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Do you ever get frustrated? Annoyed by life and its problems? Do you tend to blame everyone else for your problems? Maybe you keep remembering and reliving times from your childhood, and it's still affecting your life, your career, your health or your relationships even today. Maybe your partner left you and your relationship with your kids has been affected, or you were made redundant and haven't found another job yet.
For years I used to blame others whenever anything didn't go to plan in my life and it left me feeling frustrated and stuck. I'd say things like 'My rough childhood wasn't my fault, it was my parents' of course, and it affected so many things for me'. I felt like I couldn't be a good parent because I didn't know how. My parents never taught me! It felt like there was nothing I could do and it wasn't my fault. I'd blame the traffic and bad drivers for making me late to work. I'd blame my neighbours for putting me in a bad mood with their loud music and disrespectful attitude. I'd blame the guy at the coffee shop for messing up my morning because he got my order wrong.
Noticing excuses
I used to rely on the things that went wrong for me and use them as excuses for not sorting out my life. When I started a new job that wasn't exactly what was advertised, I made myself and everyone around me miserable by telling them all the time. "This isn't what I signed up for" I'd say, and "That's not supposed to be part of my job". It got to the point where I hated going to work every day and the people I worked with weren't that happy about me being there either, even the ones I'd been friendly with at the beginning of the job.
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Once I became unhappy at work, it started affecting my relationships at home too. I was grumpy all the time and my family just didn't want to be around me. I tried to tell them that it wasn't my fault, it was my job, but of course that didn't solve anything. Even when I tried to just relax and have fun on the weekends, I'd find some reason why I couldn't even do that.
It wasn't only at work that I would find someone else to blame. It was everything that went wrong that I felt wasn't my fault. If the car ran out of petrol, I'd blame whoever used it last. If my son missed the school bus, of course it was the bus drivers fault. If I ran short of money one week, I'd blame the bills.
Baby steps
I started to realise though, that the one thing in common with everything going wrong in my life was me. I had always wanted everything else to change but I began to see that if I wanted things to change, then maybe I would have to change. Being upset with the world was costing me too much in my relationship with my child, my work and even my health. The more I thought about it from this perspective, the more I saw that there were probably things I could do or ways I could view things differently that would help. And that's when things started to change for the better.
Do you want help with Sadness, Procrastination, Self-Sabotage, Confidence or Motivation?
The reality was, I had hit a limit. I was causing too much pain for me and for the people around me and I had to try a different approach. To be honest, I started small. Every time I noticed that I was blaming someone or something else for my problem, I stopped and asked myself a question: "What could I have done differently that would have led to a different outcome?" At first it wasn't easy. I automatically wanted to say "Nothing of course, it wasn't my fault", but the more I practised the better I got at taking responsibility for the challenging moments in my life.
Car ran out of fuel? I could have paid attention to the fuel gauge myself when I got in. My son missed the bus? I will set the alarm 10 minutes earlier tomorrow. The interesting thing was, the less I blamed other people, the more I started to feel in control of my life and the more I took on responsibility for things, the more I could actually change. I started feeling a whole lot better about life and so did my family, my friends and my colleagues 🙂
What people are saying about Emotion Academy:
"After many years of training, courses, and counselling in various forms I thought I had certain aspects of my life sorted. Yet completing Emotion Academy showed me that I had been running away from my emotions and not facing them. After Emotion Academy, now I have the tools to engage with myself and win the internal battles once and for all - Neil Welsh, Victoria
How to take responsibility
For me, a big part of learning not to blame so much and enjoy being more in control of my life, was discovering how to understand and lead my emotions a whole lot better. Managing my emotions made it so much simpler to manage my behaviours. You see, there was one thing that I was right about; my childhood and the fact that I never learnt about emotion growing up. Most of us don't. But when I asked myself, "Even though it's already happened, how can I take responsibility for how I react now?" my whole perspective changed.
The most valuable thing I have ever taken responsibility for and stopped blaming others for is my emotions, and how I react to things in my life. Finding some help and learning how to clear the slate of some emotions from the past like anger, fear and guilt was a huge step towards truly feeling like I had grown up and was confident to lead my own life and stop worrying about what others "should" have done or be doing. These days I can focus on myself in a lot more positive and productive way.
In the past I used to have all my focus on the things outside of myself and become upset that there were so few things I could control. I avoided looking to myself for the solutions and because of this I struggled to get ahead in life. I was limiting myself to only that which others could do until I transformed blame into responsibility and managed how I felt. That's when I began to enjoy life again.
Melisa Grigg - Head Coach & Trainer
Melisa was stuck in sadness for 15 years, hated her job, was overweight and her relationship had just ended. Melisa inspires people with her story and now teaches how she sorted her life out. She worked out how to be happy and how to lose over 30kg of body weight. In simple steps she teaches how you can stop procrastinating, find confidence, stop being so sad and finally start to find true meaning and purpose in your life.
You got this!
For me, it's no longer about everything going right or taking fault for all the things that don't. These days I don't get so frustrated and angry at others or at myself. I just look at everything as feedback that I can learn and grow from. You can start with baby steps like I did, even just one thing a day and building on your successes by celebrating each one.
It can be tough breaking patterns of behaviour that have been around for a long time. If I said it was easy, that wouldn't be exactly accurate. I've been fortunate to have some great people and support around me. If you can find good people to have around you that build you up and encourage the best in you, then you will have a huge head start.
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It's a fact: acquiring the highest market value and elevating your home above others in the same price range often comes down to first impressions. These are some inexpensive ways to maximize your homes appeal:
Keep the grass freshly cut
Remove all yard clutter
Paint the front ...View More

subset: commoncrawl


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Entdecken, was Scribd alles zu bieten hat, inklusive Bücher und Hörbücher von großen Verlagen.
The growth of single crystal materials from the vapour phase. Deposition from the Vapour Phase is the mostpreferred techniques for the fabrication of thin layer of metal, insulator and semiconductor materials.Thecrystal often have perfectly flat external surfaces and less imperfections that cannot be duplicated by othermeans.
1.1.1 Challenges • Large number of variables involved tends to make it difficult process.
• Lower density of molecules in the crystal growth leads to lower growth rate
• The temperature required for the process is high (in the vicinity of sublimation point)
1.1.2 Advantages • Convenient for large large scale operation
• Does not involve contacting of growing surface with liquid/ solid phase
The thin film technology using vapour growth technique can be broadly divided in to:
Physical Vapor deposition (PVD) is a class of vacuum deposition method which can be used to produce thinfilms. PVD uses physical process such as heating or sputtering to produce vapor of material which is thendeposited on the object which requires coating. Traditional Vacuum evaporation technique involved eitherdirect evaporation of source material onto substrate or reactive evaporation where the evaporated materialreacts with a component intentionally added to the vapour phase to produce desired deposit. The schematicof PVD system is shown in figure 1.1.
