The restoration of Papworth St Agnes is one of our greatest success stories. But in 1979 it looked like this. The stained glass had been cut out, the roof tiles lay in piles ready to be sold, the font was thrown into the churchyard. A demolition order had been published. #thread
The Domesday Book of 1086 records a church in this Cambridgeshire village, but today, the earliest surviving fabric dates to the 15th century. Interestingly, at this time, the hamlet was the family seat of Sir Thomas Malory, author of Le Morte d’Arthur in 1469. 2/
In the mid-19th century, the distinguished Ecclesiologist, J.H. Sperling arrived as the new rector. Sperling had a habit of rebuilding churches and Papworth St Agnes would be no different. He's responsible for the distinctive chequerboard patterning of flint and clunch. 3/
Sperling also introduced stained glass by William Wailes. Most of this was sold on the salvage market, but one panel, featuring Noah’s Ark, had been sent to the Stained Glass Museum at Ely. 4/
We thought this church was too important to face the wrecking ball. We rallied against the demolition. In its vulnerable state, we took it under our wing. Then, something miraculous happened: the locals came and asked if they could use the church as their community centre. 5/
As we do not receive any public funding in England, it took many years, immense generosity from our supporters and an unfailing determination from the locals to piece this church back together and restore it to its community. 6/
Now it is used regularly, has a full programme of events, services and is there for you – any time you want to visit.
All the good, colour photos are courtesy of @badger_beard 7/7
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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.