In some churchyards you might discover these black, bulbous balls growing on trees.
They’re known as King Alfred cakes, cramp balls or coal fungus… because a king possibly burnt some buns in the 9th century, they warded off cramp and because they’re good firelighters.
The nickname King Alfred cakes comes from the legend of how, in a bid to escape the Vikings, King Alfred fled to the Somerset Levels, where a peasant woman gave him refuge.
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Unaware of his majesty, the woman tasked Alfred with keeping an eye on some buns as they baked. Alfred was a bit preoccupied, forgot about the buns… and they burnt!
🖼: King Alfred burning the cakes, Sir David Wilkie, 1806
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It’s not a far stretch to see these black botryoidal fungi as charred cakes. Tho, it’s uncertain whether there’s any truth in the burnt buns story, as the first written evidence for it dates to a hundred years after Alfred’s death.
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These fungal swellings are also known as cramp balls. In the Middle Ages, they were carried as charms to protect against cramp and fever.
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Perhaps most interesting, isthe fungus’s role in prehistory as a firelighter. An archaeological excavation of a 7,000-year-old settlement in Spain found remains of this ‘coal fungus’, which was used as kindling.
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The botanical name for these prehistoric protuberances is Daldinia concentrica. It is a saprotroph – that is, it lives off dead and decaying wood. When cut open, the silvery black interior is formed of concentric rings.
📸: björk s...
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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.