Grandson of a king called “superbus tyrannus”, 7th-c Cynhaiarn lost his brother and father in battle. Another brother was mauled by animals but pieced back together like Frankenstein’s Monster…
To escape, he paddled out to the middle of a lake and built a cell there...
We know very little about St Cynhaiarn. He was the son of Cyndrwyn. His brother was Cynddylan, who plundered Lichfield monastery and slaughtered “book-clutching monks”. Upon Cynddylan's, his sister Heledd wrote Canu Heledd – a series of short poems describing her loss.
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After this tragedy, Cynhaiarn and some his brothers turned to God. And to learn, they went to none other than St Beuno.
St Beuno was a popular guy. To get away from pupils and parishioners, he used to wade out into the middle of a river at and kneel on a stone to pray.
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One night, Beuno was out there praying, when Cynhaiarn’s brother Aelhaiarn approached him. Incensed at being disturbed, Beuno muttered that God should teach that man a lesson. (Or something more fitting to a 7th-century saint.)
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At once, wild animals burst through the woodland and ripped poor Aelhaiarn to pieces! Beuno was horrified. He shooed away the beasts and looked at the dismembered body before him. It was then that he recognised that it was his student, Aelhaiarn!!
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Beuno dashed about gathering up all the bits of Aelhaiarn’s body. He reassembled the bits and brought Aelhaiarn back to life! But, upon completion he noticed that Aelhaiarn was missing an eyebrow…
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Searching about him for something eyebrow shaped, Beuno took the iron tip of his staff and fixed it to Aelhaiarn’s brow. From then on, Aelhaiarn was known as ‘iron eyebrow’.
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The photos in this thread are of the church at Ynyscynhaiarn, which stood on an island in the middle of Llyn Ystumllyn until the 1800s, when the lake was drained. The church is on the spot where Cynhaiarn rowed to all those centuries ago to build his cell and live in solitude. 8/
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Nestled in the centre of a small village in the Welsh countryside, St Mary's, Derwen is renowned for its wondrous collection of medieval woodwork.
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The church is entered through a charming late medieval wooden door, with iron studs and fleur-de-lys decorated hinges, set in a surround of gorgeous South Cheshire sandstone.
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Naturally, the medieval wooden treasures of this Denbighshire church continue inside. Foremost is the the fine late 15th-century rood screen and loft that dominate this interior.
A heavily Victorianised small church, St Anno's, Llananno in Powys is, from the outside, a humble and largely forgettable building.
However, inside visitors can feast their eyes upon one of the finest pieces of medieval carpentry in Wales.
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The rood screen and loft inside St Anno's, Llananno is a medieval gem that no visitor will forget in a hurry. Spanning the entire width of the building, this magnificent piece of medieval craftsmanship dates from the 15th century.
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The term for these pieces of church furnishings (rood screen and rood loft) relates to the fact that, in the medieval period, above these magnificent wooden structures there would have been a rood - a carving of the crucified Christ on the Cross.
St Mary's, Temple, Corsley is a stunning example of Arts and Crafts Gothic architecture.
This charming church was built in the early 20th century, when the Arts and Crafts architectural style had reached its acme.
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The chapel was constructed in memory of the husband and son of Mary Barton of Corsley House. When Mary died in 1899, she left £10,000 to establish a trust to build and then care for the chapel.
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The chapel was designed by W. H. Stanley of Trowbridge – his only known building – and built by Buyers Brothers of Westbury.
A marriage of faith, farming, landscape and language, placenames remind us of the personal, poetic origins of a location. This is true for Llangua.
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‘Llan’ is an enclosure usually associated with a church. The element which follows, most commonly a personal name, is mutated. Llangua is the church of St Cywa (English: Kew, Ciwa).
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Although there is no obvious physical evidence for a church being here before the 12th century, the survival of that placename is our first clue in understanding the development of the religious foundation on this site.
The sanctuary of St Philip’s, Caerdeon is a bejewelled Byzantine-esque treat.
In this thread, we will explore the history and details of this beautiful ensemble.
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Casting a kaleidoscope of jewel-toned light across the sanctuary, the east window was produced by the Kempe studio, one of Victorian Britain’s preeminent stained glass firms.
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Intriguingly, this stunning window takes the form of a continental church altarpiece: a crucifixion scene situated within a classical frame, adorned with sumptuous baroque details such as fluted golden Corinthians, foliate swags, and flaming urns.