In the UK, there are more churches dedicated to Mary than any other saint.
The cult of the Blessed Virgin Mary really took hold in the Middle Ages. Mary was adored by monastic orders, who promoted stories of her miracles. By 1066 she had six annual feasts.
Mary came to be depicted as the Queen of Paradise surrounded by red and white rosebushes: red for love and martyrdom, white for purity. (Later the white roses were ditched and the lily was adopted as the symbol of purity.)
But where did it all come from?
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The rose first appears as a romantic symbol in Hellenic poetry. Roman legends connecting Venus with roses establish two enduring connections with the God of Love and the blood of a divine martyr. Mary has been compared to the mystical rose since the Church’s earliest days.
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It wasn’t long before Mary began to be hailed as the Flower of Flowers. Nor was it long before she began to appear in the lives of saints, in particular intervening directly to help her faithful - sometimes taking the form of miraculously appearing roses.
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Monastic burial grounds were planted with rose gardens in prefiguration of the Paradise garden to which it was hoped the departed had gone.
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(Please excuse the cable.)
The connection between Christian rosary beads and the medieval rose garden was made in Europe in 12th-13th centuries. The beads include five decades of prayers to Mary. Rosary beads became one of the most popular forms of prayer and meditation in Europe, particularly England.
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A fifth of all the churches in our care are dedicated to the Virgin Mary. And all the images featured in this thread are from St Mary’s churches.
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Bonus tweet from everybody’s 12th-century Benedictine monk:
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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.