Dedication to Rosamund Emily Lindsay
detail from The Benedicite
1888 Series of sgraffito panels around the walls of the church with texts from the Benedicite. Beginning with a panel in the chancel, the scenes extend around the whole of the main body of the church. The three Hebrews, to whom the prayer is ascribed (Ananias, Azarias and Misael), are depicted on the west wall.technique: sgraffito artist: Heywood Sumner Church of St Mary, Llanfair Cilgedin, Monmouthshire The panels were commissioned in memory of Rosamond Emily Lindsay (died 1885) by her widower, Revd William J.C. Lindsay. The dedication is situated adjacent to the pulpit where Revd Lindsay preached as rector of the parish. The artist's initials and date is situated nearby in a roundel. |
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- Abraham (not in biblical context)
- Adam and Eve (not in biblical context)
- angels
- Benedicite: the prayer of the three Hebrews in the fiery furnace [The Prayer of Azariah 1:35-67]
- birds
- David as musician, usually playing the harp
- flowers
- landscapes
- landscapes with waters, waterscapes, seascapes (in the temperate zone)
- moon as celestial body
- Moses (not in biblical context)
- mountains
- ploughing
- Samuel
- Sarah suckling Isaac [Genesis 21:7]
- seasons of the year (esp. personifications)
- sheep
- St John the Baptist
- stars
- sun as celestial body
- swimming mammals: dolphin
- swimming mammals: seal
- swimming mammals: whale
- the four winds [Revelation 7:1]
- the prophet Isaiah (not in biblical context)
- Three Hebrews (not in biblical context)
- trees
- angels
- birds
- cereal, grain, corn (grass with grains, grown for food, e.g.: wheat, rice, rye, oats, maize, buckwheat, millet)
- child
- horse - animal mounts
- mammals
- mother and baby or young child
- rainbow
- the ten commandments represented together on stone tablets [Exodus 20:3-20; Exodus 24:12; Exodus 31:18; Exodus 34:1-4]
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Further reading
John Newman, The Buildings of Wales: Gwent/Monmouthshire (London/Cardiff: 2000), p. 284.
John Morgan-Guy, 'Fiery angels and country parsons' Icon News, vol. 20 (2009), 19-21.
Photo © Martin Crampin
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