The church consists of a nave and chancel in one, an eastern apse, and at the west end a tower.
The building is oriented slightly north of true east.
 Roofs consist of slates with stone ridge tiles and the base of a cross finial at the east end.
Black ceramic ridge tiles adorn the porch.
The church contains a fine 15th-century oak rood screen with carvings that tell the story of Melangell and Prince Brochwel:
"First compartment.
Brochwel Yscythrog, Prince of Powys, on horseback; his bridle tied on the mane of the horse; both arms extended; in his right hand a sword which he is brandishing.
He wears long hair under a flat cap; a close-fitting coat and girdle, both painted red, and sits in the high saddle of the Middle Ages.
He is the most distant figure of the series.

The second compartment is partly damaged in the branch-work, but the figure is entire.
The huntsman, half-kneeling, tries in vain to remove the horn, which he was raising to his lips for the purpose of blowing it.
when it remained fast and could not be sounded.

In the third, St. Melangell, or Monacella, is represented as an abbess; her right hand slightly raised; her left hand grasping a foliated crozier; a veil upon her head.
The figure, seated on a red cushion, is larger than that of Brochwel, and smaller than that of the huntsman.

A hunted hare, crouching or scuttling towards the figure of the Saint.
The hare is painted red.

A greyhound in pursuit; the legs, entangled among the branches of the running border, can hardly be distinguished from them.
The dog is painted of a pale colour.

A nondescript animal, intended, I suppose, for a dog.
In this and the 5th compartment the hounds are supposed to be further from the eye than the hare, which is the largest figure in the whole range.

One tracery panel lies its gouge-work painted red; the gouge-work of the next is blue; that of the next is red; and so on alternately."


The screen itself, on the rood-loft of which the above formed a cornice or frieze, still remains in its position between the chancel and the nave.
It comprises four compartments on each side of the doorway, or entrance, which is just double the width of the side divisions; the spandrels are filled with tracery of the same design, and of fourteenth-century character.

There are also two medieval effigies, one of which is thought to represent the saint; a Norman font, a Georgian pulpit, chandelier and commandment board, a series of stone carvings of the hare by the sculptor Meical Watts, and the mysterious Giant’s Rib.
The church consists of a nave and chancel in one, an eastern apse, and at the west end a tower. The building is oriented slightly north of true east.  Roofs consist of slates with stone ridge tiles and the base of a cross finial at the east end. Black ceramic ridge tiles adorn the porch. The church contains a fine 15th-century oak rood screen with carvings that tell the story of Melangell and Prince Brochwel:
"First compartment. Brochwel Yscythrog, Prince of Powys, on horseback; his bridle tied on the mane of the horse; both arms extended; in his right hand a sword which he is brandishing. He wears long hair under a flat cap; a close-fitting coat and girdle, both painted red, and sits in the high saddle of the Middle Ages. He is the most distant figure of the series.
The second compartment is partly damaged in the branch-work, but the figure is entire. The huntsman, half-kneeling, tries in vain to remove the horn, which he was raising to his lips for the purpose of blowing it. when it remained fast and could not be sounded.
In the third, St. Melangell, or Monacella, is represented as an abbess; her right hand slightly raised; her left hand grasping a foliated crozier; a veil upon her head. The figure, seated on a red cushion, is larger than that of Brochwel, and smaller than that of the huntsman.
A hunted hare, crouching or scuttling towards the figure of the Saint. The hare is painted red.
A greyhound in pursuit; the legs, entangled among the branches of the running border, can hardly be distinguished from them. The dog is painted of a pale colour.
A nondescript animal, intended, I suppose, for a dog. In this and the 5th compartment the hounds are supposed to be further from the eye than the hare, which is the largest figure in the whole range.
One tracery panel lies its gouge-work painted red; the gouge-work of the next is blue; that of the next is red; and so on alternately."

The screen itself, on the rood-loft of which the above formed a cornice or frieze, still remains in its position between the chancel and the nave. It comprises four compartments on each side of the doorway, or entrance, which is just double the width of the side divisions; the spandrels are filled with tracery of the same design, and of fourteenth-century character.
There are also two medieval effigies, one of which is thought to represent the saint; a Norman font, a Georgian pulpit, chandelier and commandment board, a series of stone carvings of the hare by the sculptor Meical Watts, and the mysterious Giant’s Rib.
St Melangell's Church, Pennant Melangell