1-11-2 Lecture 1: Vapour Growth Techniques
• Vaporization of materal from a solid source assisted by high temperature vacuum or gaseous plasma.
The two most common PVD processes are thermal evaporation and sputtering. Thermal evaporation relieson vaporization of source material by heating where as sputtering is a plasma assisted technique. Sputteringmethods provide superior control over composition and is also capable of coating larger areas.
CVD is a chemical process to produce high quality solid materials. The precursor gases are delivered intothe reaction chamber at approximately ambient temperature. As they pass over or come into contact withheated substrate, they react and decompose to form a solid phase which are deposited onto substrate.
1.3.1 Advantages • No vacuum or pumping facilities are needed
220.127.116.11 Drawbacks
• During deposition, masking becomes difficult —item deposition take place on substrate as well as on the walls of container.
It is a process where a condensed phase, typically a solid, is volatilised in the presence of gaseous reactant(transport agent) and deposited elesewhere in the form of crystal. The various parameters optimized forsuccessful CVT are growth temperature, transport direction, rate of mass transport and free energy ofreaction. Transport is governed by two processes - Convection and diffusion.
CVT reactions are those in which a solid or liquid substance 'A' reacts with a gaseous transporting agent 'B'at a temperature T1 to form vapour phase reaction products (AB), which in turn, undergo reverse reactionat a different place in the system at a temperature T2 , resulting reformation of crystalline substance 'A'.i A(s,l) + jB(g) k AB(g) )Here the substance is transported chemically. In addition to reversible heterogeneous reaction, a concentra-tion gradient must be established.
The principle of chemical vapour transport reactions in a cylindrical closed tube in a temperature gradientis represented in figure 1.2.
A(s,l) + B(g) AB(g) ) (1.1)
1. Aside from transported solid material, only gases participate in the reaction. Then only all components are mobile throughout the gas phase
3. The equilibrium position of transport reaction must be extreme. i.e it should not lie too far to reactant side or to the gaseous product side. Otherwise the concentration gradient becomes too small.
The chemical vapour transport is carried out in sealed cylindrical tube made of pyrex glass or quartz. Thesubstance and transporting agent are sealed off under vacuum. If the transporting agents are gaseous underroom temperature, the tube loading with reactants is flushed for sufficient length of time with particulargas and then sealed off. The values of the free energy of the reaction must be near zero and the equilibriumconstant near unity, so that the reverse reaction can also take place to an appreciable extent. The transportof the vapour can take place by diffusion between the source and deposition zones when a narrow tube is usedand when the total pressure in the system is small. Transport takes place by convection at high pressuresin wider tubes, and in tubes inclined against the horizontal. The crystallization chamber should not be toosmall in order to avoid inter-growth between the crystals. Distribution of the temperature in the depositionzone must be uniform in order to avoid reevaporation of crystals from warmer parts during the experiment.Lecture 1: Vapour Growth Techniques 1-5
The main drawback of of simple CVT method is gaseous solvent traces incorporated as impurity and highsupersaturation. This will leads to uncontrolled primary nucleation and many small sized crystals. InChemical vapour transport there are three methods which one can adopt for growing large size crystals.
In the STP procedure, the source temperature (Ts ) and growth temperature (Td ) are fixed at particularvalues after keeping the reverse temperature profile for initial few hours in order to clean the crystallizationzone. As Ts and Td are kept at constant values, the supersaturation,σ, is maintained unchanged during thegrowth. Though this procedure can be adopted for getting single crystals of many compounds, this techniqueis not suitable for getting large crystals.
Here the source temperature is linearly increased with time while the growth temperature is kept constant.So as supersaturation increases from negative values (i.e. Ts < Td ) to positive values primary nucleationis possible. Though Ts continues to increase, σ drops due to diminishing of the vaporized mass whichis consumed in producing the crystal. Then for a certain length of time, depending on the particularvapourization kinetics of the charge, σ remains sufficiently low so that the first crystal can be further grownby secondary nucleation. This LTVTP procedure was adopted for growing crystals much larger than thoseby STP procedures. Also the quality of crystal is superior in comparison with those by STP procedures.
In the OTP technique, either source temperature (Ts ) or, deposition temperature (Ts ) or, both, are madeto oscillate, so that a growing crystal alternatively meets positive and negative supersaturations* in sucha way that the amount of mass transported per T- cycle from source to the crystal will be positive. Thesupersaturation is the function of [Ts (t) − Td ] is periodically made positive (growth condition) and negative(dissociation condition). σef f = a(TsOT P − Td )n = a(∆Tef f )n (1.3)where 'a' and 'n' are empirical constants. TsOT P is the oscillatory source temperature. ∆Tef f can bearbitrarily reduced by suitably shaping the T-cycle via frequency and amplitude. If the frequency andamplitude of the said oscillations are properly chosen, the periodic inversion of the supersaturation willfavour the growth of relatively larger and more perfect crystals.The OTP procedure enables the good control over secondary nucleation though primary nucleation possessquite a problem. As LTVTP gives good control over primary nucleation a combined LTVTP plus OTPprocedure is best suitable for the CVT growth.
2. Crystals of the material with an appreciable dissociation of their melting point can be easily grown.
*In order for crystallization to take place a solution must be "supersaturated". Supersaturation refers to astate in which the liquid (solvent) contains more dissolved solids (solute) than can ordinarily be accomodatedat that temperature.


