The earliest English & Welsh burial records go back to 1538, when Henry VIII made it law that parishes keep registers of baptisms, marriages and burials.
But a few records and medieval memorials survive to give us clues about people who were laid to rest in earlier times. #thread
The earliest record of a burial at St Beuno's, Penmorfa, is found in The History of the Gwydir Family, written by Sir John Wynn of Gwydir Castle in Caernarvonshire (1553-1626). The book, which was a big hit in 17thC North Wales, aimed to show that Sir John had royal ancestry.
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Sir John wrote that in abt 1450, Ivan Ap Meredith Ap Howell (constable of Criccieth) had joint command of Caernarfon but "dying at Caernarvon, his body was brought by sea (for the passages by land were shut by Owen Glyndwr's forces), to Penmorva, his parish church, to be buried."
However, as late as 1870, a stone marking an even older burial could be seen in St Beuno's. It was inscribed with the year 1322, and locals believed it to be the burial place of the owner of Rhiwaedog, an ancient estate in the Penllyn forest, about 30 miles from Penmorfa.
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There were many legends associated with Rhiwaedog. One such legend tells of an egg-sized crystal which was passed from generation to generation and is said to have had the power to foretell the death of the head of the household when its brilliant colour became clouded.
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Unfortunately, what became of the 14th century gravestone at St Beuno's after 1870 is a mystery.
But here's Penmorfa churchyard in Gwynedd today, glimpsed from the Lychgate.
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⭐️ Bonus tweet: The earliest dated version of The History of the Gwydir Family has been digitised by @nlwales. A gold star to anyone who can find the page mentioning Penmorfa ... ⭐️
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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.