Published: 22/04/2026
Updated: 29/04/2026
St Doged’s church is a Grade II* listed church, which we adopted in 2024. Used as a ‘Festival church’ between 2017 and 2024, our new addition (as many other churches that join the Friends) required some much-needed repairs. Water ingress, inadequate circulation, and concrete mortar caused significant dampness in the church's interior and undoubtedly led to the deterioration of the pulpit paintings year after year. Alongside the work fixing the church’s roof, rainwater goods, walls, and mortar, we have worked with ICON-accredited painting conservator Annabelle Monaghan to conserve the pulpit paintings, ensuring they remain integral to the church's interior.
We hoped to address the damage caused by years of water leaks to both the paintings and their wooden frames. While the wooden frames were entrusted to Ned Scharer of The Natural Building Centre, the pulpit paintings were sent to Annabelle Monaghan's specialist conservation studio, possibly marking the first time they had left Llanddoged since the 1800s. Below are some of the details we have learned as part of the process, alongside some images taken throughout the treatment.
Remodelled to resemble a non-conformist chapel, St Doged's interior is a truly remarkable sight. Behind a wooden pulpit, elevated panels hold two arch-shaped paintings. 'Christ with an Open Bible' and 'Royal Arms of Queen Victoria' are oil paintings, dated to the 1830s. They were painted on fine weave canvases cut to shape and tacked directly to wooden frames. The use of an identical canvas suggests both paintings are the work of the same artist. Annabelle's conservation report suggests that the folding lines on the canvases used likely relate to the artist's travels - they would store the canvas folded and unravel it as and when at work. When, why and how the artist arrived in Llanddoged remains a mystery - yet through conservation work, we know they weren't local.
While both the paintings and their wooden frames were affected by years of decay and unsuitable conditions, Annabelle described the painting of 'Christ with an Open Bible' as 'in much worse condition'. The canvas of the painting required many hours of work to address its multiple problems - from losses and tears, the canvas's detachment from the frame, to fungal growth and the discolouration of the old varnish. Annabelle's report specifies detailed treatment, with a particular focus on the back of the painting. Originally created from plywood, the painting's backboard had rotted over the years and had to be carefully removed to assess the condition of the canvas and proceed with necessary treatment. The canvas of Queen Victoria's Royal Arms was comparatively more stable, yet visible losses and tears meant that conservation interventions were necessary to prevent further decay.
Both paintings have thick, evenly applied oil paint over a white ground, with gold leaf gilding on Christ’s Bible and Queen Victoria’s coat of arms. Small losses of paint were visible on both artworks, including a loss in Christ’s hair, and discoloured, patchy varnish. The 'Royal Arms of Queen Victoria' featured paint cracks, unstable paint, and losses mainly along the lower edges and tears, with similarly discoloured varnish. Both canvases were covered in heavy surface dirt and soot.
Using tissue paper and cotton swabs, Annabelle treated the surface of the paintings with solvents. Firstly, the varnish was thinned out with a mix of solvents, but not completely removed. This helped remove additional dirt that was trapped in the varnish and made it easier to consolidate the layers of paint. These were then stabilised by first securing any loose or flaking paint, then gently flattening lifted areas.
Work then focused again on the backboards of the paintings. The paintings were placed face down after protecting the painted surfaces with tissue paper and adhesive, and the backs were cleaned with dry smoke sponges and makeup sponges.
Once the structural repairs were complete, the canvases could be reattached, and a polyester sailcloth backing was added to stabilise and support the paintings. Finally, the surface of the paintings were then sealed by applying a clear varnish to protect the paint and saturate - enhance - the colours. Areas of loss or damage were filled and carefully retouched so they blended in with the original image as best as possible. The conserved paintings were reattached to the frames, and Tyvek - a lightweight material made of high-density polyethylene fibres - was added to the backs to keep out dust and dirt, helping to better preserve the works in the future.
Now that the paintings of ‘Christ with an Open Bible’ and ‘Royal Arms of Queen Victoria’ are stable, clean, and cared for, we are so proud to be able to continue to display them in all their glory above the pulpit at St Doged’s. And for anyone wondering about the state of the wall around the paintings - we were waiting to reinstate the canvases before finishing the redecoration of this wall - and this work will take place very soon.
The pulpit paintings' conservation works were carried out as part of an extensive project, repairing the fabric of St Dogged’s church that we have undertaken throughout 2024-25. Our thanks go to our members, donors, and supporters whose generosity has enabled us to rescue over 70 historic places of worship, like St Doged's. Please consider supporting our work so we can save more churches in the future.
