Tag: Treharris

Merthyr’s Lost Landmarks: Treharris Public Hall

Merthyr has last so many of its important buildings and landmarks in the name of ‘progress’. In a new regular feature, I hope to highlight some of the marvellous places that have disappeared into the ether.

We start with Treharris Public Hall. The following article is taken from the marvellous website http://www.treharrisdistrict.co.uk, and is transcribed here with the kind permission of the webmaster, Paul Corkrey.

Treharris Public Hall

During 1891, the growing population of Treharris and its districts, meant there was a growing need for a large public hall to be built, to benefit the people. The cost of the project was the main concern and it was decided to hold concerts to raise funds and shares were to be sold to enable it to be a reality.

One such concert took place in August 1891. A huge marquee capable of seating an immense number of persons was obtained and erected near Bargoed House. Through the kindness of Deep Navigation Colliery manager, Mr Stewart, the marquee was illuminated most effectively with electric light. Mr Alan Wyn conducted the Treharris Choral Union, in an excellent performance of Haydn’s “Creation”, a large crowd attended and good funds were secured to get the project moving.

On 3 October 1891, The Merthyr Express reported that practical steps had been made towards having a public hall built in Treharris. A meeting had been held In Perrott Street, at the Tabernacle Vestry, the colliery manager (Mr Stewart) presided, with all classes of people represented. The meeting decided to canvas for shares and a large number have been taken. Mr W Cuthbert Thomas was appointed secretary. It was proposed to erect the new public hall on the square, at a cost of about £2,000.

A further meeting took place three weeks later and a committee was appointed to deal with the site and further matters.

The Merthyr Express, November 21 1891 further reported that to show interest, the Colliery Company, wanted to take an interest in the welfare of their workmen, and promised to give £50 a year for 5 years, towards the hall, about to be built. This is in addition to subscribing towards 250 shares in the hall company and letting the ground, which is in the very centre of the village and is most valuable, at the nominal rent of 5 shillings per annum.

Two concerts were held in October 1892, to raise further monies for the public hall, the first was presided over by Mr Stewart the colliery manager, whilst the second was under the presidency of the Rev D Phillips. They were both held at the Tabernacle Chapel and both raised goodly sums.

May 1893, was an exciting time for the District and the huge building constructed on the square was now completed and ready to be opened…the Merthyr Express reported “that the directors of the Public Hall Company should be congratulated on having secured a handsome and commodious building, in return for their outlay. The formal opening is planned for Whit Monday and tickets for admission are keenly sought.”

A public procession was arranged with Brass bands, it started at 1pm prompt and many hundreds lined the streets and joined the procession.

Other reports suggest the final cost of the Public Hall was around £3,300, but it included a Library, committee rooms and reading rooms. The library had over 1400 books, some in Welsh, it was financially supported by contributions from miners wages.

The Miners Workmens Hall served the community for almost 100 years. It was a community building and was used for great events, with huge crowds attending. It was a Theatre and became known as the “Palace”, a popular cinema for many years. It later fell into disrepair and was used as a bingo hall, snooker club and even as an indoor market (for one week).

The building was a typical Workmen’s’ Hall design with two shops at its base, either side of the entrance and facing the square. In 1920 one shop unit was a grocery store and the other housed a branch of Barclays Bank.

The Public Hall is now the Palace Theatre. Barclays Bank can be seen at the right. Photo courtesy of http://www.alangeorge.co.uk/index.htm

By 1937 it was the Palace Theatre, and had a 28 feet wide proscenium and a 20 feet deep stage. There were three dressing rooms. At that time the Palace Theatre was equipped with a Klang-Tobis sound sytem. By 1954, an RCA sound system had been fitted. By 1963, Cinema scope had been installed, with a screen within the original 28 feet wide proscenium. There were now four dressing rooms. The Palace Cinema was still open in 1966, but had closed by 1980.

The demolition of the Palace Cinema commenced on the 25th of January 2000. The site has been acquired by the Merthyr Tydfil Housing Association who are proposing to construct flats on the site. That was later discounted a green area was put there before further redevelopment in 2013.

During 1996, there were plans to try to save the building, now under private ownership, many of the villagers did not want to lose the historic building. Unfortunately, it was not to be and by 2000 the building was totally demolished, a sad end to the Hall, a landmark building, which could have been preserved for future generations.