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The Walking Dead is an American post-apocalyptic television series based on the comic book of the same name by Robert Kirkman, Tony Moore and Charlie Adlard, and developed for television by Frank Darabont. It premiered on the cable network AMC on October 31, 2010.[1] The series focuses on Rick Grimes, a sheriff's deputy who slips into a coma after being shot. He awakens to find himself in a dangerous new world that has been overrun by "walkers". He joins a group of survivors (including his wife and son) as they try to survive in a world among the undead.[2]
As of March 31, 2019[update] 131 episodes of The Walking Dead have aired, concluding the ninth season. In February 2019, the series was renewed for a tenth season, which is scheduled to premiere in October 2019.[3]
Series overview
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Season 1 (2010)
- Main article: The Walking Dead (season 1)
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Season 2 (2011–12)
- Main article: The Walking Dead (season 2)
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Season 3 (2012–13)
- Main article: The Walking Dead (season 3)
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Season 4 (2013–14)
- Main article: The Walking Dead (season 4)
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Season 5 (2014–15)
- Main article: The Walking Dead (season 5)
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Season 6 (2015–16)
- Main article: The Walking Dead (season 6)
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Season 7 (2016–17)
- Main article: The Walking Dead (season 7)
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Season 8 (2017–18)
- Main article: The Walking Dead (season 8)
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Season 9 (2018–19)
- Main article: The Walking Dead (season 9)
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A special titled "The Journey So Far" aired on October 16, 2016 as a recap of the first six seasons of The Walking Dead, featuring interviews with the cast and producers. It was watched by 2.18 million viewers.[1]
Torn Apart (2011)
- Main article: The Walking Dead: Torn Apart
Prior to the start of season 2, a six-episode web series called Torn Apart premiered on October 3, 2011 on AMC's official website. The web series is directed by special effects makeup artist and co-executive producer Greg Nicotero and tells the origin story of Hannah, also known as "Bicycle Girl", the walker that Rick Grimes killed out of mercy and whose bicycle he took in the first episode of the TV series.[2] Script error
Cold Storage (2012)
- Main article: The Walking Dead: Cold Storage
A four-episode web series entitled Cold Storage was released on October 1, 2012.[1] Set during the zombie apocalypse, Cold Storage follows the story of Chase as he seeks shelter in a storage facility under the command of B.J., a malicious former employee who hides a very dark secret. The storage unit Chase is given was owned by Rick Grimes. Script error
The Oath (2013)
A three-part webisode series, entitled The Oath, was released on October 1, 2013. This series tells the origin of the "Don't Open, Dead Inside" paint on the cafeteria doors of the hospital Rick Grimes awakes in, post-apocalypse. It follows Paul and Karina as they escape their zombie-overrun camp in search of a medical station. The central theme of the series examines the will to persevere in the face of inevitable death.[1] Script error
Red Machete (2017–18)
A six-part webisode series entitled Red Machete first premiered on October 22, 2017. The web series tells the origin story of Rick Grimes's red machete. The series starred actors Jose Rosete, Anais Lilit, Sofia Esmaili,[1] and Jeff Kober, reprising his role as Joe, the leader of the Claimers from the fourth season of The Walking Dead.[2] Script error
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External links
- Official website
- List of The Walking Dead episodes at the Internet Movie Database
- List of The Walking Dead episodes at TV.com


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In a decision with potentially large ramifications, New York Federal Judge LaShann DeArcy Hall won't dismiss a libel suit against "Shitty Media Men" creator Moira Donegan.
Explaining, the judge says it is possible that Donegan created the entry herself. The judge believes that Elliott should be able to explore whether the entry was fabricated. Accordingly, discovery proceeds, which will now put pressure on Google to respond to broad subpoena demands. The next motion stage could feature a high-stakes one about the reaches of CDA 230.
A Poem for Sunday
I've been thinking of reviving the Sunday poems here for some time now. This W.H. Auden poem struck a chord with me and I thought some of you might like it.
O what is that sound which so thrills the ear
Down in the valley drumming, drumming?
Only the scarlet soldiers, dear,
The soldiers coming.
O what is that light I see flashing so clear
Over the distance brightly, brightly?
Only the sun on their weapons, dear,
As they step lightly.
O what are they doing with all that gear,
What are they doing this morning, this morning?
Only their usual manoeuvres, dear,
Or perhaps a warning.
O why have they left the road down there,
Why are they suddenly wheeling, wheeling?
Perhaps a change in their orders, dear,
Why are you kneeling?
O haven't they stopped for the doctor's care,
Haven't they reined their horses, horses?
Why, they are none of them wounded, dear,
None of these forces.
O is it the parson they want, with white hair,
Is it the parson, is it, is it?
No, they are passing his gateway, dear,
Without a visit.
O it must be the farmer who lives so near.
It must be the farmer so cunning, so cunning?
They have passed the farmyard already, dear,
And now they are running.
O where are you going? Stay with me here!
Were the vows you swore deceiving, deceiving?
No, I promised to love you, dear,
But I must be leaving.
O it's broken the lock and splintered the door,
O it's the gate where they're turning, turning;
Their boots are heavy on the floor
And their eyes are burning.


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12 Toners That Fight Brassiness in Blonde Hair Between Salon Appointments
It's as easy as one, two, tone.
Nothing turns heads like that shiny, bright look of freshly-colored blonde hair. But nothing lasts forever and that smooth, gleaming sun-kissed shade can turn brassy and dull quicker than you'd like. But there is a solution for keeping your hair color vibrant and preventing brassiness and fading: A toner.
"Using a toner will enhance or neutralize your color," says Aura Friedman, lead color specialist at Sally Hershberger salons. Hair can get brassy when the color starts to fade, which happens for a bunch of different reasons, including sun exposure, minerals in the water, shampoos that strip color, as well as heat styling. "By neutralizing hair color, brassiness will be removed, and if you love your current shade, toner can work with your hair to keep the colors you like most and make them even more vibrant."
Toner can be applied in-salon, where a professional colorist can apply a toner tailored to your hair shade. But when you can't make it to the salon, you can try at-home products that help tone blonde hair at home.
"Toner is a science," Friedman explains. "If you apply too much, hair becomes dull and dark, if you don't use it at all, hair can become brassy." Your DIY options include rinses, drops, glosses, purple shampoos, but Friedman prefers toning conditioners, treatments, and masks for their added moisturizing benefits. Here are her pro tips for the best results:
Here, the best toners for blonde hair according to experts and shoppers, including formulas for bleached strands, brassiness, icy and medium blonde shades, and more.
It's as easy as one, two, tone.


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Honda CB350 Limited Edition Cafe Racer
If you spend some time on the Cafe Racer forum "Do the Ton" you'll have the pleasure of seeing many amazing custom bikes come together. One build that recently grabbed my attention was Sydney based member DucatiBoy's Honda CB350 'Limited Edition' Cafe Racer. After a few emails back and forth DB shared the story of his Cafe Racer build with me and despite his declaration, he was no good behind the camera, he snapped off these slick shots for us. Here's how the bike came together in his own words…
"It started out as a 1969 (70?) Honda CB350. It had the upswept CL pipes on it but the engine number starts with CB350, I'm not sure if thats the way the are supposed to be or if someone swapped the pipes out. It was sitting under a tree in a paddock on a farm next door to my parents property just outside of Queanbeyan NSW. The farmer said I could have it for free if I came and removed it from his property. According to him it "ran perfectly" before it was parked 10 years previously. Since then my 13 year old son and I have spent approx 18 months in the shed slowly getting it together."
