In 1914, Emile de Vynck, his wife and baby arrived in North Wales. Their home in Malines, Belgium had been bombed. Lloyd George found houses for several displaced families in Gwynedd, and took the de Vynck family into his own home in Criccieth. #thread
On 16th October 1914, Emile was interviewed by The Cambrian News:
“I left Malines when the Germans bombarded it for the fifth time. Nearly everyone fled the day after the German brutes entered the town. In terror we rushed to another village. 2/
A kindly farmer hid us in his barn and we lay there on the straw. When we woke we escaped to Duffel and from there to Bruges where we arrived at midnight and found the town in darkness. Two ladies gave us hospitality and the next day at a very early hour we went on to Ostend. 3/
We stayed there only a quarter-of-an-hour and then took the boat for Folkestone. Everyone gave us food and dainties and when we arrived in London we were taken to St Giles Home where we stayed 4 days. Then they sent us down to Criccieth where we have been very kindly received. 4/
My wife and I and the baby (Pauline) thank from our hearts the ladies of the Committee for all their kindness to us and also the people of Criccieth. I desire to be excused, being a Fleming, for writing such a short account but I have done all I can to make myself understood”. 5/
Emile and his family eventually moved to a property of their own in the small village of Pentrefelin. Here, you will find the church of St Cynhaearn. Being a talented wood carver, Emile created beautiful objects for several churches in the area. 6/
At St Cynhaearn, he carved the cross above the altar. He carved items for St Beuno’s, Penmorfa. And at Tremadog, he carved a reredos in a Renaissance style that had been designed by C R Ashbee. 7/
The de Vynck family stayed in North Wales until the 1920s, when they returned to Belgium, but their legacy remains.
All images are of our church St Cynhaearn’s at Ynyscynhaearn.
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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.