The Public Hall in later years

Merthyr’s Bridges: Quakers Yard Viaduct

Twelve years ago today, two plaques in Welsh and English were unveiled on Quakers Yard Viaduct to commemorate the 200th anniversary of Isambard Kingdom Brunel’s birth.

The Quakers Yard Viaduct was constructed as part of Brunel’s single-track Taff Vale Railway that connected Merthyr Tydfil to the docks at Cardiff. It carried the railway over the River Taff just south of Treharris.

The Taff Vale Railway was the first in Wales to be powered only by locomotives and the railway company that constructed it appointed Isambard Kingdom Brunel as engineer for the line and its structures. Its original track was standard gauge (4ft 8.5in or 1.435m). The northern section, from Abercynon to Merthyr Tydfil, opened on 12 April 1841, and the first rail traffic crossed Quakers Yard Viaduct on 21 April 1841.

Quakers Yard Viaduct during construction

The viaduct is slightly curved in plan and set at a skew angle to the river. Overall, it is 32.3m high, with six arches of 15.2m span each. The masonry is pennant sandstone, which has tooled detailing on all visible faces.

Brunel was concerned about the potential for damage the foundations of the river piers. To minimise this, the piers are octagonal in plan, aligned with their sides parallel to the river’s axis. This was an innovative idea, removing sharp corners that could obstruct river flow and possibly lead to cavitation. Substantial pediments cap the piers and the rounded arches have deep chamfers, echoing the angled pier faces.

The railway’s gradient between the Quakers Yard Viaduct and nearby Abercynon was too steep (up to 1 in 19) for the locomotives of the 1840s, so trains were cable-hauled by a stationary steam winding engine, which was located at the southern end of the viaduct.

In 1861-62, the structure was widened as part of the project to make the Taff Vale Railway double track throughout. Engineer John Hawkshaw (1811-91) designed the new work, which is of plainer masonry, with unchamfered arches and rectangular piers, and located immediately adjacent to the original against its outer curve, on the downstream (north) side.

In 1864, the cable-worked incline south of the viaduct was reconstructed at a shallower gradient (1 in 40). In addition, trains of the 1860s had more pulling power and did not require the winding engine.

In April 1988, the structure was Grade II* listed.

Quakers Yard Viaduct

Merthyr’s Boxers: Billy Eynon

The next boxer we are going to look at is Billy Eynon. Many thanks to Gareth Jones for his assistance and advice in writing this article.

Billy Eynon was born on 26 December 1893 in Treharris. As a teenager he was lured into fighting at the infamous fairground boxing booths at Georgetown. In his excellent book ‘The Boxers of Wales: Volume 2 – Merthyr, Aberdare and Pontypridd’, Gareth Jones relates the story of how he was tempted to fight at Jack Scarrott’s booth on the promise of winning five shillings. When he went to collect his winnings however, he was told by Scarrott that his cornermen (both of course employed by Scarrott) were both entitled to two shillings each, leaving the young Billy with just a shilling!

Eynon made such an impression however, that Scarrott offered him a week’s work at Brecon Fair. This was eventually extended to six-months, and provided Billy with invaluable experience.

Eynon’s first ‘legitimate’ fight took place on 31 January 1914 at the Drill Hall in Merthyr. The headline fight that night was between Eddie Morgan (see previous entry – http://www.merthyr-history.com/?p=592) and Tommy Phillips, which Morgan lost on points. The local crowd were appeased somewhat when Billy Eynon defeated Dick Jenkins in his debut match.

He was beginning to consolidate his reputation when the First World War broke out. Eynon joined the Royal Artillery, and despite being wounded in France, carried on boxing. He won the Army featherweight title in 1918 and met the Navy champion in Salonika before a crowd estimated at 200,000 people.

Western Mail – 19 May 1916

Following the war, Eynon, now boxing as a flyweight, appeared in his first fight against Kid Doyle at the Olympia Rink in Merthyr, a match which he won. The victory earned Eynon a rematch at the National Sporting Club in a fight which would be an elimination fight for the British title. Eynon lost the fight on points.

Soon after this, Billy Eynon changed weight-divisions to become a bantam-weight, and in 1920 challenged again for the British title. On 18 October he beat George Clark on points to earn a fight against the reigning British bantam-weight title holder Jim Higgins.

