Rhossili Bay Archives – Emma Cownie

Posted on October 3, 2020October 15, 2022 by emma cownie — 21 Comments

The Wreck of the Helvetia, Rhossili

Rhossili Bay is a vast beach. The beach is 3 miles long. Photos do not do it justice.

A number of landsmarks are frequently photographed (and painted) along this great expanse – Worms Head the tidal island that stretches along at the Southern end of the bay, the old rectory that looks out from the middle of the shelf above the beach and in the midst of the sand, the Wreck of the Heletiva. If you look very closely at the photo above you might just be able to make it out.

Need help? It’s the group of shark-like fins that are poking out of an impossibly small pool in the midst of the sand. The Helvetia sank into the sand over 130 years ago and only her stubs of her wood ribs remain.

From on top of the Rhossili cliffs, it looks tiny. I have only been down onto the beach to visit it once. It’s usually surrounded by people photographing it.

A quick online search will turn up many, many images of this wreck close up; some with shadows, others with reflections, lots with beautiful sunsets, and a few stunners with starry skies. I don’t know how they arrange it when more than one photographer wants to take a photo at sunset?

Selection of photographs of the Wreck of the Helvetia found online

She is surprisingly small. These remains must be just the “nose” of her bow. I am very taken with how organic she is. She is made of greenish rotting wood. Presumably being underwater for long parts of the day means that she is only rotting very slowly. Up close, the rotted bow looks dragon-like. The iron nails that protrude from the wood are like the teeth of the beast. The rust from the iron colours the wood orangey-red. Red and green, the colours of Wales.

I wanted to find out more about this ship. What did she look like before she sank? Did anyone die? Why was she called Helvetia?

I discovered that The Helvetia had been a Norwegian barque, which is a kind of sailing ship. She had been built in 1855 and registered at the port of Bremerhaven (in modern-day Germany). She had sailed from New Brunswick, on the East coast of Canada in late October 1887. Although the sea around the Gower coast seems tame in comparison with the wild North Atlantic off Donegal, the coastline has seen the demise of many ships over the centuries. The Helvetia was caught in bad weather and hit the dangerous sandbank of Helwick Sands. She was then swept around Worm’s Head and into Rhossili Bay. Her captain decided to drop anchor but the galeforce wind meant her anchor was ripped free from the sand and she was wrecked on the sands of Rhossili beach. Fortunately, no lives were lost.

Three-masted barque (image from Wikipeda)

During the following weeks, her cargo of timber was collected from the beach and gathered for auction sale. The wreck itself was sold to a local man, who intended to strip the precious copper keel from the vessel but before he got the chance, the Helvetia sank into the sand. Local legend says that he had to settle for salvaging the ship’s deck boards!

I tried to find a photo of the Helvetia before she sank and I discovered that there are many ships that have born that name in the past and in also in the present day. Here are some examples.

This got me wondering why Helvetia was such a popular name for ships. What did it mean anyway? So I did a bit of research and found out that Helvetia was the personification of Switzerland, like Britannia, is for Britain, Marianne for the French Republic, or Erin is for Ireland. So why were Norwegians naming their ship Helvetia? It seems I was totally on the wrong track here.

I did some research and I found that Hel is also an Old Norse word. It has several meaning. It could mean “Hel” who in Norse mythology was a goddess who ruled the underworld, Helheim, or Hel. Hel-Víti thus means “Hell-torment”. That would be a great name for a Viking ship, I think. Hel, however, also means luck which is possibly a better name for a ship, especially as sailors are incredibly superstitious people. If you made your living on the changeable sea you’d be very superstitious too. On a tangent, it was apparently customary among Vikings to say “hell og lykke” (luck and happiness) when they met. This is supposedly were English speakers get the greeting “hello” from.

Anyway, I had assumed that there was a rule that only one ship at a time could bear a particular name – like the Ark Royal, but it could be reused again and again. No so. There were many other ships in the C19th with the name Helvetia – more than one of these ships were passenger ships that took people who wanted to emigrate to the USA, another Norwegian ship, SS Helvetia spent much of the 1870s & 1880 steaming across the Atlantic from Liverpool to New York. Conditions must have been poor as there was a cholera outbreak on one of these voyages in 1866 and the ship was forced to return to Liverpool.

