While we don’t mean keep visitors away from Llancillo church, getting there is a bit of battle, involving sharp turns, potholes, rattling cattle grids, boorish cattle, watchful sheep and a busy train-track. But this area is no stranger to battles...
It’s here, along the spellbinding Welsh Marches, that you’ll find the densest concentration of motte-and-bailey castles in England and Wales. These castles were the result of William the Conqueror’s plan to subdue the Welsh by installing Marcher Lords along the border.
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But defence wasn’t new to the Marches: along their length, the Romans built forts to defend themselves from the Welsh. The Anglo-Saxons dug an 80-mile ditch. So, it's no wonder really that our little church at Llancillo is in the shadow of an ancient castle.
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The castle at Llancillo was built in the 1090s by Richard Esketot, a tenant of the formidable de Lacys. The church itself dates to a similar time, with remodelling in the 14th, 17th and 19th centuries. Of particular interest here is the woodwork – much of it recycled:
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...the carved wall-plates in the porch are believed to be from an old roodscreen; the choir stalls incorporate 17th and 18th-century panelling; one pulpit is richly carved and dated 1632; another is inscribed ‘I.G.1745’ and seems to have been made from pieces of box-pews.
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Inside and out, there are monuments to the Scudamore family… The same Scudamores that bought Dore Abbey in the Dissolution of the 1530s and sold off the masonry… and then, in the 1630s had a pang of guilt and restored the building as parish church.
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It’s worth a visit to Llancillo… if you’re brave enough...
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.