Trevalga, Saint Petroc
I was first in Trevalga when walking the Cornish Coast Path; that particular walk was a round one from Boscastle along the coast to Trevalga, returning inland. I was much taken with the village and by its history but only did a brief walk around on that occasion. However, on a fine Saturday in July 2018 I had been to visit the churches of Minster and Forrabury and, having some time in hand, decided to take a good look at St. Petroc's, Trevalga which I had not previously been inside, despite having visited to photograph the Cornish Cross in the churchyard. The church's origins are probably in Norman times but much of the fabric is of the 13th to 15th century. The chancel and transept still have their original medieval roofs but the nave roof was part of an 1875 restoration by J P St. Aubyn (who else!). The altarpiece is a 16th century carved Flemish triptych; it is flanked by 17th century panelling with re-used medieval bench ends below (Pevsner). Two windows of 1893 are by Clayton and Bell. A small wall monument to Samuel Roscarrock dates from 1640. In the graveyard, a wheel-headed Cornish Cross stands near the porch; not far away a small slate memorial of 2016 commemorates Beth Lugg, Bard of the Cornish Gorsedd.
Trevalga Church
Cornish Cross in churchyard
Shepherd Bench End
Photographs
More in Churches & Holy Sites
Treverbyn, St. Peter the Apostle Church
I visited St. Peter's Treverbyn in mid-October 201`9. At first I thought I was out of luck as the church was locked. However, in the village hall over the road I found churchwarden Rod Phillips who kindly opened up the church and gave me a guided tour. Thank you, Rod. There is not much to Treverbyn village which, as near as makes no difference, is part of Stenalees, the southern continuation of Bugle, towards the eastern edge of Cornwall's China Clay Country. However, a little surprisingly, Treverbyn is the main parish of this part of Clay Country and includes Bugle, Stenalees and Penwithick, Trethurgy, Scredds and Carthew within its extended parish boundaries. Treverbyn itself consists of little more than church, old vicarage, new vicarage, school, village hall, a farm and some recreational facilities. Appropriately for a Clay Country church, Clay Country settlements being mostly relatively recent, St. Peter's in Treverbyn dates from 1848 and was the work of prolific Victorian architect G E Street. This was only his second Cornish church, the first being St. Mary's Par at Biscovey. Pevsner rates this as "good early Street with strong design, simple detail and skilled use of local materials." The exterior is modest with steeply pitched slate roofs. Windows in the north and south walls have Decorated tracery to 2-light windows. The east and west ends have larger 4-light windows. The interior is bold, lofty and spacious. The nave is rather barn-like with its arch-braced roof and soaring chancel arch. The sanctuary ceiling is boarded and painted. Careful lighting gives prominence to the altar. Stained glass includes two windows on the south wall of the nave. The 1897 windows of the north wall are all by E R Suffling. There are good contemporary wrought-iron gates to the churchyard. Nearby are a few other buildings by Street; his 1858 former vicarage, described by Pevsner as "solid and workmanlike," has a circular stair turret. The school room and school house are also by Street.
Truro Cathedral
I should be ashamed of myself that, except for my friend Robert's marriage to Hayley, I had never been inside the Cathedral in Truro until I visited in early March 2018. Truro's new cathedral, architect J L Pearson, also responsible for St. John's in Devoran, was begun in 1880 on the site of St. Mary's church. Very sensibly - and sensitively - Pearson did not pull down St. Mary's Church on the site but instead incorporated part of the old church as a south aisle. Nicely, Pearson retained the wagon roof of St. Mary's, complete with modern bosses, a very Cornish feature to keep. The style is an elaborate form of Early English Gothic and the west front, overlooking a cobbled square, is impressive. The exterior of the cathedral is of Cornish Carnsew stone with Bath stone for the detailing. The interior is of St. Stephen granite, again with Bath stone dressing. Pevsner describes Truro Cathedral as Pearson's masterpiece and I certainly would not dispute that. As always in great buildings, whether homes or churches, look up: this cathedral soars. Among the things to look out for are: in the south aisle, the Boer War Memorial, the Newlyn Harbour stained glass, the Wesley Window showing both John and Charles at Gwennap Pit, and a 14th century Pieta of Caen granite. In the south transept the Delabole slate floor commemorates the visit in 1994 of the Queen and the rose window remembers Bishop Benson whose brass is in the chapel next to the Baptistry, where a marble font has an elaborate wooden cover. Above the altar, an ornate triptych was designed by the architect's son, Frank. Behind the High Altar is a superb reredos of Christ first crucified, then glorified. In the North Quire Aisle is a large terracotta frieze of The Way of The Cross. In the North Transept a grand monument commemorates John and Phillipa Robartes. There is superb stained glass in the North Transept Rose Window and in the West Rose Window. In the North Aisle do not miss John Miller's painting Cornubia, Land of The Saints or the superb Eagle Lectern. On leaving, across the square, I was delighted to notice for the first time a Cornish Cross, not a modern one but a genuine early one, albeit it somewhat degraded.
Tuckingmill, All Saints Church
I had hoped to visit All Saints in Tuckingmill on the same day that I was at Penponds and Treslothan. Unfortunately it was firmly locked. For the moment, the best I can do is use a couple of exterior photos and take my information from Pevsner. This is an early Victorian church, completed by John Hayward of Exeter in 1846. Externally, Pevsner admired it but I find it not very prepossessing, too dark and massive. Unusually, the tower, instead of attaching to the west end of the nave, is attached to the south aisle. This five-stage tower, with its low pitched roof and stair-turret, is perhaps the most striking exterior feature. The interior is both unusual and striking, the walls white-painted but un-plastered. The roof is arch-braced. The chancel arch is semi circular slender set-in shafts and dog-tooth moulding. The font is early Norman and came from a former chapel at Menadarva, a small settlement north-west of Camborne. Stained glass in the chancel, described by Pevsner as "bright and dazzling," is from around 1847 by Joseph Bell.