From yawning arcades and stone arcs floating in a limewashed wall to sloping skew-passages and pointed scars of lost roofs, these shapes chart the 900-year architectural history of the church.
Cut into a steep sandstone bank just a couple of miles from the Pembrokeshire coast, the earliest parts are the south and western walls (and font) which date from the late 1100s. This includes, we believe, the four-bay arcade.
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The chancel was rebuilt and extended in the 1200s. At the same time the north aisle was reconstructed and the tower erected over the south transept. A north transept was also added at this time.
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The 13th century saw a considerable enlargement of the church, more or less doubling it in size. Such enlargements were often a response to the ritual and ceremonial requirements of the Sarum Use for the Mass and other liturgical rites.
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In the 14th-century, the two storey porch was tacked on to the south.
The Reformation era of the 16th century, coupled with the introduction after 1549 of a less elaborate and more static liturgy, probably precipitated the reduction in size to the proportions we see today.
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The north and south chancel aisles were demolished, along with the north transept. The only evidence of their existence is the arches over the windows.
The north chancel aisle, where it abutted on the north nave aisle, was replaced by an angled passageway leading to the chancel.
Except for the provision of a vestry on part of the site of the north chancel aisle, which was constructed in 1856 over a boiler-house and cellar, no additions were subsequently made to the church.
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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.