I found another Norwegian ship called Helvetia, operating across the Atlantic in this period. On the “Noway Heritage” website this ship is described as a Bark (Barque) like the Rhossili ship. This ship was also built in Bremerhaven, but in 1858 not 1855, and was wrecked in 1888, not 1887. I don’t know if this is the same ship as the Rhossili wreck. Quite possibly. There is an online passenger list for the Bark Helvetia from her 1861 voyage from Germany to New York here, and you can see the names of the framers and skilled-labourers who were looking for a new life in the United States. According to the “Norway Heritage” website, the Bark Helvetia also sailed to Quebec, in Canada, on a regular basis. She also sailed to Swansea twice in 1866. This Canadian link makes me think that it is the same ship. She regularly sailed from Norway taking hundreds of passengers presumably looking for a new life in Canada in the 1860s (you can see the passenger list here). Incredibly, between 1825 and 1925, more than 800,000 Norwegians immigrated to North America—that’s about one-third of Norway’s population! Most of them immigrated to the US, and lesser numbers immigrating to Canada. Hunger and poverty pushed them to leave their homes. The voyage must have been grim beyond belief. In 1861 a ship called the Helvetia, possibly not the Rhossili ship, is recorded as carrying 344 passengers in steerage from Drammen (Haagensen) but by the time they arrived in Canada, there had been five deaths. Looking at the other ships that arrived in Canada in that summer, smallpox, and measles were also rife on board the crowded ships. Deaths were not uncommon.

Later on in the 1870s the Helvetia sailed from London and then Truro, in Cornwall. I am guessing that she took English passengers to North America and brought timber back to Europe. This intrigued me. Distant relatives of mine left Scotland in the 1860s and started a new life in the States, setting up a successful business selling furs in snowy Des Moines, Iowa. Perhaps they traveled on a ship like the Helvetia? Interestingly, many Norwegians settled in Iowa too.

For a sea-faring nation, Britain has preserved precious few sailing ships from the past. The Helvetia (and her many namesakes) deserves to be remembered as one of the thousands of ships that played a role in the mass migration of peoples from Western Europe to North America in the 19th century. She may have met her end on in the sands of a Welsh beach, but she had been a workhorse of the North Atlantic and it was very fortunate that her final cargo was timber and not people. It seems very fitting that this Scandinavian ship lies on the sands of Rhossili Bay. As behind her off to in the distance another dragon, the Wurm, or Worms Head stretches across the horizon. Wurm is a Viking word. It means “dragon”.

The Wreck Of The Helvetia, Rhossili, Gower

Footnote October 2022

I was contacted by Sam Zhang who had an image of a model that was made of the Helevtia in her hayday It is a cut out from The Illustrated Times news paper in German, dated 6th August 1859. unfortunately the article it is for is cut out and most likely lost. I am very grateful to Sam for sending me this image.

Read more about the Helvetia

https://www.coflein.gov.uk/en/site/273914/details/helvetia

http://www.gowershipwrecks.co.uk/2009/11/gower-shipwreck-helvetia.html

https://www.walesonline.co.uk/news/wales-news/story-behind-helvetia-rhossili-beach-14968494

also

Norwegians and USA

My Walk Along Worms Head

Posted on October 20, 2019September 23, 2020 by emma cownie — 11 Comments

Over to Worms Head

I managed to make it down to Rhossili Bay this week. It has been raining on and off for weeks. I have been painting in my attic studio listening to the rain thundering down and I have got quite tired of that sound. So when I was greeted by clear skies I decided, on a whim, to drive down to Rhossili to see the autumn colours.

Rhossili has a wonderful windy wildness to it. It’s unlike the rest of the Gower Peninsula. The trees all lean heavily away from sea and the prevailing westerly wind. As I drove into the village I was caught up in a sheep-jam. A herd of sheep was being moved from one field to another. They were packed into the little road and had stopped the traffic (it was three cars actually). I watched the mob of sheep as they swirled in front of my car and past me. They were Welsh Mountain sheep; only a few had horns. Their creamy fleeces were spotted with brightly coloured red and purple “smit” marks. These are marks painted by their farmers that denote ownership. One moment they were packed around me and the next they had moved on.

