he created a new town for his workers in the late 1770s, the buildings were conventional cottages and on lower ground. This planned settlement, named Morris Town or Morriston, thrived, and in 1819 the ‘houses for the poorer classes’, neatly arranged in straight lines, were considered ‘excellent and commodious’: by that date Morris Castle did not even merit a mention.

The mock castle did however continue to fulfil its role as a dramatic eye-catcher from Morris’s nearby demesne, making a ‘striking appearance’ on the hilltop. The landscape around Clasemont combined manicured elegance with the thrill and curiosity of heavy industry, which some early visitors found ‘wild and romantick’. This view was clearly not shared by Morris’s son, Sir John Morris 2nd bart (his father had been created a baronet in 1806), who after his father’s death in 1819 demolished Clasemont and built a new mansion a few miles away at Sketty, where he could escape the noise and dirt of industry. Clasemount’s site was later developed, and today the principal building on the former estate has a postcode that will be familiar to many: SA99 1BN, home of the Driver and Vehicle Licensing Authority.

Morris Castle was offered for sale or to rent in March 1811, but there is no record if there was any interest. The building was still inhabited (presumably by those who had no other option) when Rev. Walter Davies wrote his General View of the Agriculture & Domestic Economy of South Wales in 1814. He praised Sir John as ‘the most extensive individual builder of comfortable habitations for the labouring classes’ and described the tenement as a ‘kind of castellated lofty mansion’. At that date it was largely home to colliers, but there was also a tailor and a shoemaker as ‘useful appendages’ to the family of residents. By the middle of the 19th century the building had become redundant, supposedly undermined by coal workings, and by the time the 1st edition Ordnance Survey map was published in 1877 it was described as ‘in ruins’.

The land on which Morris Castle was built was the property of the Duke of Beaufort, and when Morris’s lease expired it reverted to the estate. The building continued to deteriorate and in 1990 there was a further collapse. The surviving fragments were scheduled by Cadw and Swansea City Council bought the site from the Beaufort Estate. Hopefully this dramatic Swansea landmark can be saved from further decline.

Not enough of Morris Castle survives to illustrate the use of furnace waste as a decorative building material, but across the river Severn in the Bristol suburbs stands Arnos Castle (aka Arno’s Castle, or the Black Castle), where the material is used on a much greater scale. Built for William Reeve in 1764, the slag blocks were produced at his copper and brass works. The unique structure, which a visitor in 1777 described as looking like a ‘Fairy’s Castle’, housed his stables and was restored in the 1990s; it is now home to the Black Castle pub.

Thanks to The Garden Historian for discovering the important contemporary reference to the building as ‘Morris’s Folly’.

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