A postcard from North Wales

Following on from yesterday's notes, I have always been fascinated by why certain places become tourist centres and droves of people flock to them every year. North Wales, an area with which I am very familiar has more than its share. I am also equally interested in the visual representation of these places and how they change, or even don't change that much over time. 

Aberglaslyn Pass, in flood. Dated 1932

View from Aberglaslyn Bridge

Many of these places began to be popular for depicting visually with the rise of the picturesque movement in art towards the end of the eighteenth century. Much earlier than that most landscape paintings had 
been allegorical in the style of Claude or Poussin. It was only after the middle of the eighteenth century that representations began to be at least reasonably topographically accurate. With the rise of Romanticism and the Picturesque movements, artists sought out those places that appeared to conform to those ideas and ideals. Scotland, the Lake District and North Wales with their mountains, lakes and rivers became popular for the peripatetic artist. Later, the arrival of the railways along with photography saw these traditions transfer themselves to the new medium.

Aberglaslyn Pass

Some the key components that defined a 'picturesque' view were a bridge, river, trees framing the view, hills and/or mountains. Later a little 'human interest' in the form of bucolic characters or figures were deemed necessary. 

Aberglaslyn Pass

Aberglaslyn Pass

With the rise of tourism in these regions, brought about by easier transport links to the cities and the tradition of summer holidays as a break from factory and industrial work, we see the rise in popularity of the picture postcard. Many of the
images we see from that time simply repeated the same viewpoint over and over again as if the definitive view had been discovered early on and never deviated from. Slight variations can be seen from time to time. The collection of postcards here span many decades but most use the same or very similar viewpoint and composition. 

Pont Aberglaslyn

To a large extent, the more conservative postcard publishers rely on the 'safe' and most bought views, as a guide to commissioning repeat printing or newer versions of the scene. This, in turn dictates what is seen of a particular place and what makes for a 'point of call' on a visit or holiday.



The scene of these postcards from my  collection is one I pass on a very regular basis and the pass itself still remains a popular driving, walking and picnic point for tourists. This, despite the romantic view being depicted in these postcards and 19th. century photographs by Francis Frith and Roger Fenton being, to all extents and purposes now, gone. 

Roger Fenton, Pont Aberglaslyn, Wales. Stereo card

Francis Frith, Aberglaslyn, The Pass. Albumen Print

The picturesque stone bridge has been replaced by a modern structure. The 
bridge is an important motif in many 
topographical paintings and early photographs as it defined a use of or at least an association with human intervention and passage. It was a symbol that was used repeatedly in the tradition of the picturesque, in many cases included and selected over more romantic and wilder views of the same scene.  The trees lining the banks of the river which runs down through the pass have grown to such an extent that they now block the view rather than framing it. 

The classic view that has been depicted for at least two centuries, is then, to all extents and purposes gone. The image lingers however and the place still attracts the visitors. This, even though it is now possible to drive over the new bridge and be totally unaware of the view that has been the subject of so many representations over the years. 

Pass of Aberglaslyn from the bridge, contemporary view

Pont Aberglaslyn, contemporary view

Does it matter? It may be that many visitors expectations are dashed by the reality rather than the expectation. On the other hand there are places where the visitors still flock to based on things that never were in the first place, not just changed over the years. Not far on from this spot you arrive in Beddgelert, which has relied on much of its trade since Victorian times on the opportunity to visit the 'invented' grave of a mythical dog. Visitors still flock there despite the fact that they must be in the full knowledge that the story is a myth and the supposed grave was erected by an enterprising Victorian hotel owner. Does it spoil the experience or add to the flavour of the region? Answers on a postcard please.