A Wellingtonia aka giant sequoia dominates the skyline at St Mary's church in Hardmead, Bucks. It's one of the oldest of its kind in the country. But how did it come to be there?
Put your feet up and enjoy a tall (but true) tale for #NationalTreeWeek ...
In the 1850s, California was in the grip of the Gold Rush. While thousands panned for gold, others made their fortune on plant discoveries. Cornishman William Lobb had brought Chile's monkey-puzzle tree to the UK (like this one here) and was looking for the next BIG thing …
The first European to document the giant sequoia was hunter Augustus Dowd, who stumbled into a grove of 96 huge trees at Calaveras Grove while pursuing a grizzly bear. Lobb heard his story in San Francisco and headed straight to the grove to collect seeds, cones and small trees.
In 1854 Lobb shipped the first specimens back to the UK and marketed them as the ‘Monarch of the Californian Forest’. It sparked a craze for this gigantic redwood tree, which brought the excitement and epic proportions of the ‘Wild West’ to British parks and gardens.
In Britain it was named 'Wellingtonia gigantea' after the recently deceased Duke of Wellington. However, 'Wellingtonia' had already been used for another plant. Plus, the Americans preferred to call it Washingtonia, after their first President (and it was their tree, after all!)
After decades of debate, it finally received the botanical name 'Sequoiadendron giganteum' in 1939. However, 'Wellingtonia' stuck as the common name here in Britain.
18 giant sequoias can be seen in Oxford's University Parks & Arboretum (pictured) and there's an Oxford connection to Hardmead’s tree too: it was planted on Boxing Day, 1860 by Samuel Wilberforce, Lord Bishop of Oxford, to commemorate the church's reopening after its restoration.
The morning of 26 Dec was wet and stormy, but every seat was filled at the special prayer service, by clergy, gentry, yeomen and labourers — who had been given the day off work. The bishop (seen here) was attended by 2 rural deans and upwards of 20 clergy.
📷 Wellcome Collection
The Bucks Herald reported that 'After the service the Bishop planted a tree, "Wellingtonian Gigantia," in the south-west part of the churchyard, commemorative of the event.'
The reason for the choice of tree is unknown, but could have simply been a matter of fashion.
The tree planting was followed by luncheon, and all of the labourers of Hardmead and their families were treated to 'a substantial repast of beef, mutton, and plum pudding.'
Bishop of Oxford Samuel Wilberforce was one of the greatest public speakers of his day. He was the son of William Wilberforce — an MP who led the movement to abolish the slave trade — and was himself a passionate abolitionist, as well as a campaigner against animal cruelty.
But he's best remembered for opposing Darwin's theory of evolution in a public debate at Oxford Uni Museum of Nat. History in 1860, when he asked Huxley, a supporter of Darwin's theory, whether it was through his grandmother or grandfather that he was descended from a monkey!
This cartoon of Wilberforce at the debate appeared in Vanity Fair in 1869. He’s making his characteristic 'hand washing' gesture, which may explain why he was nicknamed “Soapy Sam”!
Back to Hardmead, where the giant sequoia planted by Wilberforce has grown steadily for almost 161 years. It's currently 26 metres tall with a trunk that spans a metre in diameter.
But given that the giant sequoia 'General Sherman' — the largest known single stem tree living on earth — is as much as 2700 years old, stands 84m high and measures 15m in diameter, our little tree still has a very long way to go!
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.