The postern gateway is located near to Mortimer’s Tower. It was used as another exit from the inner bailey. This would be a good defensive feature in he event of a siege, as it forced an invading army to split its forces between 2 entrances, making them easier to overcome.
Overall, Ludlow Castle seemed to be very well defended during the Norman era. The most important defensive features such as the curtain wall and the towers still remain to remind us how well guarded it was, but there are still many features which require a lot of careful examination and imagination to re-create an image of what a strong and protected fortress it once was.
Question 2: How was the Inner Bailey Chapel Originally Designed
The Inner Bailey Chapel in Ludlow castle was originally made up of two buildings: the circular nave, which was used for worship; and the chancel, where the asp and the Alter stood. The Nave is still standing with many of its original features still in tact. The Chancel, however, is largely destroyed. In this section I will be studying the visible remains and other sources to explain how the design of the chapel has been altered since it was built in the Norman era.
For the moment I shall concentrate on the Nave. It is circular in shape, which is very rare. It is based on the design of the Church of the Holy Sepulchre in Jerusalem, built 1048, supposedly on the site of Christ’s tomb. As it is still standing, we can draw many conclusions about its design from its original features.
The outside of the Nave was richly decorated with the following examples of Norman architecture: a stringcourse around the bottom third of the nave; rounded arch windows; and a Norman archway, elaborately decorated with chevrons (zigzags), dovetail and billets. These typical Norman adornments help us to confirm the original date of construction to early 12th century.
Around the outside of the nave, it is visible that many alterations have been made over time. Tudor-style mullion windows have been inserted on each side of the arch, obviously to let in more light, suggesting an extra floor was put in just above. This would obstruct the light from the Norman windows above and provide the need for more windows lower down. The notes of William St John Hope, a historian who lead an archaeological study of the castle, verify this evidence, saying “the putting in of a new floor necessitated the lighting of the lower chapel by two large square headed two light windows inserted on each side in the back of the second arch from the door”. Again, this is proved by the presence of an enlarged window at the back of the nave, which resembles a door. However, this door would seem to lead to no-where unless another floor was added at that level. Although the windows and this door seem to provide sufficient evidence of another floor, there is the matter of accessing it from the ground. Some noticeable scars on the wall and some stone foundations in the ground imply that some sort of corridor lead from this door to a square doorway in the wall of the Great Chamber, which would also seem to lead to no-where. This theory is proved further by a plan of the castle by William Stukeley in 1721. This shows a passageway leading between the Nave and the North Range. We are inclined to believe Stukeley, as he was a clergyman and an antiquarian implying he knew a great deal about this field and was unlikely to lie. To convince us further, the notes of William St John Hope, say that “a floor carried by old corbels of various dates, was inserted at window level, 10.5 feet from the pavement…Access to this upper chapel was by a wooden gallery from the buildings on the north to the north window of the chapel, into which a doorway was intruded.”
Also noticeable from the outside of the nave is the difference in the colour of the stone towards the top of the nave. This suggests that it has been altered at the top. A sketch made by David Lloyd of the roof suggests that it was conical in shape. However, a sketch of the chapel by Thomas Dineley shows another structure with a triangular roof on top of the nave, which was not there on our visit. There are many noticeable mistakes about the sketch, which make us less likely to trust it. For example, the chancel is drawn from the wrong perspective: if you were to look through the entrance, you would not be able to see the chancel from that angle; and the chancel does not go back to the curtain wall. This leads us to believe that the picture is not entirely truthful, and its purpose may have been to show the nave in a more flattering way. On our visit, there was no roof to the chapel, however, from this pictorial evidence we are lead to believe that the roof was conical and then changed at a later date and had crenellations added.
Inside the nave, the walls are ornately decorated, with some white washed plaster still remaining. Obvious visible clues that this was once a place of worship are its beautiful, luxurious Norman sedilias (wall seats) decorated with typical 12th century blind arcading, carved chevrons and scalloped capitals (tops) of the pillars. Another clue are the corbels, which supported the floor mentioned earlier. These were decorated to resemble gargoyles, which were believed to frighten away evil spirits. These corbels were re-used from another building and added when the first floor was put in, according to the notes of David Lloyd.
