Great art is created when the hand, the head, and the heart come together.
Llandeloy church was nothing more than a few medieval stumps by the 1840s. In the 1920s, John Coates Carter set about re-imagining the ruins to symbolise a personal journey through life...
Rebuilding the church from the fragments was meant to start in the early twentieth century. Locals donated more than £600 towards the work. But, just as they were about to begin, the Great War broke. Progress was halted for more than a decade.
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In 1926, Carter returned. He designed a simple church to nestle deep into a hollow in the churchyard. An ancient holy well is hidden in the greenery to the south.
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For Carter, the church with a “floor of slates won from the earth, and a roof of trees whose branches once reared skywards, become symbolic of the earth and the heavens”.
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It is symbolic of a Christian’s journey as they move from the font (baptism), through the narrowing of the chancel arch, which was given by a mother in memory of her son who was killed in the war.
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At this point, they are tempted by the generous, easeful byway of the transept, before stepping up into the chancel, stepping closer to the heavens, to the altar, where the reredos depicting Christ in Majesty was painted by Carter himself.
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St Teilo’s, Llandeloy, Pembrokeshire would be Coates Carter’s final church.
He died less than a year after it was consecrated.
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.
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.