Behind a thicket of fleshy, fuchsia rhododendrons, a rugged granite church hides. Inside, the stippled plaster walls are daubed in burnt sienna, the ceiling soars in royal azure.
But the Mediterranean vibe doesn’t end there... #thread
St Mark’s, Brithdir was built in the 1890s. Louisa Richards commissioned Henry Wilson to design the church in memory of her husband, the Rev’d Charles Tooth, founder of St Mark’s church in Florence.
He had died within a few months of their marriage.
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Wilson was inspired by Tooth’s legacy in Florence, but also by “those delightfully simple churches just south of the Alps”.
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The buttery yellow walls in the nave glow. The chancel is lower, darker, closer, creating an air of mystery. The walls are curvaceous. The squinches throw shadows. The small space seems cavernous.
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Right at the back, a cast copper altar glitters. On it, the Virgin Mary receives the Holy Spirit before a trellis laden with roses, lilies and daffodils. Two figures with bowed heads bear witness. It's thought these are Charles and his brother Arthur…
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Mice, squirrels and rabbits scurry around the legs of choir stall. Owls and kingfishers watch silently from the shadows. The top of each pew has a stylised tree spelling ‘SM’, for St Mark’s.
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Love-hearts and grapevines feature heavily – from glazing to gutter brackets, pews to pulpit.
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Wilson wanted this church to appear is if it had sprung out of the soil, rather than set down upon it.
Through the richness and boldness of his design, he created a church of unparalleled wonder and warmth.
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.