The only remnants of the chancel are the stone foundations in the ground and the huge archway connecting the chancel with the nave. This building would have been used by the priest or clergyman and would have housed the alter table.
A sketch by David Lloyd suggests that the chancel originally stopped short of the curtain wall. He suggests that the chancel was square with a polygonal apse at its east end. The footings of this polygonal apse can still be seen and felt under the ground. We are likely to believe Lloyd about this theory, as his previous assumptions have been correct according to the visible remains. However, the foundations stretch right up to the curtain wall implying that the chancel was extended. The curtain wall has here been raised and pieces of stone cut away to suggest a wall once joined onto there. Stukeley’s 1721 plan of the castle shows the Chancel to go all the way back to the curtain wall. St John Hope asserts that the “Norman chancel was taken down to its plinths and replaced by one half timbered construction extending from the round nave right up to the curtain wall, against which its abuttal is traceable,” This corroborates the words of David Lloyd and the visible evidence. Both historians also agree that two scars on the outer wall of the nave show where the original roofline was. St John Hope quotes that it was “as shown by its line on the nave wall, was of lofty pitch with projecting eaves.” Lloyd’s diagram of the chapel corroborates this. However, only St John Hope describes the altered chapel roof to be flat and covered with lead, and as it was not there on our visit, it is impossible to tell from the remains of the chancel what the altered roof looked like.
Most of the visible evidence was corroborated by pictorial evidence from Thomas Dineley and David Lloyd and the notes of William St John Hope. However, in my opinion, the only truly reliable source, is the 18th century plan of the castle by Stukeley, who was around at the time to see for himself what the castle was like and the most likely to be truthful as he was a clergyman. Anything we are unable to tell from his plan remains to be an educated guess, but a great deal is left up to the imagination. I think it obvious that the chapel is of Norman design and that all the alterations made were made to modernise the chapel and therefore make it more a practical and comfortable place of worship.
Question 3: What evidence do you have that Ludlow castle changed into a luxurious home and centre for political administration
C1280-1600?
Ludlow castle was originally built in the Norman period a highly defensive structure to subdue the Welsh. Most of the Norman features are linked to defence, such as the gatehouse keep, the curtain wall and the flanking towers. However, there is evidence to show that the role and function of Ludlow castle changed from being a defensive structure to a fortified palace in the 13th century to a centre for political administration in the 16th century.
The castle was originally owned by the de Lacy family, and then came into the hands of Peter de Geneville in 1283. It was around this time that Edward I defeated Llewellyn, the Welsh price, after he refused to pay homage to the English monarch. This brought Wales under English rule, reducing any threat of invasion along the Welsh border dramatically. This allowed defences around Ludlow to relax, and Peter de Geneville began to build the North range, converting the castle into an impressive luxurious home.
The north range is characterized by its typical early English architecture. Many of the original features that remain in rooms such as the Great Hall, Great Chamber and Gardrobe tower and the rest of the North Range help us to date it to the 13th century. These rooms themselves are evidence of its purpose as they all relate to comfortable residential accommodation.
The Great Hall was a large well-lit room with a gabled roof. The large windows had pointed arches and ornate Y-tracery, indicating its is of early English design. A stone pillar in the middle of the floor provided the base for a fireplace to keep guests warm. The huge floor space implies that the room was used to accommodate lots of people with space for dancing and feasting. These are all distinctive features of residential rooms. The remaining white washed plaster on the walls and the window seats at floor level are evidence that it was once richly decorated and intended to impress important people.
The same can be said of both the Great Chamber and the Gardrobe tower. The Great Chamber was linked to the great hall via a door on one of the upper floors. Large stone corbels at the same level as the floor indicate that there was once perhaps a balcony, enabling the Lord of the castle to look down on the people below, without having to mix with them. This is a symbol of great wealth and power, as are many features of these rooms. Other examples would be the enormous fireplaces, decorative doorways and huge stone corbels which supported heavy floor beams. These floors had to be stronger to support the all of the heavy, well made, expensive furniture owned by the Lord. The gardrobe tower in itself would be a defensive weakness, as the gardrobe could be used as an entrance during a siege at times of desperation. It too is decorated with an early English design window, and has elaborate fireplaces.
