148 Sentences With "chancel screen" | Random Sentence Generator

He had contributed towards its enlargement, and had carved the ornamental foliage on the chancel screen.

The original church was demolished in 1865 with only the font and chancel screen preserved in the new church.

Thomas Strother presented the altar in memory of his mother who died in 1863. Dinah Cautley (d.1910) paid for the oak chancel screen in 1905.

The chancel screen is by Charles Hodgson Fowler from 1899. The reredos behind the altar displays a painted Adoration of the Magi, by Sir Ninian Comper.

A new chancel screen high and wide by Rashleigh Pinwill of Plymouth was dedicated in 1911 to mark the 400th anniversary of the church. It cost £600.

The chancel screen is in Perpendicular style and dates from about 1920. The stained glass in the east window was designed by Thomas Willement and is dated 1838.

The chancel screen was designed by John Rigby Poyser and installed in 1935. Its dimensions are 123 feet long and 57 feet wide. When opened it had seating for 660 people.

There is a chancel screen and a tower screen. The pulpit is Jacobean with decorated panels and a tester. Haselbech is part of a united Benefice along with Clipston, Kelmarsh and Naseby.

Fragments of ceramic pipes, a marble chancel screen and a stone table were recovered from the stone collapse and soil fills. The building is thus believed to have belonged to a Byzantine monastery.

These include the pipes, the wall brackets, and on the top of the chancel screen, a burner bar consisting of a row of gas jets. The organ formerly in the church has been removed.

It was removed in the Reformation. In 1913 a Gothic Revival chancel screen was inserted, but without a rood. In 1918 the south aisle of the chancel was reordered to form a Lady chapel.

In 1936 the Lancaster architect Henry Paley of Austin and Paley refitted the church with a new marble floor to the sanctuary, reredos, pulpit, stalls, chancel screen, and with the creation of an organ chamber.

Moorhayes Chapel, Cullompton Church, Devon, England. Looking north-west from within the chancel. Part of the brightly decorated, higher, chancel screen is visible beyond A parclose screen is a screen or railing used to enclose or separate-off a chantry chapel, tomb or manorial chapel, from public areas of a church, for example from the nave or chancel. It should be distinguished from the chancel screen which separates the chancel from the nave, in order to restrict access to the former to clerics and other select persons.

The east window has five lights. Inside the church is a west gallery. The chancel screen includes some medieval woodwork, which possibly came from Sawley Abbey. In the chancel are a triple sedilia and a piscina.

The pulpit dates from 1675. The chancel screen was installed in 1906, and designed by Edwin Ridsdale Tate. He also rebuilt the anchorite's house in 1910. The church was restored again in 1991 by the architect Peter Marshall.

At the same time the pulpit was moved to the north side of the chancel screen and the choir seated in the chancel. The inaugural recital was given in May 1914 by the organist of Temple Church, Walford Davies.

Under the plaster on the walls of the nave are wall paintings. The chancel screen dates from the 14th century. The font is of a 13th-century Purbeck type. The carved bosses in the roof include a green man.

As many chantry chapels and manorial chapels were situated at the east end (closest to the holy city of Jerusalem) of the north or south aisles, next to the chancel, frequently they lay within the area enclosed by the chancel screen.

This is plain, with a raised chancel. There was formerly a wooden chancel screen. The doorway has twisted balusters and is dated 1698. In the church is a painted memorial plaque to the Whitehead family, which is probably by Randle Holme III.

Several English cathedrals demolished their pulpita in the early 19th century, intending to open the view from the congregation to the high altar; but in most instances this was found to be unsatisfactory, and a much less massive chancel screen was erected in its place.

A wrought- iron gilded chancel screen built by William Edney in 1710 still stands under the tower. On 1 June 2016 Purcell announced they had been awarded the contract to extend St Mary Redcliffe to include visitor amenities, step-free access and a community hub.

The five-bay south arcade is carried on octagonal piers. In the south chapel is a pedestal on two steps, and a piscina. There is another piscina in the south wall of the chancel. The chancel screen has five bays with an arched opening.

It is Decorated, twelve-sided, ornately carved with crocketed gables. Pevsner states that two of the benches at the western end are 17th century; the rest presumably are modern. The pulpit, heavily restored, is dated 1612. The chancel screen is of the late 14th century.

The font The interior is in Stourton stone with a Yorkshire stone floor. The nave has a hammerbeam roof. The arcades are carried on clustered piers. The former intricately carved chancel screen now acts as a reredos behind the altar at the east end of the nave.

