There are remains of roodscreens in ~300 churches in Wales. They were constructed in a short period: two generations either side of 1500, and take three forms: veranda, coved and vaulted.
This survival at Llanelieu is the most complete example of a veranda loft in Wales. #thread
Towards the of last year the @RCAHMWales published, Painted Temples: Wallpaintings and Rood-screens in Welsh Churches, 1200–1800 by Richard Suggett. For information and images, this book is a treasure trove.
One chapter deals exclusively with rood screen, which in Wales are distinctive not only for their “lavish enrichment, fluent decoration and curious carvings”, but also for the literary dimension – as several screens had poems written about them.
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These poems are a great resource for their descriptions of the screens. They had a devotional aspect to them, and were also used to attract pilgrims to the church. (e.g. the late 14th-century poem Cwydd i'r grog o gaer by Dafydd ap Gwilym dedicated to the rood at Carmarthen.)
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But the Welsh roodscreen’s popularity was short lived. In the 1550s, the figures were removed. By 1561 there was a royal order to reduce lofts to the top of the screen. More destruction occurred in 1600s. Then again in the re-orderings and restorations of the 1700 and 1800s.
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In Suggett’s book, he describes an incident in Welshpool in the 1730s, when parishioners petitioned for the removal of their screen, as people were congregating there “under pretence of psalm singing”… but were “spitting upon people’s heads below”.
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What survives are just "crumbs from a once rich table".
We have 8 Welsh rood screens in our care. You can read more about them in this post we wrote a while ago:
Here’s a late 19th-century painting of Llanelieu church, Powys by FWAT Armstrong 1849-1920 (via Art UK). I love that white-haired old man in a pew to the left.
It was a few looks before I spotted him, almost started, like he knew I was looking but I didn’t see him.
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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.