"The bike was stripped to the bare frame and 40 years worth of grime and grease was cleaned off along with any excess/unwanted lugs and brackets. The rusted out frame rail was cut out and replaced and the motor stripped back to the crank. A new lower case was sourced from the US on ebay because theold one had two broken engine mounts. We rebored the cylinders and fit 0.25mm oversize pistons/rings and serviced the head retaining the original valve. A new cam chain and tensioning rollers were also installed before the engine cases, barrels, head and rocker box were all prepped and painted with rattle cans. Then a Boretech electronic ignition, dyna tech coils, Ricks rectifier/regulator and home made wiring loom were added to get the bikes electrics in order."
"The frame was sent out for a coat of metallic grey reminiscent of the many Ducatis I have ridden over the years. In the front a 2.15 x 18 rim with Harley Davidson hub and a custom 3.5 x 18 rim in the rear with a Honda hub/brake custom rim and chrome spokes. The bikes forks, triple clamps, discs, calipers and master cylinder all came from a Ducati 848. The CB's steering stem was retained but required a customised spacer pressed into the Ducati lower triple clamp to allow it to fit. We also made a custom front axle and spacers to allow the Harley rim to fit ducati forks. The tank and seat are from Benjie's Cafe Racers and were painted by Collide-a-scope in Sydney."
"I've put a few parts bin specials together when I was younger but this has been the first time I've done it "properly". The bike is also the first old bike I've rebuilt and certainly the first time I've worked on a Japanese motor. It has been a huge benefit to both my son and I. For him, he is learning all about working in the shed, how to turn a spanner and the love of tinkering on motorcycles. For me, I've had the incredible joy of working together with my son towards a common goal and generally spending good time together at a time when many kids don't want to spend time with their parents."
Unlike his day job as an anaesthetist DB's CB350 won't be putting anyone to sleep in a hurry. Using a smart mix of Japanese and Italian technology his "limited edition' Cafe Racer handles just as good as it looks. If this is the sort of bike he's teaching his son to put together I think we can expect great things from him in the future!
Do the Ton is the perfect resource for inspiration and helpful information for the budding backyard builder. Head over to www.dotheton.com and sign up to become a part of the internets biggest and most devoted Cafe Racer enthusiast forum.
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This pages includes:
- Introduction
- list of all known images of Plas Newydd (including references to images which have not been found).
- details of the images
Portraits of Butler and Ponsonby
Plas Newydd was illustrated in all four stages of its development:
- The cottage in its original state before it was extended by Mr and Mrs Edwards in 1778.
- The cottage after it was extended, when it was first occupied by Butler and Ponsonby
- The cottage with the oak ornamentation installed from around 1814
- The house as altered by General Yorke after 1876
It appears that few changes were made to the facades of the building between each stage, but there are indications that the vegetation, especially the trees, gradually encroached on the immediate environs of the house (some of which might be the result of artistic licence).
Most of the views of Plas Newydd are from the south-west, showing the front with Castell Dinas Bran in the distance, but there are several which show just the cottage with some of the surrounding trees. In most of these the south-east end is hidden by vegetation. There are a few views of the rear of the building, showing the projection for the library and bedroom at the north-east end.
Several early views are ascribed to Sarah Ponsonby who also produced a plan of the cottage. One of her views was published as a frontispiece to Anna Seward's volume of poems Llangollen Vale, with other Poems (1796), the original of which has recently been discovered in the National Library of Wales.
The most enigmatic of the prints is that ascribed to J.P. Neal which shows the cottage in its original state as it was before Butler and Ponsonby moved in, without the extension to the south-west end. The extension was built in 1778 when J.P. Neal was 7 years old. Neal is known to have been illustrating buildings in south Wales in 1813 and throughout the 1820s but there is no firm evidence that he was doing the same in the north. If he did draw the cottage just before the print was published in 1813 it appears that he either left left out the extension or based his view on an earlier drawing, but there is no explanation as to why anyone should want to illustrate the cottage before it became famous as the home of Butler and Ponsonby.
Several of the early prints are undated and might be earlier than has previously been assumed. Some of these are very rare and they have not been found in published volumes which might help date them.
A careful study of the vegetation around the cottage suggests that many of the prints were based on original sketches and if the vegetation was accurately portrayed, it has helped to date them (from the presence, absence or size of the trees).
There are surprisingly few drawings and prints of the cottage considering the vast number of people who visited it but perhaps most of those who might have drawn it were denied permission to do so. An entry in Butler's diary records such a request, by Thomas Walmsley in 1790, who was denied permission because they did not want 'to be exhibited in the Magazines'. However Walmesley did publish a fine print of the rear of the cottage in about 1800 and Butler and Ponsonby bought a set of his works, so perhaps they relented or allowed him to draw the cottage at a later date. In 1794, George Wood's view of the rear of the cottage was published in The European Magazine.
Several prints of the cottage were published while Butler and Ponsonby were still alive, including those by George and Samuel Nicholson who had visited them in 1819 and dedicated their volume of prints to them, published in 1824. Henry Gastineau's popular print was published in 1830 as was one published by W.Crane.
After the death of both Butler (1829) and Ponsonby (1831), more prints were produced, most of them mass-produced and of poor quality, some of which may have been derived from earlier prints especially those produced by Newman and Co in the 1860s when the first photographs (by Francis Bedford) appeared. John Thomas, who had a studio in Llangollen, took several photographs of the house just before and after General Yorke installed the pseudo-timber framing to the facades 1876-1877.
From the late 19th century onwards many postcards of Plas Newydd were produced.
