At St David's, Llangeview, Monmouthshire, 18th century ledgerstones commemorating James Blower, Mary Jones and James Meredith lay before the wooden altar rail with its twisted balusters, made in the same century. And more can be seen in the nave.
The name 'ledger' comes from Old English via the Middle English words lygger, ligger or leger - to lie down. There are an estimated 250,000 surviving ledgerstones in churches in England and Wales, most from the late 17th to late 18th centuries.
The chancel was the usual resting place for members of the clergy, while the nave was usually the option for those with the financial means and local influence — from aristocracy and gentry to families of middle class professionals and tradesmen.
These privileged few could assert their superior status in death as well as life, and, most importantly for the faithful, be laid to rest closer to God.
But there was a problem with this practice; the floors of many churches in that period were still bare earth rather than stone, and the odour from burials beneath the floor could be very unpleasant.
Over time, medical experts began to view burials inside churches as a public health risk. And in 1854, the Burial Act prohibited intramural burials.
As the names of the deceased passed from living memory, ledger stones were broken during new building works, paved over, or concealed by pews, furniture or carpets, while many exposed stones have been worn smooth or crumbled to dust by countless footsteps.
These three ledgerstones in St David’s have survived against the odds as evocative but also tantalising remnants of church and community life in Llangyfiw two to three hundred years ago.
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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.