Two gravestones side by side at Llanelieu, Powys commemorate nonagenarians who both 'departed this life in hope of a joyful resurrection' in the first quarter of the 18th century.
But they couldn't be more different …
A simple, engraved stone with minimal inscription remembers David Powell of Cwm-Hwnt, who died in 1725 aged 92.
In contrast, the maximalist memorial to William Awbrey, topped with the Awbrey coat of arms, has been carved in relief from top to bottom, much like a printing press block. It’s not so much a tombstone, as a *tome* stone!
The words of the inscription — all caps — are indiscriminately broken over lines and SEPARA
TED:BY:COLONS.
We are informed that Awbrey, who died in 1716 aged 90, was the son of Thomas Awbrey, Gent and the husband of Elizabeth (daughter of William Awbrey).
He was also the father of TEN children: Richard, William, Theophilus, Anne, Mary, Elizabeth, two Thomases and two Marthas.
This uncommon carving style can also be seen on the 1669 stone for four-year-old Thomas Awbrey (the first Thomas) which rests inside the church. At the base of that stone, beneath its raised rows of text, are some worn but intriguing symbols.
There’s much more we could say about the Awbreys. William Jr. married Letitia Penn, daughter of William Penn — quaker & founder of Pennsylvania. The surviving Martha was also an early settler. Perhaps if William’s gravestone was bigger, his family would have mentioned this too!
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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.