List of illustrations of Plas Newydd (details below)
- pre 1778? said to be after J.P. Neal
1780 Eleanor Butler and Sarah Ponsonby moved into Plas Newydd
- 1787 plan by Sarah Ponsonby sent to Queen Charlotte
- 1787 portfolio containing a plan and 2 drawings by Sarah Ponsonby
- 1790? print of the rear by Thomas Walmesley
- 1792 sketch by James Plumtre
- 1792? watercolour showing the rear by John Warwick Smith
- 1793 print of the rear published by John George Wood
- 1793 print of the rear published in the European Magazine
- 1796 sketch by Ponsonby published with Anna Seward's poetry
- 1798 sketch by Harriet Bowdler
- 1806 front and rear view said to be by Sarah Ponsonby
- 1815? print of the facade by H Billingel
- 1815? sketch of the facade by Harriet Pigot
- 1819? prints of the porch and the facade by the Nicholson brothers
- 1820? sketch with Castell Dinas Bran by Anon
- 1820s?? print, anon, undated
- 1821 two sketches by Henrietta Matilda Crompton
- 1822 two sketches possibly by Bradford or Edward Rudge
- 1824 Lady Louisa Harvey asked Louisa Lloyd to sketch Plas Newydd
- 1827 Edith Hobson sketched the cottage
- 1828 Amelia Waddell sketched the cottage (location unknown)
- 1830 Henry Gastineau produced his very popular print.
- 1830 W. Crane of Chester published a print of the cottage
1832 Plas Newydd was sold to Miss Andrew and Miss Lolly
- 1836 Anon, pencil sketch
- 1837 Thomas Lupton sketched the cottage
- 1840 Pen and ink drawing by Marianne Jones
- 1840 Edwin W. Jacques's drawing was produced as a print
- 1850 John Hicklin published a view of the cottage
- 1850 ? Anon, pencil sketch
1854 Miss Andrew died. Miss Lolly probably left Plas Newydd
- 1859-1860 Anon, pencil sketch
- 1860s Newman and Co. published several views of the cottage
- 1860s-1880s Francis Bedford published at least 9 stereographs of the cottage
1876 General Yorke purchased Plas Newydd
- 1875-1877 John Thomas took 4 photographs of the house.
The images
This includes links to original sources, including those which cannot be display here for copyright reasons.
'Plas Newydd, near Llangollen, Denbighshire, The seat of Lady Eleanor Butler and Miss Ponsonby. Engraved by Woolnoth from a drawing by J.P. Neale for the Beauties of England and Wales. London; published by John Harris, St Paul's Church Yard, May 1st 1813'
This does not include the extension built by Mr and Mrs Edwards in 1778.
It is said to be after a drawing by J.P. Neale but there is no evidence that he visited Wales during the 18th century. Neale was born in 1771 and would have been only 7 when the extension was built, so it is very unlikely to be by him, unless he copied an earlier drawing when he was older.
An image based on the above was published in G.N. Wright's Scenes in north Wales, (1833), plate 5.
A plan of the Plas Newydd 'estate' drawn by Sarah Ponsonby were sent to Queen Charlotte at her request, but it is thought that she rejected it because it had been impregnated with perfume which she disliked.
'The Queen of GB was on the point of looking at some of my Works, the Inscriptions in our Garden (have you got them?) and a Plan of our House but was obliged to order them out of the Room … this happened last Summer But We Did not hear it 'till last Week!
(Letter, Sarah Ponsonby to Sarah Tighe, 7. June 1786, Webber MS.)
Mavor, Elizabeth, The Ladies of Llangollen, (1971), pp. 59, 102)
There is a very feint outline ground plan of the cottage in Sarah Ponsonby's common place book (NLW 22969A), f. 41
This is not the same as the plan sent to Lady Frances Douglas in 1788 (below), but it might have been similar to it.
A souvenir portfolio containing a plan and 2 drawings of Plas Newydd (front and rear) with inscriptions and an original poem in French entitled:
Souvenirs / To Lady Frances Douglas / These Memorandums of a Cottage / Whose inhabitants are proud to boast / The Obligations Her Friendship has Conferred / Is Gratefully and Respectively / Inscribed
Lady Douglas, (1750–1817), daughter of the Duke of Buccleuch, supported Butler and Ponsonby in their application for a British pension in 1785 and again in 1791.
View of the front of Plas Newydd with Castell Dinas Bran in the background. It shows the extension to the right, said to have been built in 1778. The extension looks much longer than in other drawings (although in most of the others the new end is hidden by vegetation), but it also looks out of proportion to that shown in the plan which accompanied these drawings. Harvard Collection
The rear of Plas Newydd showing the projecting extension which houses the library and bedroom above. This view shows the true height of the building which comprises four stories (basement, ground floor, 1st floor and attic rooms). Harvard collection
Plan of the ground floor showing the brewing kitchen, library, parlour, kitchen and coal house. Harvard collection.
Thomas Walmsley, (1763-1806)
Plas Newydd showing the library projection from the garden side.
Hand coloured engraving c. 1800. British Library, Ktop XLVII, Item number: 3.f
There are several images painted by Thomas Walmsley and many others engraved by him, 1794-1810 in the National Library of Wales, showing that he was at Llangollen before 1800.
Walmsley wrote to the Ladies, seeking their permission to sketch their house
An entry in Eleanor's diary for 9.8.1790
'Note from Mr Walmsley, an artist from London, desiring to see this place. Desired to be excluded. We have appeared in the Newspapers. Will take care not willfully to be exhibited in the Magazines.' (Bell, Hamwood Papers, p. 260)
T. Walmsley, published a volume 16 prints of 'Views on the River Dee' 1792-1794.
On the 24th May 1793, the Ladies paid 10 pence for 'Walmsley's and Jukes' Views.
Sketch of Plas Newydd and Castell Dinas Bran by the Rev. James Plumptre, (1771-1832). Cambridge University Library, add. MSS, 5804 or 5802.
Ousby, Ian, James Plumptre's Britain, The Journals of a Tourist in the 1790s
(London, 1992), 51
Watercolour: Llangollen from near the cottage of Lady Eleanor Butler and Miss Ponsonby; mountainous landscape, a town viewed from a height, a large white house on a hill at left [the back of Plas Newydd] by John 'Warwick' Smith,
British Museum 1958,0712.382
The rear of Plas Newydd
Artist: John George Wood
Engraver: J.L.
Published as a frontispiece to John George Wood's Six Views in the neighbourhood of Llangollen and Bala from Original drawings by Jno. Geo. Wood Dedicated by permission to the Right Honorable Lady Eleanor Butler & Miss Ponsonby with the Annexed Vignette Representing their Elegant Retirement in the Vale of Llangollen. (1793)
The rear of Plas Newydd, based on the above
artist: John George Wood
title: Plas Nwydd [sic] a cottage near Llangollen, Denbighshire
engraved by W. Thomas
European Magazine, vol. 25, (London: J. Sewell, April 1794), p. 174
The illustration is accompanied by the following text:
This beautiful little mansion and its appendages were embellished and decorated by the exquisite taste of the two elegant Ladies who now reside in it, the Right Hon. Lady Eleanor Butler and Miss Ponsonby, of the Kingdom of Ireland. The view of Plas Nwydd, with which we present our readers was taken by the permission of the ingenious artist, from the frontispiece to 'A Collection of Views in the Neighbourhood of Llangollen and Bala. By Mr J. Geo Wood of New Bond Street.