Little is known about the internal structure of the dairthech, although descriptions of the murder of Echtigern in Kildare in AD offer a few hints, mentioning a chancel-screen (Old Irish: cróchaingel) and altar (altóir). Cogitosus describes painted partitions dividing clergy from laity and women from men.

Between the nave and the aisle are five-bay arcades carried on elliptical piers. On the north side of the chancel is a two-bay arcade. In the south wall of the chancel are a sedilia and a piscina. The reredos and chancel screen date from 1926.

The church is noted for its elaborate wooden chancel screen and many fine historic stained glass windows including those by local craftsmen Ferguson, Urie and Lyon. The bluestone Gothic-style Anglican church is situated picturesquely on the hill at the corner of Denham and Church Streets.

The roof is camber beam in type with gilded bosses. The chancel screen incorporates parts of the earlier rood screen. The choir stalls date from the 19th century, and are elaborately carved with scenes and poppyheads. The sedilia dates from 1862, and the pulpit from the 1870s.

The church dates from the 12th century. In the following century alterations were made and the tower was added. In the 14th century the chancel screen and porch were built, and most of the windows were added during the 15th century. The church was restored in 1890.

Under the tower is a baptistry containing a plain round font dated 1712. Three elaborate pews have been constructed for the church. The Cowmire Pew in the northeast of the church was probably created from a reredos and chancel screen in 1521. It was restored in 1911.

The carved oak chancel screen dating from the same period is panelled and includes blind arcarding. It was re-painted in the 19th century. Some of red, blue and green paint is still present. The remainder of the furniture, consisting of utilitarian oak pews, dates from the 19th century.

Most of the fittings have been removed. The east window, dated 1885, is by Kempe, and depicts God and major Old Testament figures and saints. Now hidden by flooring is a memorial to John Whitmore who died in 1374. The former chancel screen and the reredos are also hidden.

Inside the church, the ceiling has moulded and carved beams and carved panels. The nave roof has hammer beams alternating with tie beams with arched braces meeting in the centre. There are two baptismal fonts, one 12th-century and another 15th-century. There is a 15th-century lectern and chancel screen.

These views were reflected in his design requirements for the church. He wished the church to seat 700, and most importantly for the entire congregation to have an uninterrupted view of the altar and pulpit, with no chancel screen and good acoustics. These requirements had a major influence on Prior's design.

Remains from Azotos Paralios of the Byzantine period, including a large church, were found over 2 km north of the inland Iron Age site. A chancel screen from a synagogue from the 6th century CE testifies to the existence of a Jewish community at Ashdod-Yam during the Byzantine period.

The church comprises an early 15th century tower, with a late 15th century nave and aisles. In 1856-57, the church was re-pewed. The north side was started in October 1856 and the south side completed shortly afterwards. The medieval chancel screen was reportedly in a poor condition and removed.

There are fragments of 15th-century glass in the south aisle windows. The altar rails date from the 18th century, and the marble altar was given to the church in 1717. The chancel screen dates from the 15th century and is in seven bays. The pulpit and lectern are from the 19th century.

Throughout the ages, a nave, chancel and aisles were added to the east of the round church at Northampton, and in the nineteenth century, the prolific architect Sir George Gilbert Scott was involved in extensive restoration to bring the church into its present state. The chancel screen is by John Oldrid Scott, 1880.

The aisle and roofs were restored with the four roofs costing £689. A new three-light window was placed at the west end of the south aisle. The chancel screen was repaired and re-erected in its original position, enclosing the western bay of the chancel. New seating of pitch pine was provided.

The basilica was magnificently appointed according to its importance within the ecclesiastical structure of Cypriot Christianity. Its walls were revetted in white marble. The altar was enclosed within a chancel screen, and covered within a four-posted baldachin. The aisles were paved in opus sectile while the nave was paved with polychrome mosaics.

There are still some remnants of 15th century stained glass in the windows. The windows have decorative tracery. The interior includes monuments to Sir Edward Hext and to several generations of the Stawell family. There is a wooden chancel screen and a stone screen which was brought from St Mark's Church, Bristol.

Inside the church are five-bay arcades with round columns. The chancel arch also has round columns, these having foliate capitals. There is a low iron chancel screen, and a two- bay arcade with a parclose screen between the chancel and the chapel. The timber pulpit is octagonal and decorated with figures.

The aisle and roofs were restored, with the four new roofs costing £689. A new window was added at the west end of the south aisle. The chancel screen was repaired and re-erected in its original position, enclosing the western bay of the chancel. New seating of pitch pine was provided.

The church was consecrated on 10 October 1836. It was restored in 1931–32 by Austin and Paley, the successors in Sharpe's practice. During the restoration the original box pews were removed, a pulpit and chancel screen were added, the lower part of the walls were panelled, and the church was re-floored.