There was space in the church car park so I parked and put my donation in a slot in the wall. This car park is closer to Rhossili Beach. If I had wanted to walk to Worms Head itself the National Trust Car park with its facilities (loo block and shop) would have been better. From here I walked down a stepped concreted path down towards the beach. It seems strange but I have never walked on this particular path before. I don’t know why. I have always walked parallel to the beach along the cliffs paths (one on the top of the downs and one in front of the rectory). I wrote about the coastal path in several blog posts and in my book, Footnotes: An Artist’s Journey Around the Gower Coast.

So I followed the path downhill and got a different view of the Worm. The bracken had died back to a wonderful russet colour (one that I associate with wales) and the sea was a beautiful turquoise blue. The tide was out and the tidal island, the Worm (Wurm) rose up above the waves on the horizon. I looked at how the light caught the back of the Dragon and remembered how arduous walking across it was.

Painting of worms Head Rhossili Bay — Over to Worms Head

The walk down to the sea was quite steep but easy. The final descent was down a ramp of gravel. The vast beach was surprisingly populated for a term-time day in the week.

Of course, I could not pass up the opportunity to visit the remains of the Helvetia on Rhossili Beach. The Helvetia was a Norwegian ship bound for Canada that was wrecked in south-easterly gale on Rhossili Bay over 130 years ago on 1st November 1887. In the Instagram age, given its picturesque location, its not surprising that it has been photographed and shared countless times.

Oil painting of The Wreck Of The Helvetia — The Wreck Of The Helvetia, Rhossili, Gower

I walk across the beach to bottom of the vast 200-foot cliffs, looking at the colours and light. There are seagulls scattered across the beach and when I turn back I can see the Rhossili Downs and the Od Rectory reflected in the outgoing tide.

On the far edge of the beach, I was surprised to discover the remains of another shipwreck in the sand. A bit of online research and I discover that this is Vennerne, apparently, it is known locally as the Vernani, and it was dashed to pieces under the Rhossili cliffs in 1894.

Another Wreck on Rhossili Bay

There is quite a strong breeze. When the clouds roll in it starts to feel cold. The clouds create a softer light. The grays and purples dominate. I am glad I have my woolly scarf on and start to make my way back to my car. The path hill is pretty steep and the climb warms me up.

The next day, I am tired from walking across the sand but it doesn’t matter as its raining again.

Posted on October 28, 2018May 30, 2019 by emma cownie — 25 Comments

Worms Head: a footnote to the Gower Walks

I did not walk the length of Worms Head at the same time as my other Gower coastal Walks. This was because you cannot walk its full length between the 1st March and the 31st of August – as the last part of the Worm, the Outer Head, is closed in order to protect nesting seabirds.

So I waited until late October for a sunny morning and a low tide to set off on my adventure. It was certainly an adventure as I travelled alone and there was plenty of scope for “mild peril” and twisted ankles and, at one point, there was definitely outright fear. More of that later.

The drive down to Rhossili was beautiful. Autumn sunshine lit the russet trees and the long shadows stretched across the road. The forecast was for a fine sunny day but by the time I arrived at Rhossili, it had clouded over. I got of my car and wished I had brought a woolly hat instead of my sunhat jammed at the bottom of my bag underneath my sandwiches, banana, and the compulsory chocolate biscuits. The biscuits had been lurking down there since my last walk several months ago, but as they were individually wrapped I decided they’d still be very edible. The walk down the National Trust car park to the coast guard station at the end of the headland took longer than I expect it.

Oil painting of Worms Head from Rhossili Downs — Worms Head (from Rhossili Downs)

I think this is because I am usually so mesmerized by the sight of the “Worm” that I don’t really pay attention to how far I am walking. The Worm (“Wurm”) means dragon, and it was given this name by the Vikings who regularly sailed the Bristol Channel over a thousand years ago.

It is a long tidal island that undulates westward like a sea beast. The shape of it changes depending on which angle you approach it. Sometimes it seems coiled, other times in snakes from side to side.

Oil painting of the coast towards Worms Head, Gower — Towards Worms Head (SOLD)

I think I look up the tide times for Gower more often than most people, except for surfers. Every time I go to the coast I like to know if it going to be a low or high tide, depending on whether I want to photograph it or swim in it. If you want to visit Worms Head, a low tide is essential because the causeway over to the islands is only safe to cross 2 and a half hours either side of low tide.

