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Church Recording for St Junabius, Llandinabo - Examples from the Records

Further Information on all these items (and many more) can be viewed in the Church Record

Communion Cup


A goblet on a plain stem standing on a domed ribbed foot. The stem is considered to be unusually thick for the bowl. There is engraving around the centre of the bowl in upper case roman lettering.


For the use of the Church of Landinabo, the gift of Joan Rogers 1728/

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Wall Monument for Thomad Tompkins


Two brasses set one above the other into the lime plaster background.

Top: Vertical brass, an engraving of a small child, waist deep in a circular rimmed pool of water. He is dressed in his best clothes, with large collar and wearing a tau-cross pendent on a rope around his neck, his hands are together in prayer. The pond is surrounded by bulrushes.

Bottom: Horizontal brass, with an inscription in Latin. Lettering is in stretched roman, with some use of the long 's' and long flourishes on right hand margin.

Latin inscription, translated
Sacred to the memory of Thomas Tompkins
First pure water saved me an infant reborn/
Afterwards as a boy turbid/wild water drowned me/
Thus twice I was washed [when] foul, but now without stain/
Aided by the blood of Christ I am saved for ever/
Out of this life he departed 28 May 1629/

Aged three years at his death, Thomas was the son of Reverend Elias Tompkins, Rector of Llandinabo 1617-1661, and his wife Joan.

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Bowl: A grey sandstone undecorated octagonal bowl with curved underside and a bun finish at the stem. The surface has been left with a pitched finish. The bowl rim has been parred off and new stone fitted. The octagonal, moulded rim has a smooth finish and overlaps the bowl internally and externally. The bowl interior is circular, unlined and roughly hewn, with a drain hole without stopper.

Stem: Cylindrical grey sandstone, undecorated but with a pitched finish. This rests on an octagonal moulded edge, grey sandstone base.

Plinth: An hexagonal grey sandstone plinth with one edge adjacent to the West wall. Two long sides extend into the Nave with the font placed at the three-sided end.

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The screen is of early Renaissance character with four panels on the north side and five panels on south side of lower part of central opening, each pierced with trefoil headed slits and set in moulded framing:
upper part divided on either side of a central entry into three bays by richly carved shafts; each bay with semi-circular trefoil arch with cusped spandrels in square head and cusps of trefoils extended in conventional clusters of grapes and scroll-like foliage, in square head of central opening band of pierced foliated scroll-work with carved head in circle.
The head represents the vicar at that time (Rev. Lloyd Oswell - a relation of the Shrewsbury architect).
In middle supported by two mermen, elaborately carved and moulded cornice with inverted brattishing to lower part, bands of carved rope motif above, surmounted by carved frieze of dolphins, angels, grotesque faces and a mermaid, circa 1520 -1530 and incorporating some modern work in lower panels.
The lower panels referred to in the above consist of four sections on the north side and five on the south side. The top of each panel is decorated with open ogee tracery, replicating windows. The panels end in a plain horizontal base.

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Altar Frontal


A blue altar frontal of cotton brocade in an English Rose pattern. Attached on all sides by nails to a rectangular frame of pine wood battens. The reverse is covered with a plain blue dupion lining, that is secured to the frame.

A full width fringe of blue threads defines a 17 cm. deep section at the top of the frontal to form an integral super frontal.

Super frontal: Equidistant across the front are seven 7 cm. diameter stylised Tudor roses, hand embroidered in red outside and cream inside petals. Between each rose are white stems with cream and green leaves. All embroidered in purl thread satin stitch.

Frontal: Placed centrally is an aiguisée cross in glory. Formed by two 32 cm. lengths of gold coloured lurex diaper. The material edges are secured by laid and couched stitches in a gold coloured metallic thread. Radiating from the centre of the cross are alternating 16 cm. lengths of gold coloured couched threads. Between are 11 cm. lengths if pink wool that have been couched. Either side of the cross, 21 cm. from the sides are two orphreys formed by a row of three roses and leafy stems that match those on the super frontal. Across the base is a full width fringe of blue threads. The frontal is no longer used.

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Church Watercolour


A water colour of the West end of St. Junabius. Surrounded by a green w. 8 cm paper slip with a glazed black wood frame.

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Collinson Book


A copy of the "The parish of Llandinabo prior to the 20th Century" by L.E. Collinson.
Bound in two tone cream paper on board with brown three quarter bound rexine mounting. On face plate with "The Parish of/Llandinabo prior/to the 20th century/by L.E. Collinson" in roman lower case letters.

h. 30.5 x w. 21.5 x d. 1 cm.

East Window


Stonework: Three lights under a two-centred arch and conforming rere-arch with deeply splayed reveals and flat sill.

Window Schematic

Eyelets (1 & 2): Triangular with narrow clear glass borders and wide inner borders made up from alternating panels of decorative black patterned clear glass, and plain blue and red glass.

Main Lights (3 - 5) CRUCIFIXION WITH THE VIRGIN AND ST. JOHN: Each light has a background of clear quarries lightly patterned in yellow with borders matching those described in eyelets above. All lights have a fillet border against the stonework.

(3) The central motif is three white lilies (symbol of the Virgin) in a yellow vase. The centre of this light depicts the Virgin Mary. Her cloak decorated with her monogram M in black gothic style lettering. The lower third of this light shows a kneeling angel holding a white scroll.
To each side and behind the figure are two open wings in yellow, they are decorated in Kempe's signature peacock feather styling.

(4) At the top, an hexagonal panel contains the Sacred Monogram ihc. Below two roundels containing, a full sun and a crescent moon.
This light features the Corpus Christi nailed to a Latin cross honed from a tree trunk. The lower background shows Golgotha and beyond the walled city of Jerusalem.
The lower third of this light is a panel, a shield bearing instruments of the Passion - a sponge, a spear, crown of thorns and three white dice.

(5) At the top an hexagonal panel in which there is a depiction of the eagle of St John the Evangelist with a white banner in its claws.
The light depicts St. John. looking upward towards Christ in light (4). In his left hand, he holds a decorated book.
The lower third of this light, has a figure of a stooping angel also with peacock feather style decorated wings and carrying a white banner.

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The organ is positioned at the West end of the Nave, facing West.

CASE: Painted pine.
Front: The lower case has two wide and two narrow recessed panels. Above the impost the centre pipe tower is placed above a rectangular panel and surmounted by a further panel with a pierced trefoil. Either side the case finishes with a single upright finial. Several incised quatrefoils alternate with twin roundel motifs across the front.
Sides: The sides have three recessed panels below and above the impost, finishing with a pediment.
Back: The back is open but positioned only 43 cm. from the West wall. There are no discernible makers' marks. The painted case is heavily crazed.
The blower box is positioned to the North side. Metal, painted black. A, l. 6.5 x w. 9.5 cm. brass plaque is fitted to the upper surface. Brass coloured upper case Sans Serif lettering on a blue background BRITISH/ ORGAN BLOWING CO., LTD./ COLEMAN STREET/ DERBY/.
Console: Painted brown externally but internal surfaces are black. The console is integral with the organ. It has a hinged two section locking fall, with a brass two lever lock, marked Safety Lock/. Attached to the inside of the fall is a fixed music desk, without clips. There is a single keyboard with 54 keys CC - f3. The natural keys are white the sharps black. The key cheeks are flat with rounded front edge.

STOPS: There are four draw stops with round, hardwood shanks, black collars and red felt lining. The knobs have a black surround with an ivory disc with black painted caps and l/c gothic script, capitals are painted red. A single left stop, the three on the right are positioned in a line, vertically.


Left:Stop Diapason Bass
CC - C
Open Diapason

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