NLW, Denbighshire Top. A6 A104
The same view appears on a cup with the ladies' initials E.B. & S.P. now in the British Museum.
Plas Newydd and Castel Dinas Bran
Title page of Llangollen Vale, with other Poems by Anna Seward, (London: G. Sale, 1796). F Jukes sculpt. Said to be after Sarah Ponsonby (the evidence for this is detailed below).
Anna Seward was at Plas Newydd on or about the 16th August, 1795 when the 'Harp woman was paid 3s for Mr [and] Mrs Ormsby and Miss Seward (Sarah Ponsonby's account book, 1791-1800, NLW fax 18, p. 171). Seward was staying with the Roberts family at Dinbren and wrote from there to Miss Wingfield on the 14th August and to the Rev. Henry White of Lichfield from Barmouth on the 30th August and again on the 7th Sept 1795. In the latter, she wrote:
I resume my pen, to speak to you of that enchanting unique, in conduct and situation, of which you have heard so much, though, as yet, without distinct description. You will guess that I mean the celebrated ladies of Langollen Vale, their mansion, and their bowers.
By their own invitation, I drank tea with them thrice during the nine days of my visit to Dinbren; and, by their kind introduction, partook of a rural dinner, given by their friend, Mrs Ormsby, amid the ruins of Valle-Crucis, an ancient abbey, distant a mile and a half from their villa. Our party was large enough to fill three chaises and two phaetons.
(Letters of Anna Seward written between the years 1784 and 1807, vol. 4, (1811), letters 18,19, and 20)
It appears that Sarah Ponsonby did indeed draw this picture. A letter from Anna Seward, dated Lichfield, Feb. 4,1796, to Eleanor Butler mentions it, thanking them for paying for an engraving to be made from the drawing (but there is no mention of the cost of this in the account books which are complete for the years 1788-1800).
I have already expressed to Miss Ponsonby my delight in the scenic fidelity, and elegant execution of the vignette for Langollen Vale; but I cannot cease to feel pain, in the idea that my receiving it as yours and Miss Ponsonby's present, must render the publication so expensive to you. If you will have the goodness to permit me to discharge the engraver's bill, you will extremely oblige me. The kind trouble you took in procuring the drawing at my wish, and placing it in such able hands, is an obligation which I can cheerfully receive. It is yet in your power to render that pleasure unallayed.
(Letters of Anna Seward written between the years 1784 and 1807, vol. 4, (1811), letter 29, pp. 149-152
Letter from Anna Seward to Mrs M. Powys, Lichfield, June 1, 1796:
I hope to reconcile you to the vignette, by observing, that it was my request to the Rosalind and Celia [Eleanor Butler and Sarah Ponsonby] of Langollen Vale, that my poem on that vale might be enriched with a view of their habitation on its title-page, since themselves, and their scene, form one part of its triple cord of subject. This view is the most happily chosen of any they could have given me, being from a point which shews the ruins of Castle Dinas Bran, and the Eglwysig rocks in the back-ground, both of which you know are mentioned; the ruins presenting the scene of the love-story that occupies the middle part of the poem.
(Letters of Anna Seward written between the years 1784 and 1807, vol. 4, (1811), letter 43, pp. 209-211)
This print very similar to a pencil drawing in NLW DV63 (PA9290), f. 40b (no. 16).
DV673 consists of 137 drawings pencil, pencil and wash, pen and wash, and watercolours, c 1785. The album is ascribed to The Rev. John Breedon of Bere Court, Pangbourne, but it consists of several sets of pictures of different date, probably by different people. This image is quite different in style to most of the other images in the album. It has the title 'Lady Eleanor Butler's & Miss Ponsonby's Cottage Llangollen' in the hand of Eleanor Butler, or possibly Sarah Ponsonby. This might be the original drawing for the print, and if, so, there is no explanation as to how it came to be in this album.
Sketch of the cottage, dated but not signed. Probably by Harriet Bowdler who was staying in October that year. (Mavor, Elizabeth, The Ladies of Llangollen, (1971) p. 108)
24th August
Being engaged to breakfast at the cottage at 11, for the Ladies, tho early risers themselves, yet having many friends and tourists to see them in the course of the summer, generally fix that hour, that they may previously secure a part of their day to themselves for study and business. [visited the church]. I next walked by the road at the back of the town to a gate nearly opposite the cottage and took a sketch of this "Fairy Palace of the Vale" [from Ann Seward's Llangollen Vale, 1796] … The Ladies having got an addition to their domain since my last visit [in 1797], I had a new and very delightful scene to behold. It is a pasture which lies on the side of the hill sloping down to a clear mountain rivulet. [more on this pasture] An addition to the party being expected, we waited till half p. 12 when we sat down, a party of 12, to a most elegant and social meal. The party being augmented by the arrival of four more visitors I took my leave.
Plumptre, James, (1771-1832)
Ousby, Ian, James Plumptre's Britain, The Journals of a Tourist in the 1790s(London, 1992), pp. 162-163 [image not published]
Drawings, said to be by Sarah Ponsonby, in an album of poetry etc. in the Ladies of Llangollen collection.
(1) View of the Façade of Plas Newydd fronted by fencing, with trees on both sides and Dinas Bran in the background. entitled 'In the Vale of Llangollen' Accompanying an Italian 'sonetto'. This shows the facade without any carved oak. NLW Ms 22984C, f. 35
(2) Part of the library wing entitled 'In Llangollen Vale, May 1806' NLW Ms 22984C, f. 39. This is similar to John Wood's view, but with more trees on both sides.
The date (May, 1806), on the view of the rear of the cottage, appears to be in a different hand to the title.
The volume contains verse and prose in English, French and Italian, mainly dedicated to Caroline Hamilton (née Tighe, d. 1861) of Hamwood, in various hands including those of members of the families of Hamilton, Tighe and Fitzgerald, as well as transcripts, 1803-1859.
1815 (about)
Drawn on stone by J.W. Guy from a drawing by H. Billingel. Printed by George Smith, Liverpool.