I know that to be caught out ensures an extra long stay on the island (as happened to Dylan Thomas once), because swimming across the short stretch of water is very dangerous and I can remember a man who died attempting in it a few years ago.

Fortunately, if you have forgotten to look up the tide timetable, it is clearly displayed outside the coast watch station and on the path down to the causeway. That is pretty much, the point of the coast watch station, as I have mentioned before. To watch out for fishermen and people who might get trapped by the rising tide.

Map of Worms Head (Note: High Tide)

When you arrive at the coast guard station at the end of the headland you will see the path in front of you dropping down to the causeway. Now, don’t believe any guide that tells you that this is “easy” as I have seen elsewhere online. It is not. Parts of the island are easy. Most of it and the causeway, in particular, is very very, rocky.

It resembles an assault course rather than a “walk”. There are slightly easier routes than others but they are all energetic to some degree and require a fair bit of climbing, jumping, or in my case sliding down rock faces on my backside. I was better prepared than the time I walked across it on whim one summer with my sister and my 7-year niece. That time I was wearing sandals. This time I was wearing sturdy walking boots. I regretted, however, wearing my drainpipe jeans. There were many times I could not tell if I was stiff with age or stiff from my sartorial stupidity. Nevertheless, I soldiered on.

Looking across the so-called causeway, I could not see an easy route. I could not even see an obvious way down to the causeway. Hence I ended up sliding down the rocks, hoping that I didn’t twist my ankle. That was a recurring thought throughout the morning. The trick is to stay focus 100% on where you are putting your feet, if you need to look up, then stopping to do so. Walking along and looking around at the same time was out of the question. I decided to follow a mother and her two young sons, hoping that they would find a sensible route across the rocks.

I think they must have been part- mountain goat because they zoomed across the rocks, sure-footed and totally fearless, happily chatting away to each other. I struggled to keep up. I started off feeling a bit chilly but by the time I reach the island 20-25 minutes later I was hot and thinking of taking off my jacket. Again you will read in some guides that it takes “about 15 minutes to cross the jagged and slippery rocks” but I found it took longer. Perhaps I stopped and looked at the view too often.

Arriving at Inner Head, I was greeted by more warning signs, a tide timetable and a bell to ring to gain attention, if you are trapped by the incoming tide. Here, I had a choice of paths. Either to climb the back of the Worm and walk along its spine, or to take the easier lower path to the west. I took the easy path. It was my favourite path of the day. I could trundle along it, looking at the view, without worrying that I was going to trip up!

I quickly reached Low Neck which bends round to Devil’s Bridge.

Devil's Bridge, Worms Head, Rhossili — Devil’s Bridge, Worms Head, Rhossili

Here, I could see I had to cross another assault course of massive fractured rocks to get to Devil’s Bridge. This is all that remains of a collapsed sea cave. It too will collapse one day, dividing the Middle Head in two. I decided instead follow a long climb over the tooth-like slabs down to the rocky “beach” part of Worms Head, to take some photographs of the Worm’s reflection in the still seawater.

Painting of Worms Head, Rhossili, Gower — Worms Head Reflection

I then had the joy of trying to make it back onto the path. It was a long scramble/climb and at several points I wondered if it was possible but I did eventually make it without injury.

So I finally reached the Outer Head. I was greeted by a warning sign telling people not to visit during nesting season. There were yet more rocks to clamber over before I finally reached the dragon’s head.

Here the path got steep. The grass became much thinner and the rocks were worn smooth with years of walkers’ boots on them. I scrambled up where I thought the path would flatten out a bit. Then I realise that the final part of the “walk” involved a climb up an almost sheer cliff. The mother and two sons I followed across the causeway earlier, were already fearlessly climbing up the rock face. I noted that the mother wasn’t totally cavalier about letting her boys follow her as she told them in no uncertain terms that they must listen to her instructions and have “three points of contact with the ground at all time”. I bore this advice in mind, for the rest of my trip on the Worm.

I watched, with my heart in my mouth, as they zoomed up the rock face like sure-footed monkeys. I don’t like heights at the best of times, and I knew this was beyond me. I could not face trying to climb up there, in case I freaked out half-way up. More eager climbers made their way past me. The prospect of an audience decided it for me. I turned around and started my return journey, muttering to myself “I know my limits”.

