In splendid isolation on the Llyn Peninsula, St Mary’s, Penllech overlooks the Irish Sea. A church has been here for over 800 years, serving generations of farming communities.
Its interior, where walls and woodwork are painted light grey, radiates simple beauty.
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Mentioned in the Norwich Valuation of 1254, the church is medieval in origin; however, the font is the only substantial survivor of this age. It’s a roughly hewn basin of brown stone, painted white on the inner face, and sunk into the shaft beneath.
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Most of what you see today is a rebuilding in 1840 by Samuel Jones. These rows of timber trusses, with their splayed shoulders, have an almost industrial feel. The closely spaced rafters almost resemble corrugated metal sheeting and lend a sort of warehouse vibe.
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The 19th-century work was funded by a grant for re-pewing from the Incorporated Society for Promoting the Enlargement, Building & Repairing of Churches & Chapels. This accounts for the open benches filling the body of the church, while six box-pews gather at the east end.
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The only flash of decoration is the sound-board (or tester) over the pulpit. It’s a moulded octagonal affair with a Greek key cornice. To the underside, a sun bursts with eight rays; unexpected extravagance in a simple church.
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.
With a 15th-century rood loft hovering over rows of 18th-century box pews, the interior of St David’s, Llangeview in Monmouthshire offers a glimpse into the forms of worship from two bygone ages.
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Spanning the entire width of the nave, the rood loft is a relic from the late medieval past. Before the Reformation, the rood loft would have carried the rood, a carving of Christ on the cross.
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Alongside Christ, there would have been carved depictions of the Virgin Mary and John the Apostle. Sadly, none of the medieval roods survived the Reformation.
Caught Moss-Handed: how the rare mosses on the roof of St James’s, Llangua enabled the conviction of two criminals in the 1950s.
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In the summer of 1951, a farmer spotted two men climbing on the roof of Llangua church at dusk. Unfortunately, by the time the police arrived, the men had fled the scene.
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After committing further criminals acts in the local area — namely the theft of tools and car batteries — the authorities caught the men, who turned out to be two brothers that had come to Monmouthshire from Cardiff.