At Llangwm Uchaf, what remains of the gloomy inscription on this crumbling gravestone has a great example of the archaic use of 'ye' (the) which we tweeted about recently, but you can also spot two lovely examples of another extinct letterform: ſ - known as the 'long s'.
At a glance, ſ looks a bit like an f (especially in typefaces that give it a little nub on its left hand side - like in this edition of Paradise Lost).
But what looks like 'fpend' on the headstone is actually 'spend'.
Long s and short s were both in use, so the epitaph also tells us that if all goes well on earth we can look forward to a 'life of Bliſs' (Bliss).
But why were there two ways of writing the lower case (miniscule) letter s?
Both forms originated in the Roman period and their use and shape has changed multiple times over the centuries. Ninth century monks writing in the standardised Carolingian script would only use the long s.
But by the 12th century it had become a convention to use the long s at the beginning and in the middle of a word and the short s (which at that time looked like our letter r) at the end. The s we use today was around too but mostly used as the shape for a capital S.
By the 17th century, the rules of when to use a long or short s had become more complex, and weren't always followed consistently. However, one common convention was to use a long and short s for a double s - as in Miſs, congreſs, or Miſsiſsippi.
Thankfully, by the early 19th century, English language printers had almost entirely stopped using the long s, so today we are the Friends of Friendless ... not Friendleſs ... Churches.
However, the long s stuck around (ſtuck around?) for a bit longer in writing made by hand — whether with a pen or a chisel.
That was meant to be the end of our thread but we just couldn’t resist sharing a couple more examples of the long s from our churches. Like this elegant wall monument from Skeffling in the East Riding of Yorks
And this stern commandment board from Papworth St Agnes in Cambridgeshire
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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.
With a 15th-century rood loft hovering over rows of 18th-century box pews, the interior of St David’s, Llangeview in Monmouthshire offers a glimpse into the forms of worship from two bygone ages.
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Spanning the entire width of the nave, the rood loft is a relic from the late medieval past. Before the Reformation, the rood loft would have carried the rood, a carving of Christ on the cross.
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Alongside Christ, there would have been carved depictions of the Virgin Mary and John the Apostle. Sadly, none of the medieval roods survived the Reformation.