On 29 November 1920, Eynon faced Jim Higgins at the National Sporting Club. The fight would prove to be a controversial one. Eynon, hampered by weight difficulties was forced, on the day of the fight, to undertake vigorous exercises and have a Turkish bath to try to reduce his weight, whilst his opponent rested and prepared for the match. An exhausted Eynon took to the ring and although he acquitted himself well, the match went to Higgins on points. Many in the crowd, including the Prince of Wales, disagreed with the decision and vented their frustration by throwing gold sovereigns into the ring for Eynon. Although he lost the fight, Eynon himself said he made far more money that night than his opponent!

Billy Eynon carried on boxing for several years, but in 1927, he was forced to give up the sport due to a detached retina and the risk of blindness. In 1928 a boxing tournament was held in Merthyr to raise money to help for him.

Billy Eynon lived out the rest of his days in Merthyr and died in 1980.

Merthyr Memories: Discovering Tabernacle Orchestra, Treharris

by Christine Trevett

When I was at school at the start of the 1960s one of the books we had to study for the English literature exam was Thomas Hardy’s Under the Greenwood Tree. Our English teacher said it was a gentle masterpiece. I hated it – it was all ‘rural’ and about Victorians regretting a lost age. Yet I did quite like the plot line about abolishing the church’s string orchestra. There was a plan to replace it with a mechanical organ. I’d never heard of a church orchestra and I’d certainly never seen one. I played in the Merthyr Borough youth orchestra at the time, though, so I felt some sympathy about losing a music group.

It was in that English class that one of my friends said there was an orchestra in her own chapel in Treharris, where I lived too, and it had had one for longer than anyone could remember. She played in it. Then one summer she asked if I’d go along one Sunday instead of her, as she was going on holiday. I was used to chapels and curious, so I said yes, though all I knew of it was that this chapel had had a minister referred to locally as ‘Thomas Tab’ and that the building was one of two chapels facing each other on Perrott Street, each side of the main street just below ‘The Square’, which was the hub of Treharris town.

Tabernacle Chapel, Treharris

The language of the chapel was Welsh. I had no idea when I turned up at Tabernacle Chapel that for them this was the tail end of a very lively orchestral tradition indeed. It was more than half a century later that I came across the photograph on the Internet headed Tabernacle Orchestral Society, Treharris: winners orchestral competition, Royal National Eisteddfod of Wales, Barry, 1920. It showed just two female players among over thirty musicians, with an age range from schoolboys to the very mature.

The chapel, built in 1883, was bigger than my own, which was two years older and far from small itself. Tabernacle had hosted great congregations in the 1905 religious revival. It was rich in panelled pews, balustrade, mouldings and an impressive pulpit front (the building would be Grade 2 listed in due course). The part of the chapel I remember best, though, from the two occasions (I think) when I joined the string players, was the spot on the balcony from which the music came.

Tabernacle Chapel pulpit from the balcony

There were just a few players accompanying hymns. I was on the ’cello. The galleries raked steeply and the floor felt slightly sloping where we sat, just a few chairs and some music stands. This teenager’s imagination was working overtime in the unfamiliar setting, sitting alongside others who knew all the ropes and knew exactly what they were doing. The whole building was ‘weighty’ and this youngster was nervous. What if the spike of the ’cello slid and slipped into one of those small gaps between floorboards, and got wedged? It would be like some animated cartoon – the player using knees to wrestle with the thing while still keeping the bass part going using both hands. I tried not to move much.  It didn’t happen of course.

I knew at the time that I was experiencing something being kept alive by the skin of its teeth. Chapels had organs and probably a piano in the vestry as well. Yet many nonconformists in the 19th century hadn’t been entirely at ease as organs and harmoniums were being installed. It had seemed ‘popish’ to some. Tabernacle, in decades past, had encouraged and built an orchestral fellowship that went beyond anything needed to accompany hymns and now it didn’t want even that to be ended.

Nowadays instrumental ensembles are common in churches and chapels again – a fiddle, a flute and piano/keyboard perhaps, in a modern ‘worship group’, or some people looking like a rock group in another. Some very successful churches have much more variety than this, to take account of all tastes at different services. So the tradition’s far from dead. You could say it’s been resurrected.

Tabernacle Chapel Orchestra in 1920