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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In the Vale of Aylesbury, there are low-lying limestone hills surrounded by clays and sands. There, at Waddesdon Hill in 1792, ragged limestone was used to build the Strict & Particular chapel. And under the pebble-dash render, we found an ammonite as big as your head!
The chapel had a thick layer of lumpy cement render on three sides, the last side had a light slurry of lime mortar. The render was causing problems of damp and decay, so we removed it to replace with a more permeable lime layer.
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During the removal, we’ve been fascinated by all the fossils – some small, some enormous – that we’ve uncovered. The gigantic ammonite spiral is a real thrill, but there are several brachiopods (clam-shell shape) and chunky crinoid stems too.
The majestic 15th-century roodscreen fills the interior. It bursts with life: the bressumer trails with vines, pomegranates and water-plant issuing from the mouth of a wyvern. The vines symbolise Christ. The pomegranate represents eternal life.
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The thirty-four coving panels are decorated with seventeen different designs, creating a restlessness. The tracery heads hang like lace. The loft carries a line of twenty-five canopied niches. The carving is the work of the Newtown School of Carvers, Montgomeryshire.
In churches, hard surfaces and sharp angles of stone, brick, glass and wood are softened by the delicate draping of intricately woven and embroidered altar-cloths, comfortable cushioning of communion kneelers & pleasing curves of plump hassocks, stitched with great care. 🪡
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Today we’re celebrating our churches’ softer side …
1. Altar cloth, St Mary's, Long Crichel, Dorset ⬆️
2. Altar frontal, St Philip's, Caerdeon, Gwynedd ⬇️
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3. Hassocks, St Andrew's, Woodwalton, Cambridgeshire
When we took Tuxlith Chapel in West Sussex into our care in the 1970s, it had been derelict for decades. At the time we didn't have enough money to re-instate the lath and plaster ceiling, so we nailed some painted boards across the ceiling.
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This did the trick until last year, when the boards began to fail, so we went back, and this time, thanks to a Culture Recovery Fund grant, we can restore the lath and plaster ceiling.
The plasterer, Ian Holloway, carefully removed all the rusting nails and damp boards, and has set out the base for his plaster: carefully spaced riven oak laths.
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.