Dedicated by permission to the Right Hon. Lady Eleanor Butler & Miss Ponsonby by their Obliged & Obedt Servant, H. Billingel'
This is the earliest known image of Plas Newydd which includes the carved oak decoration.
A framed ?watercolour version is on display in Plas Newydd.
Copy of the print in: Lady Mary Leighton, Watercolour Sketches of Plas Newydd, letters of Sarah Ponsonby to Mrs Parker of Sweeney Hall, 1809-1816, Denbigh Record Office, Ruthin, DD/LL/7 (1894.35.1), p. 40 (NLW MS EY 134, Microfilm 968 (letters from Sarah Ponsonby to Mary Parker, and pictures by Mary Parker, and prints relating to Plas Newydd, Llangollen)
Published in Mavor, Elizabeth, The Ladies of Llangollen, (1971)
1815 (about)
Print of Plas Newydd by Harriet Pigot (1775–1846).
Members of the Pigot family, who were nieces of the Myttons of Halston Hall, Whittington, near Oswestry, visited Plas Newydd on the 17th May, 1788 (Mavor, Year, p. 94) but this drawing dates to about 1815 (on the basis that the carved oak around the windows and door is in place.) It includes a lean-to on the n.w. end but does not show the footpath which passes that end, shown clearly in other views. Published in Mavor, Elizabeth, The Ladies of Llangollen, (1971)
Print of Plas Newydd by Samuel and George Nicholson, published in 1824 (see below)
This shows details of the timber-work of the entrance porch and a little of the inside, with small arched alcoves in the wall of the hose on both sides of the porch, each with pot plants in them.
This suggests that the render on the façade of the house was marked out in false ashlar blocks. No other illustrations show this.
The upper windows are leaded and there is a coat of arms over the porch.
There is what appears to be an oil lamp hanging in the porch.
There is no sign of the small lions which were on the seats on both sides inside the porch
These two prints of Plas Newydd by Samuel and George Nicholson were published in Plâs Newydd and Vale Crucis Abbey correctly drawn from nature, (Published by the authors, 21, Islington, Liverpool, and by R Ackerman, 101 Strand, London, 1824)
This volume was Dedicated to The Right Honourable. Lady Eleanor Butler, and Miss Ponsonby, by their Obliged and Obedient Servants, Samuel and George Nicholson.
This was accompanied by a vignette of Llangollen Church as seen through the Library window.
The brothers visited the Ladies in 1819, as recorded in Eleanor's diary, but she did not record whether they made the sketches for the book during that visit. There is no mention of them in the 1821 diary.
2 September 1819 Eleanor Butler's Journal:
Two young artists of the name of Nicholson from Liverpool brought a letter from Mr Greyson – they staid an hour & then we gave them a letter [of introduction] to Mr Jones Llantisillio. [They came back for tea later that day.] Mr Thomas Jones of Llantisilio had an interest in art (see the letters from the Ladies to him and to Miss Jones, NLW Minor Deposit 623B / 3-20).
7 September 1819 Eleanor Butler's Journal
per Liverpool coach a letter from those civil young artists the Nicholsons with the curious image of the Blessed Virgin & child which was found in that Manila Galleon-xxxx <laden> with the richest commodity of India which was captured by Commodore Anson in his voyage round the world in …They also sent two bits of wood taken from a yew tree in Studley Park [near Ripon].
1820 (about)
'Lady Eleanor Butler's Cottage'
Anon, said to date to 1850, but some images in the album date to about 1820 (work on the Menai Bridge had just begun). NLW DV90 (PB5452), f. 4
Print of Plas Newydd. Not dated (Private collection)
Part of a pencil sketch by Henrietta Matilda Crompton (1793-1881) covering the whole of two pages of an album. (details below)
The two figures in the trees on the right may well be the Ladies of Llangollen.
The tree on the left half covering the lower-left window is very similar to that in the print by W. Crane [1830?]
Copy photograph on display in Plas Newydd, 2017
Another pencil sketch by Henrietta Matilda Crompton (1793-1881)
Welsh tour sketchbook, 1821, North Yorkshire County Record Office. ZCM
Ashcroft, M.Y., Letters and Papers of Henrietta Matilda Crompton and her Family, North Yorkshire County Record Office Publications no. 53, (1994), pp. 178-188
Eleanor Butler's diary for the 16th July, 1821 recorded 'Mr Rookes Crompton and two sisters of Esholt near Otley in Yorkshire a very interesting party morning and evening.'
Anne Lister visited Plas Newydd, Llangollen in July 1822 and mentioned the Cromptons (who came from the same part of Yorkshire as Anne) in her diary. '2 of the Cromptons and their brother (of Esholt) were lately sketching the place. The Ladies sent them chairs – went out to speak to them (for they were retiring fearing they had offended the Ladies) …'. However, this was a year after the recorded visit of the Cromptons, but it is possible that the Ladies remembered the visit of a family who came from the same part of Yorkshire as Anna Lister.
One of two views of Plas Newydd possibly by Bradford or Edward Rudge
Bedfordshire Record Office, X69/7, f. 42
One of two views of Plas Newydd possibly by Bradford or Edward Rudge
Bedfordshire Record Office, X69/7, f. 43
Letter dated 21 November 1824 from Lady Louisa Harvey to Louisa Lloyd at Aston,
I have a favour to ask of you which is to make me two drawings of the two views of the Ladies house as it now is as my view of it is as before the Gothic Carving. … it is to hang up in my dressing room it need not be so large as the pattern as I have two oval frames the glass of which is this size. [no pattern enclosed]
(NLW, Aston Hall Correspondence, 3582)
Artist: Edith Hobson
Written in pencil at bottom left-hand corner of image: 'Lady Eleanor Butler's Cottage Plasnewydd, Llangollen Augt 10. 1827.'
One of a series of twenty-eight pencil drawings mostly depicting scenes in and around the area of Llangollen, Denbighshire.
This image is unusual in that it is taken at a slight angle to the façade. It shows:
- the cottage with 5 windows and porch. The right-hand part of the cottage is hidden behind trees
- a tree in front of the bottom left window
- two figures on a path leading to the cottage with the hilltop ruins of Castell Dinas Brân beyond.
