St Mary’s is the most beguiling of buildings. Set in a chocolate-box village in Wiltshire, built from honeyed stone in doll-like proportions, it’s a tiny masterpiece of Gothic Arts & Crafts style. And was built as a result of one woman’s grief…
In her will of 1899, Mary Barton left £10,000 for the purchase of a piece of land at Temple Corsley and the building of a chapel in the memory of her husband and son. Mary Barton’s executors chose Mr W. H. Stanley of Trowbridge as the architect.
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It seems like this was the only place of worship Mr Stanley ever designed.
With the chapel designed, Buyers Brothers of Westbury won the contract to actually build it.
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Approached from the west, griffin gargoyles greet the visitor. The prowl around a playful spirelet with an octagonal bell-turret. Tapering buttresses support the walls. The path leads you to the north-porch and under a sinuous, depressed arch and over a flagstone floor.
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The light in this chapel is celestial. It is the first things that strikes anyone. It’s lit by two rows of three-light windows: each window is crowned in cusped glazing with the fringes stained in a shade of sugar-barley stick orange.
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Bare red brick with bright white pointing forms the nave walls. The chancel is entirely ashlar stonework, symbolising the greater importance of the east end. A real highlight are the pews which are carved at stylish, raking angles from Kauri (NZ) timber.
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St Mary’s chapel was built out of loss and longing, and became a glorious celebration of life, architecture and craft. See more here: friendsoffriendlesschurches.org.uk/corsley/
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.