All of these features would be defensive weaknesses if the Welsh had not been defeated. As there was less risk of a siege or attack, we believe the evidence shows that more people were able to live there comfortably and so Ludlow became a stately home.
It is believed that since the Tudor period, Ludlow increased in importance, and therefore became a centre for political administration. In 1473, Edward IV sent his son Edward to be brought up at Ludlow, away from the plague and other problems in London. The noblemen sent to guide and accompany him formed the Prince’s Council. This council gradually gained power and responsibility over the government of Wales and the bordering counties. This caused it to be seen as the capitol of Wales. As it was almost fully responsible for Wales, Ludlow castle was the most obvious place to collect taxes from and to establish law courts. This became its function at around the early Tudor period.
Evidence of this change of role of the castle lies in the construction of the Judge’s Lodgings and the prison. The Judge’s Lodgings have many features of a traditional Tudor residence. It is quite obvious that it was used by someone of great importance, such as a judge or visiting Lord, due to the expensive decorations and its elaborate residential features.
The Tudor Mullion windows have grooves, which imply that there was glass there, a very expensive luxury in those days. The decorative corbels and herringbone-backed fireplace, not only suggest that there were three stories, but also help us to date the room to the 16th century and symbolise wealth and splendour. The spiral staircase inside a polygonal tower provides further evidence that the room was on several levels and built in Tudor times.
The prisons, complete with distinctive gargoyles to prove that it is Tudor, also indicate that the function of Ludlow castle was for political and judicial purposes. According to another source, the law was supposedly enforced so vigorously at Ludlow that “all the thieves in Wales quaked for fear.”
It is mainly the visible remains, which help us to understand how the function of Ludlow castle changed over time, but from other sources, it is also noticeable how much history and the influence of just a few important people can change the role of such a huge, majestic building.
Question 4: How and why has Ludlow Castle been Interpreted As A Romantic Ruin?
Since it has become uninhabitable, an air of mysticism has shrouded Ludlow Castle. This faded link with the past is now regarded by many as a “Romantic Ruin”, believing that it holds keys to things long forgotten. In this essay I shall investigate how and why Ludlow castle has been interpreted in this way.
The late 18th to early 19th century saw in a cultural revolution known as the Romantic Movement. This knew style of art and literature was characterized by its intense expression of love, nature and emotions. Ludlow castle, with its picturesque scenery became an inspiration to many artists during this time. For example, J.M.W Turner, a famous British artist, painted a rather flattering watercolour of the castle, with the River Teme and its surrounding greenery in the Foreground.
From its colour scheme to its detailed subjects, the painting embellishes the castles beauty to evoke a feeling of wonder inside the viewer. The large ruined castle in the background dominates the landscape, giving an impression of power and majesty. Though the geography is mostly accurate, showing the escarpment and the river, the natural beauty of the place is exaggerated by the presence of an Italian tree on the right hand side to stand out from the typical plain British vegetation. The subjects of the painting are three young women, sitting on the riverbank gathering reeds, with expressions of content on their faces. This implies how relaxed and peaceful life was, a time when you could enjoy working in scenic areas in glorious weather and have no worries about bringing your children with you (one of the women is holding a baby). The river itself is a symbol of peace and tranquillity. The colour scheme is very bright and cheerful, with yellows and greens, along with the setting and weather. This use of pathetic fallacy emphasises how the setting portrays the mood. All of these features show the castle in a positive light.
The 1813 poem by Thomas Wright, ode to Ludlow castle, also views it in a Romantic way. It concentrates on comparing the ruin with the most exciting events that occurred in its history, such as battles and feasts in the Great Hall. In these glorious anecdotes, Wright uses emotive language and strong praise to make you feel in awe of the castle. For example, one verse of the poem exclaims, “From yon high tower the archer drew... burst from the thundering gate.” This makes the castle’s history seem exciting and heroic, and consequently entertaining. The description of the armour makes it seem more accurate and believable. The verse “In happier times, how brightly blazed…where now the ivy crawls” describes celebrations, extravagant feasts and times of happiness that cannot be equalled. The description of the decoration, “billets”, again is quite accurate and intriguing. All of these stories of the castle at its peak give an optimistic perspective of the castle that is quite biased.