NLW PE4096/14, Lady Eleanor Butler's Cottage Plasnewydd, Llangollen [graphic] : Edith Hobson
'Ran up to Plas Newydd to take a sketch of that beautiful retreat. …'
Diaries of Amelia Waddell (Lady Amelia Jackson) and her brother George Waddell (Junior) on a tour in Wales, May-Sep 1828, Amelia's Diary no. 7, pp. 120-121, 28 July 1828, Royal Geographical Society, SSC/79, numbers 6-8. [The location of the sketch is unknown.]
artist: Henry Gastineau
engraver: Jorden, H.,
title: Plas Newydd, near Llangollen, Denbighshire
'Views in Wales' (London: [Jones & Co.], 1830)
Anon, Wales illustrated in a series of views, (1830), p. 47
This shows a diamond-shaped coat of arms over the porch.
artist: Anon
title: Plas Newydd, Llangollen / W Crane, Chester (on right bottom of image).
title: Plas Newydd, Denbighshire
engraver / publisher: Newman & co., 48 Watling St., London.
There are at least two versions of this print.
The tree to the left of the windows on the left of the house is similar to that in Crompton's drawing of 1821.
artist: anon
title: Plas Newydd
medium: pencil on paper
date: 'March 1836'
Pencil drawing of part of the façade with Castell Dinas Bran in the background.
In ornate sepia frame.
NLW Denbigh (Box 2) Size A PE4723
artist: Thomas Lupton
title: Plas Newydd near Llangollen, The residence of the late Lady Eleanor Butler and Miss Ponsonby
medium : sketch
This shows Plas Newydd as a tall house, with the s.e. end hidden by trees. Butler and Ponsonby are shown in the bottom right.
NLW DV6 no 7
There is also a panoramic view by Thomas Lupton, dated 1837 'View taken from the Hand Hotel, Llangollen' showing the Dee and landscape beyond including Castell Dinas Bran. NLW, no catalogue no, Denbighshire, B, Llanarmon – Llangollen
Pen and ink drawing of Plas Newydd, Llangollen by Marianne Jones who married John Jones-Bateman (died 1849) of Pentre-Mawr, Abergele
The house has a fence in front of it and trees in foreground. Dinas Bran castle is in the distance
The date is uncertain but drawing is little different from others of the same date range.
NLW ms 3594B, p. 3
artist: Edwin W. Jacques
title: Plas Newydd, near Llangollen: the seat of the late Lady Eleanor Butler and Miss Ponsonby
Drawn on stone by W.L. Walton / From a picture by Edwin W. Jacques.
Published by T. Catherall, Bookseller, Chester
This shows the fence along the front of the cottage to which carvings of various creatures were attached.
There are several versions of this image and photographs of the print were also sold.
artist: Edwin W. Jacques
title: Plas Newydd, near Llangollen: the seat of the late Lady Eleanor Butler and Miss Ponsonby respectfully inscribed by the permission to the present ladies
Drawn on stone by W.L. Walton; from a picture by ??????Edwin W. Jacques.
Printed by C Hullmandel
A hand-coloured version
Print of Plas Newydd, based on the print by W.L. Walton; from a picture by Edwin W. Jacques, first published 1840 but with the ladies in their habits and tall hats in front of the fence.
Anon, 'Our own country, descriptive, historical, pictorial' [1878?], vol. 1, p. 190-192
One version included the full-length portraits of Eleanor Butler and Sarah Ponsonby.
Print of Plas Newydd, based on the print by W.L. Walton after Jacques.
Published in:
Anon, 'Our own country, descriptive, historical, pictorial' [1878?], vol. 1, p. 190-192
Cook, Joel, England, Picturesque and Descriptive. A Reminiscence of Foreign Travel.(Philadelphia; Porter and Coates, 1882), p. 24
Artist unknown
Plas Newydd with Castell Dinas Bran in the background. Eleanor Butler and Sarah Ponsonby, a dog and possibly their gardener are superimposed in the foreground with two pairs of visitors nearer the house. (This was published 20 years after the death of Butler and Ponsonby.
Hicklin, John, (editor), The illustrated hand-book of North Wales, (1850), p. 229
Pencil Drawing, 224 x 282 mm.
Plas Newydd Llangollen … [Castell Dinas Brân in background]
'Plas Newydd Llangollen Seat of Lady E Butler' written in pencil at bottom left-hand corner of work.
Shows the cottage with 5 windows, door and 2 chimneys with the right-hand side hidden by a tree.
The palings in front of the cottage are shown with ?projecting section in front of the cottage door and a gate leading to the left-hand side of the cottage. The surface of the wall of the cottage appears to be marked out as if of ashlar blocks. There is no tree in front of the
Blind-embossed stamp at bottom left-hand corner of work.
NLW Denbigh (Llanarmon-Llangollen) Size B, D6422 Same artist as D6420, D6421 and D6423.(ORIG DRAWGS (PLACE) Denbigh (Llanarmon-Llangollen) Size B
Plas Newydd Llangollen … [Castell Dinas Brân in background] [graphic]
artist: Anon
title: Plas Newydd, Llangollen
medium: pencil
NLW, DV45, p. 11
1860s ?
title: Plas Newydd, Denbighshire
Engraved by Newman & Co., 48 Watling Street London
Published and sold by David Roberts, Llangollen
NLW Denbighshire Top. A6 A105 tir02189
1860s ?
Title: Plas Newydd, Denbighshire
Engraved by J.Newman, 48, Watling Street
Published by R. Hughes, Wrexham
Tir02372.jpg (letterhead)
NLW Denbighshire Top. B6/4 B099 tir02372 (letter head)
One of a pair of stereographs almost certainly by the Quaker photographers Alfred Pumphrey (1830-1913) and Josiah Pumphrey (1823-1911) of Birmingham.
No. 1928 is scratched on the negative
Stereograph no. 211 by Francis Bedford, early 1860s.
The woman is almost certainly Mary Bedford, the photographer's wife.
Francis Bedford (and possibly his son) took stereographs of Plas Newydd over a period of least 20 years.
number and title
211 Plas Newydd
762 Plas Newydd
982 Plas Newydd & Castell-Dinas-Bran
983 Plas Newydd & Castell-Dinas-Bran
1029 Plas Newydd
1778 Plas Newydd, from Road
1779 Plas Newydd
1780 Plas Newydd, Library
2787 Plas Newydd
2788 Plas Newydd, New Wing
1874-1877 (about)
These shows Plas Newydd just before and after General Yorke added the pseudo-timber framing to the facades.
Four photographs by John Thomas (1838-1905)
[Plas Newydd, Llangollen]
[Plas Newydd, Llangollen]
[Door in Plas Newydd, Llangollen]
[Effigy of St David, Plas Newydd, Llangollen]
artist: Lyne, F. C. H.,
NLW DV380, image 35
Photograph of the demolition of General Yorke's wings