The Black Country pictures of John Louis Petit


The landscape artist and architectural critic John Louis Petit (1802-1868) painted a small number of scenes of Black Country activity during his career. In this post I look at two of them, one depicting mines at Wolverhampton, and the other the Spring Vale Furnaces at Bilston. I do not consider their artistic merits – indeed I would be quite incapable of doing so – but rather I will discuss the scenes the paintings portray and the locations from which they might have been painted.

Mines at Wolverhampton

The picture Mines at Wolverhampton is shown above and is reproduced by permission of the Petit Society. On the Petit Society website, it is captioned

c1830-35, 15x20cm, watercolour on paper, private collection.

The main feature of the painting is the pair of pits showing the scaffoldings of the “Rattle Chain”. This is a very early representation of such mechanisms. The nature of the structure between the scaffoldings is not clear but could perhaps be some sort of furnace or processing plant. The grim reality of the destruction of the surrounding countryside by spoil from the mines is also very apparent in the foreground. The figures of two mine workers wearing brimmed hats can also be seen. Nothing by way of safety equipment was provided and there were may injuries and deaths, which were simply regarded as part of the costs of the operation.

In the background there are two churches shown, one with a tower and one with a spire. It is from these churches that I guess the painting finds its title, because at first sight they would seem to show the Wolverhampton churches of  St. Peter’s to the left with the tower, and St. John’s to the right with the spire. The former was a favourite subject of Petit. However, this placing of the churches suggest that the scene was painted from the west of Wolverhampton, as St. Peter’s is to the north of St. John’s. This however is not possible, as there were simply no mines in this region – indeed the boundary of the south Staffordshire coal field is to the east of the town – see the picture below from the Coal Authority website that shows mine openings in the Wolverhampton area.  Indeed, if the picture does show Wolverhampton, it is painted from either the south east or the east, and there are no church pairs that match from that direction. We are left with two possibilities – either the artist added the church towers to a scene painted from elsewhere to contrast the old and the new (which of course as a painter he was perfectly at liberty to do), or the painting depicts a scene from elsewhere. In terms of other locations, I can find only one other location in the vicinity from which a church tower and spire could be observed – somewhere to the west of Dudley where St. Edmund’s and St. Thomas’s churches are so aligned. This would give a location for the pits somewhere in the Gornal area, which would be quite possible, being close to Petit’s Ettingshall Park estate. However, if this were the location, one would have expected Petit to have skewed the scene slightly to show Dudley Castle, which would be just off the left of the current picture. There may however be alternative possibilities that I have not identified in the Wolverhampton area.  Reader’s thoughts would be very welcome.

Mine openings around Wolverhampton – From Coal Authority website

Springvale Ironworks, Bilston

This picture appears in the book “Petit’s Tours of Old Staffordshire” and is again reproduced with permission of the Petit Society. It is believed to have been painted in 1852 or 1853 and to depict the Springvale Ironworks at Bilston to the south of Wolverhampton. It clearly shows a number of blast furnaces and other industrial buildings. In the foreground there is the depiction of a small housing settlement. The land here is greener than in the Wolverhampton painting, but still broken, looking as if it had been used for some extraction activity. The horses walking along the foreground track again give the contract between the old and the new. In the background we can see the chimneys of the Black County and perhaps, just to the left of the furnaces, a depiction of a church tower.

After some investigation, I am led to the conclusion that the painting does indeed show the Springvale works, although there is perhaps another possibility I will consider below.  In my view the painting is clearly looking east – there are too many chimneys etc in the background for a westerly view which would look out over more open country. There are two detailed maps of the area available for the relevant period – the Tithe Allocation maps of Sedgley and Bilston of 1845, and the large-scale Ordnance Survey map of 1882. Sketches prepared from both these maps are shown below. The track running north to south on the left of the sketches is the current Spring Road, and that running across the top of the sketch is the current Millfields Road. The church shown is the original Holy Trinity, not the current building. The painting shows what is referred to as the left hand “Iron Works etc” on the 1845 map and “Spring Vale Furnaces” on the 1882 map. The building in front of the furnaces is Spring Vale Iron Works on the 1845 map and Spring Vale Foundry on the 1882 maps. The maps only show the ground plan of what was in existence at the time they were produced, so the details of the furnaces and other buildings cannot be seen. Also of course all the buildings, with the exception of the furnaces, were ephemeral in nature and would be regularly modified and replaced. The canals and railways that can be seen on the maps are not visible on the painting – they would have been low lying and obscured by the topography. Most ironworks in this region were situated close to the canal which was used for both bring in raw materials and taking out finished products.

From 1845 Tithe allocation maps – blue indicates canals; brown roads or tracks
From 1882 Ordnance Survey map – blue indicates canals; brown roads or tracks

The position from which the picture is painted can be more precisely defined. A sketch from the 1845 map showing a wider area,  is shown below and indicates the likely position – at the road junction to the top left, where the name (presumably of a pub) is given as the Fighting Cocks. This is at the junction of the current Parkfield Road with the Dudley / Wolverhampton  Road. The 1845 map indicates a cluster of housing at this point. Interestingly the1882 map shows the latter road is the course of a tramway, and this might also be the case for the 1845 map, although tramways and roads are not always distinguished on these maps. If this were the case then the horses in the foregrounnd might be pulling wagons along the tramway. The ground also dips from this site towards the site of the ironworks as in the painting, although it is difficult to compare modern topography with that from the 1850s as most of the land is “made ground” of one sort or another. The painting position sits just outside John Louis Petit’s Ettingshall estate, although he did not live there, so one can conjecture that the picture was painted on a trip to the estate to conduct whatever estate business was required with his agent and tenants.

From 1882 Ordnance Survey map – blue indicates canals; brown roads or tracks; black dotted line – from painting position to furnaces

As noted above, there seems to be a church tower in the background, although this is far from clear. If this indeed is the case, then this depicts St. Bartholomew’s at Wednesbury. This church has a tower and a short spire, which was even shorter in 1853. Perhaps just a hint of this spire can be seen in the picture. The position of the church in the picture does however give confidence in the deductions of the painting position as the alignment is very much as expected given the position of painting.

As mentioned above, there is however another possibility for what the picture shows. It is possible that it depicts the Parkfield Furnaces, shown on the maps above. The reasons for thinking that this might be the case  are firstly that one might expect these furnaces to be shown on the left of the picture if the painting position is as suggested, secondly that on the 1882 map there is a long building in front of the furnaces that could be that shown on the painting, whereas no such buildings are shown the vicinity of the Spring Vale Furnaces on either map. Against this suggestion is the fact that the Parkfield Furnaces do not seem, from the maps, to have been on the same scale as those at Spring Vale. On balance my feeling remains that the picture displays the Spring Vale Furnaces.

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