Perhaps the most influential factor of how the castle has been interpreted as Romantic would be its very on Love story, set right in the heart of Ludlow castle. The Fitzwarine Romance is a typical story of how a young woman helps to free her lover who is being held captive in the castle, and then is spurned by him when he returns to invade the castle. She then gets her revenge by murdering him in his bed. This tale conveys the themes of love, and the chivalry and heroism that surrounds the image of war, giving the impression that everyone was happy and brave. It also has heartbreak and tragedy, creating pity and empathy. The feeling that you cont know exactly where in the castle the murder took place makes it mysterious and intriguing. All of these emotions that the tale evokes in you are entertaining and exciting.
One reason why Ludlow has been seen as Romantic is its scenery and location. The pleasantly charming foliage surrounding the place implies peace and happiness, whereas the castle being situated on a hill makes it seem dominant and almost protective of its surroundings. Due to it becoming uninhabitable, the castle then had no purpose, it was lonely, and people began to see it in a new light. For example, Daniel Defoe called it “the very perfection of decay”.
The 18th and 19th century also saw the dawn of the Industrial Revolution, which changed many people’s lives. These massive changes in society included the flocking of people from the countryside to crowded, poverty-stricken cities. This caused much anxiety stress for people who remembered the good old days back in the country when you could live peacefully and happily working for yourself. Therefore, the middle ages were seen as a simple and secure time to live.
The Romantic Revival again brought the middle ages into favour. The many pieces of art and literature were inspired by tales of castles, damsels in distress and their knights in shining armour. For example, both Sir Walter Scott and Alfred Lord Tennyson (who wrote Lancelot and Elaine) were fond of writing about the middle ages. These entertaining stories led people to believe how wonderful it was to live back then. Another example would be from the diary of Anna Marie Fay, who said “Ludlow contains several objects of interest, not the least important of which is the castle, where kings have dwelt, whose crumbling walls have often echoed to the voice of mirth and with the din of war.”
The Grand Tours of Britain and Europe by the rich and wealthy led places like Ludlow to advertise themselves as tourist attractions to bring in money. Today the tourist industry is very important to small country villages such as Ludlow because of high unemployment levels. For example, the annual medieval Christmas festival draws in many people and lots of money. Also Shakespeare plays put on in the inner bailey draw many people because the castle creates a better atmosphere as it is like an original setting that was here at the time of Shakespeare. Another attraction is its links with royalty, as people find this very interesting. For example, it is believed that King Edward IV’s sons Edward and Richard lived at Ludlow castle for some time before they were brutally murdered in the Tower of London. This creates an air of mysticism, and intrigues visitors to think more about what could have happened in the castle whilst they were alive, providing entertainment and interest. Evidence of this is an extract from the diary of Anna Maria Fay, who visited the castle. She says “It was to this castle that Edward sent his infant sons, Edward, newly created Prince of Wales, and his young brother, and here they remained. After the death of their father they were removed to London by Richard the Third to perish in the Tower.”
All of these important factors have led to the castle being viewed as a Romantic ruin. Although I feel that this is quite a biased view, I think that it is quite valid, as the impression you get from the castle when you walk in evokes all of these feelings, which the stories and legends try to make you realise. Now that the castle has no purpose other than as a ruin, we are lead to concentrate on functions it had in the past such as its connections with royalty and warfare. It has now become a tourist attraction; with a reputation to uphold about how Romantic the castle is. The industry depends on people finding the castle interesting and exciting and this view emphasises both points.
However, with only this view of the castle in mind we would forget about the many roles that Ludlow castle has played in history For example, we would not realise that it was a centre for political administration in the 16th century. We also would not remember all of the hardships faced by people in the middle ages, such as poverty, famine and disease. This would leave a gap in a very important part of the castles history.
I personally feel that this view is valid in many ways because of the feeling you get when you walk into the castle. You are immediately struck by the thought of how old the building is and how many secrets it has kept over the years. This feeling of amazement justifies how Ludlow Castle is a Romantic Ruin.