Inside the church are five-bay arcades between the nave and the aisles. The chancel contains a piscina. The dado of the chancel screen, which dates from a period between about 1500 and 1525, is in two bays on each side. Each side is divided into two panels, all of which contain paintings of saints.

Inside the church the six-bay arcades are carried on alternate round and octagonal piers. The columns for these are monoliths. The roofs are scissor-braced, that of the chancel being carried on corbels carved with angels. The chancel screen dates from 1912, and is carved with tracery and motifs including cherubs and vines.

Archaeologists discovered walls up to high, the foundations of a chancel screen, a collection box with coins, fragments of glass-made oil lamps, and a cemetery with 24 skeletons immediately adjacent to the church. The church initially accommodated approximately 60 worshippers, and was expanded after the Diocletianic Persecution to accommodate up to 100 worshippers.

Above these boxes are large wheel windows, glazed with coloured glass. Lining the side aisles are lancets generally glazed with stained glass panels. The chancel is divided from the nave by a pointed arch chancel screen. Within the chancel which has a semi-domed timber-framed ceiling, are four panels of early stained glass.

The church contains more medieval fittings and furniture than any other Cheshire church. Between the nave and the chancel is a screen, and there are parclose screens between the aisles and the chapels. The chancel screen, dated 1500, is elaborately carved with representations of birds, roses, vines and foliage. It has ten bays with lierne vaulting.

The church is divided between the nave and the rest of the church. At the entrance to the north transept is an elaborately carved wooden screen dating from about 1637 with Tuscan columns. The chancel screen dates from 1908, includes Corinthian columns, and was probably made by C. Hodgson Fowler. The font is large, square, and Norman in style.

The church was built in 1815 on the site of a previous church. The chancel of the previous church had blown down in 1802. A bellcote was added during the Victorian era. The interior was restored in 2001 when the chancel screen and choir stalls were removed, a toilet was provided and the entrance was improved.

Inside the church the north arcade has three bays, and the south arcade has two bays with the vestry occupying the western bay. The chancel screen and pulpit are both made from traceried timber. The organ occupies the chapel to the south of the chancel. On the south chancel wall is a sedilia with heavy terracotta Perpendicular tracery.

The rafter beam ceiling of the nave dates from the 15th century and the camber beam chancel ceiling, which is panelled, dates from slightly later. The chancel screen is dated 1894. The octagonal 16th-century font sits on a 19th-century stem with a wooden cover. At the east end of the chancel is a sanctus cot and bell.

On the former manor of the Ayshford family, next to the manor house which survives, stands a 15th century chapel of ease. It consists of a rectangular aisle-less block containing a nave and chancel. It is considered to be large for a private chapel in Devon. The wagon-roof and carved oak chancel screen are 15th- century.

The presence of a church on the site was recorded in the Domesday Book, but the present church dates from the 13th century. The windows and chancel screen were added in the 15th century. In 1703 the interior of the church was remodelled. During the 19th century the parish of Freefolk was united with that of Laverstoke.

In the 15th century the nave was rebuilt and the north aisle and south porch were built. The north porch was added in the 19th century. The church was restored in 1852, when the nave and chancel roofs were rebuilt and a Gothic Revival chancel screen was installed. All Saints' is a Grade I listed building.

Following this, the major changes were to the interior of the church. At some time a medieval chancel screen was removed. In 1849 a gallery was installed at the west end. Restorations took place in the 19th century; these included rebuilding the tower in 1822, and refurbishing the interior of the roof and rebuilding the walls in 1863.

In the centre is a depiction of Christ in Glory above a depiction of the Nativity. These are flanked by figures of four Church Fathers. On the wings are figures of Saint Werburgh and Saint Cecilia, each of which is flanked by two angels. The chancel screen and choir and clergy stalls are by Edward Rae.

The upper part of the chancel screen has Perpendicular Gothic tracery of an unusual type. The lower part has two rows of eight panels which had 15th-century paintings of saints, most of which survive. In February 1982 a thief using a screwdriver removed from the screen a panel bearing a painting of Saint Eligius. The panel has never been recovered.

The interior is described by Harry Stuart Goodhart-Rendel as "a splendid example of ... complete Gothic self- assurance with Victorian Punch". The stone font by Middleton has a canopy designed by H. A. Prothero (made 1896 by William Letheren). Letheren also made the wrought-iron chancel screen. The south transept rose window follows an Edward Burne-Jones design (made 1901 by Morris & Co.).

The octagonal font dates from the early 15th century, and the chancel screen and parclose screens date from about 1460.Cox, J. Charles (1916) Lincolnshire p. 80; