Friends of Friendless Churches

In 1876, Heaton, Butler and Bayne decorated the chancel at St John the Baptist’s, Allington. The east window displays characteristic elements of their work — namely, the vibrant colours derived from Heaton’s research into medieval techniques, and Bayne's striking linear designs.

Finally, another notable firm was Heaton, Butler and Bayne. Heaton and Butler began by producing designs for Clayton & Bell, and were later joined by Bayne, a pupil of Clayton.

📷 Heaton, Butler and Bayne - East window at Castlemartin, Pembrokeshire

Another prolific stained glass firm was Powell & Sons. As they produced windows by many different artists, there is a degree of variety in their glass. However, as illustrated by the east window at St Cynhaearn’s, a Pre-Raphaelite artistic flair is present in much of their work.

Also at St Cadoc’s is a later window from the Kempe studio (c.1918), which is perhaps more characteristic of the studio's wider oeuvre. With deep blue and green hues and exceedingly delicate draftsmanship, it clearly shows the strong influence of 15th-century glass.

The four glimmering saints in the window of the Rolls Chapel at St Cadoc’s were designed by John Carter, the chief designer at Kempe’s studio. This window illustrates two artistic hallmarks of Kempe glass: the use of rich ruby red and pristine silver staining.

At St Cadoc’s, Llangattock-Vibon-Avel in Monmouthshire, there are three brilliant windows by the Kempe studio. By the late 19th century, Kempe employed over 50 people in his studio and had completed more than 3,000 commissions.

📷 West window at St Cadoc's - Choir of Angels

As the 19th century progressed, stained glass studios emerged to meet the growing demand. Among the most notable were Clayton & Bell and Kempe.

📷 East window by Kempe at St Philip's, Caerdeon, Gwynedd

At Castlemartin in Pembrokeshire is a small yet stunning window that depicts the Crucifixion. This window was produced by Hardman to a design by Pugin, the leading exponent of the Gothic Revival in the first half of the 19th century.

It is thought that more than 80,000 stained glass windows were produced during the Victorian period.

Throughout our churches, you can find excellent examples of Victorian stained glass by some of the most noteworthy designers and makers of the 19th century.

📷 Lavers & Barraud - Llangattock

Gosh, that’s a really stunning example of this process of medieval recycling! Thanks for sharing!

But in Skeffling, the fabric of Birstall Priory lives on. With its stones repurposed in the walls of a rural parish church, the remains of this lost monastic site do, at least, endure — even if they are hidden in plain sight.

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Sadly, nothing remains of Birstall Priory today. Whatever ruins did survive were consumed by the ever-encroaching tide in the 20th century.

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When St Helen’s was built in the mid-15th century, it is thought that some of the building material from the decaying monastic site was reused.

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It seems that the priory then entered a period of significant decline, or perhaps ceased to function altogether, from the late 14th century onwards.

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As a daughter house of Aumale Abbey in Normandy, Birstall was considered an ‘alien priory’ and was therefore confiscated during the wars with France in the later medieval period. In 1396, the lands and monastic site were sold to Kirkstall Abbey.

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It is thought that some of these cobblestones may have originally formed part of the fabric of the now long-lost Birstall Priory — a nearby Benedictine monastery.

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At first glance, the exterior of St Helen’s, Skeffling is rustic and rather unassuming. However, the rounded glacial cobblestones from which the church is built aren’t just any local pebbles.

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We are so grateful to everyone who is making this project possible.  Further updates will be shared as the project progresses.

Areas of blown and severely decayed stone will be replaced with new stone that has been selected to provide the best possible match to the original material. The replacement stone will take a month or so to arrive from the quarry.

Each sound stone will be numbered so it can be put back in its original position. The structure will then be rebuilt using as much of the original sound material as we can but incorporating new stainless steel fixings to replace the problematic iron cramps.

On the scaffolding that envelops the tower of Old St Matthew’s, Lightcliffe, West Yorkshire, our architect Kynan Simmons shows the condition of the dome stonework and our contractor Gary Payne explains the challenge of taking down the ball finial and its cast iron pedestal.

Thank you as always. Also, what a lovely way of putting it, they are certainly little treasure troves hidden down country lanes!

From the linen-fold decoration on the dados to the riot of rambling foliage on the bresummer beam, almost every inch of this magnificent late medieval structure is covered in some form of decorative detail.

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However, St Jerome’s, Llangwm Uchaf is perhaps most famous for its fine rood screen and loft that dates from the turn of the 16th century.

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In the 17th century, the church warden of St Jerome’s, John Gwin, wrote a Commonplace Book, containing medicinal recipes, church disputes, and a myriad of other information. Thus, his Commonplace Book provides a rare insight into early modern Welsh life.

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Accordingly, St Jerome is the patron saint of translators, librarians, and scholars. In addition to its dedication, Llangwm Uchaf has another connection to the history of the written word.

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St Jerome is most famous for translating the Bible from Hebrew and Greek into Latin. His translation, known as the Vulgate, became the standard version of the holy text in the medieval Catholic Church.

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Today, 30th September, is the feast day of St Jerome. The church at Llangwm Uchaf in Monmouthshire is dedicated to this fascinating historically important saint.

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All images © Lily Watts

Yes, it is a potential concerning architectural feature. However, thankfully, due to this building having been in the care of the Historic Chapel Trust, the chapel is in a far better condition than most of the places of worship that we acquire!

From a different photograph, it’s seems that the panelling on the pulpit side of the table is removable/folds out. Thus, making for easy access.