Over a stone stile, St Andrew's, Bayvil nestles in crunchy bracken. Overlooking Newport Bay, the church survives almost entirely as the Georgians left it.
But St Andrew's is a bit of an enigma. Nobody knows when it was built or by whom.
From the outside the Gothick windows are the only hint of what may lie inside.. Lifting the latch on the bead-and-butt west door, an interior “of delightful and luminous simplicity” is revealed.
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A complete set of box pews lines the south wall. A crenelated vestry enclosure takes up the northwest corner. But the chief joy is the triple-decker panelled pulpit, reading desk, and clerk’s desk - the former so tall it almost touches the ceiling with its sounding board.
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The woodwork is painted in a distinctive late Georgian scheme, which we have not re-painted or retouched – just gently washed.
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In the southwest corner, you'll spy the most ancient element - the font. Possibly a survival from an earlier church on the site, it's a lopsided cushion-cut bowl on a thick, moulded shaft, rising to just under a metre in height. It's believed to date from the 12th century.
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In 1828 the church was described as being in “tolerable repair” and “tolerably furnished with all things convenient for the country church”.
This is frustratingly vague! Could this be before the Georgian restoration? Or after?
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We do know that, between 1813 and 1828 it was served by a non-resident minister, who was the vicar at several South Pembrokeshire churches, but who, in fact lived at Emsworth, Hampshire.
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St Andrew’s will continue to keep its secrets for now. One of the great pleasures of our parish churches is their mystery… how gradually, over time, they reveal clues to their past lives.
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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.