As I walked back I ponder my long distinguish career as a scaredly-cat. As a child I freaked out in some underground caves, Cheddar or Wooky Hole, I’m not sure which, discovered to my surprise that I was decidedly claustrophobic. As an adult, on a school trip to Disneyland Paris, I was persuaded to go on Space Mountain. I only survived the experience by keeping my eyes tightly closed for the whole trip. Apparently a lot of it happens in the dark but never once opened my eyes to find out. More recently I climbed almost to the top of Mount Snowdon, in North Wales, only to decide I could not make it to the summit. The path was very narrow and there were hoards of people. I was convinced that I’d get pushed off the path to my death. So I sat down with my eyes closed (again) and waited for my brave husband to make the journey to the top and back on his own. Yet, I enjoy watching films about Mountaineers, like “Touching the Void” and “Everest”, go figure!

I stopped and ate some biscuits and sandwiches, drank a lot of water and admired the view along the Worms’ back in both directions, towards its head and in the other direction towards Rhossili Bay and Gower. This time I walked over Devils Bridge and started the scramble over more rocks to Inner Head.

I paused as I see another walker looking out to sea and I realised there is little head looking up at us out of the water. It was a seal. I could see his whiskers. He reminded me of a dog. I don’t know if he’s a common or grey seal, as they are very hard to tell apart, especially when they are in the water. He disappeared and then popped up again, before finally vanishing for good.

Keeping an eye on time time, and making sure I have more than enough time to cross the causeway, I made my way back to the south-eastern end of the tidal island. I notice a group of people are watching something on the stony beach below the cliffs. More seals! I settled down on the grass to watch. To start with, I could not get a good view, as there were so many people. Eventually after a lot of loud “Oh” and “Ahhhh-ing” (I don’t think the seals liked this as they kept looking up), the people moved on and I had the seals all to myself. I love this.

I watched them, very happily in silence, for quite a while and make some film clips to show my husband later. I am guessing they are the smaller, common seals, but I could be wrong.

I am very tired now and as I start my walk across the causeway, I see people still crossing over from Rhossili. I look at my watch. They still have two hours to cross and back it back again. I start off with confidence, only to have to retrace my steps because the drop from the rocks I am on is too high.

As I am struggling down from a lower crag I am surprised by a strange animal-like snorting sound. It sounded a bit like an alarmed dog. I looked around at what I thought were barren rocks, only to realise that I have a pair of anxious eyes looking at me. It an adolescent seal, stranded all on his own in the rocks. I quickly retreated. I didn’t want to frighten him any more than I already had.

He must have been stuck here ever since the tide went out three hours ago. I briefly worried about the other walkers finding him, as some of them have dogs with them, but I decided that if I keep quiet, maybe no one else will discover him. I know that the usual advice with wild animals is to retreat and leave them alone. After all, he is so well camouflaged, I would not have seen him if he had stayed silent. In fact I did not seen him when I came across earlier.

Thankfully, crossing the causeway was slightly easier on the return journey. I think the tide was further out so I could walk alone the pebbly edge, although the climb back up the to main path was brutal.

I was relieved to be back on the main land, but there is some thing very special about being on an island, even if it’s only a tidal island like Worms Head. I think its because you are surrounded by the sea and that is an exhilarating feeling. The Gower is a bit like a tricorn hat, with a tidal island at each “corner”. This journey around the Gower coastal path started with Mumbles, with its lighthouse built on a tidal island; Burry Holmes is a tiny full stop marking the north end of Llangennith Beach but Worms Head is a comma. Not so much a footnote, but a wiggly tail making off towards the Celtic Sea. The open sea and more adventure.

To see landscape paintings available to buy please click here

Posted on June 4, 2018October 30, 2018 by emma cownie — 16 Comments

The pleasures and frustration of panoramic paintings

Who hasn’t attempted to create a photographic panorama? Back in the 1990s when cameras contained stuff called film, I remember often standing looking at some amazing view, and then slowly pivoting from left to right (and then right to left in case I’d missed something) taking a series of overlapping photographs. The hope was that I would recreate a some stunning vista; such as the Grand Canyon, the London skyline, or even the lovely Alhambra. After a long wait, the photos would come back from the developers and I’d dutifully stick them together. The results were usually underwhelming. Rather wonky. If, you tried really hard you could sum up the awe of the view that had inspired you, sort of. I don’t think the sticky tape added to the overall impact, either. I give you in evidence the example below which I found lurking in one of our crowded cupboards:-

Oh dear. Obviously I wasn’t the only one who was disappointed by their efforts to capture their holiday vistas in this way as companies like Kodac developed special disposable panoramic cameras so you did not have to tape your photos together. I will never know if they were any good because I never had one.

So, forgive me if I have pretty much spurned panoramic compositions until now. In fact, I have had a long phase where I chose portrait orientation for my landscape compositions whether rural or urban. I really liked the sense of piles of houses on houses, or field upon fields. It works well in hilly Swansea and mountainous Wales.

It’s not like I never tried narrow canvases. I did use a couple of small narrow canvases to paint Mumbles, the village at the end of Swansea Bay. The paintings turned out well but I didn’t really enjoy the experience. I didn’t really ask myself why not until now. I think it was partly because I was in a portrait orientation “groove” and partly it was because the canvases were too small, they felt mean and didn’t really convey the essence of Mumbles.

It was a client who got me using panoramic canvases again. He wanted a landscape painting of May Hill in Gloucestershire. We originally discussed using a 80x60cm canvas but then he decided he wanted a narrower canvas; 80×40 cm. This was inspired. This immediately improved the composition because instead of the landscape getting lost against too much sky, it actually balanced the composition. It gave the land in the painting more immediacy and intimacy.

Now, you might say that this is not particularly “panoramic” but it got me thinking. Narrower canvases would suit coastal paintings because too much sky often has the effect of “shrinking” the land/coast in a composition. I’ll give you a photographic example:-

So using a long narrow canvas works really well with compositions for certain scenes, such as the one of Worms Head I have shown above.

All good so far, but what about the frustrations? There are the logistical issues surrounding using longer canvases. It may sound daft, but they are long. I find it hard to store them in my small attic studio. They poke out. When it comes to painting, I found that painting of the far left or right of the canvas quite a challenge. You see, I don’t usually bother with using the clamp at the top of my easel when I am painting as I often like to rotate my paintings and paint a canvas “upside down” or even “sideways up/down”. Oh, no. I have to clamp my painting in place or else it flips away from me when I press on it to paint any part either side of the central part. Rotating the canvas becomes a hassle too. My arms are not quite long enough to adjust the clamp without standing up.

This may all sound very lazy but once I start painting I get into a groove or “flow” and can barely be bothered to move from my central position other than put my brush on my palette and then onto the canvas. This is why I usually end up drinking lukewarm tea even though it’s in a thermos-style travel mug. It’s very rare that I get up to change the station on my radio. This is how I end up listen to sports programs (even football matches) although I am definitely not a sports fan.

The satisfaction of a well-balanced composition and having less sky to paint is worth it.

Then comes the issue of how to show it on my website and social media. There is no problem uploading the image to artfinder.com – it comes up as a complete image on my page.

However, when I uploaded it to my website the thumbnail cropped the image (see below left).

So, I have to go on canva.com and create a new version of the image. I paste the image on a white background so the image will viewed whole. Thus:-

Finally, Instagram. I have the same issue with Instagram as I do with my own website in that it only shows part of the image so I decide to chop the picture into two halves and upload them separately. Only I do it the wrong way around at first and end up with a back to front image. I make a note (I draw a little diagram in fact) the right side has to uploaded first and the left second.

It looks better on my smart phone. But you see the problem, as new images are uploaded it is pushed along the feed and gets split up between the lines of images. I also don’t know if people looking say the left side of the painting will understand that it’s part of a pair. They’ll just think it a painting of a beach and won’t realise that there’s a long mountainous headland to go with it. *sigh*

Never mind, I think that the best way to show off the panoramic paintings is on this blog!

Here’s my most recent and ambitious long landscape painting. If you click on the title you can see a bigger version.

Posted on November 25, 2015May 6, 2019 by emma cownie — Leave a comment

Autumnal Rhossili Bay

A new oil painting “Autumnal Rhossili Bay” –

An expressionist oil painting of the world famous Rhossili Bay at the far end of Gower Peninsula, itself the first designated Area of Outstanding Beauty in Great Britain. Autumn has draped a coppery red blanket on the hillside and the windy waves have etched patterns of light mauve and blue in the sand.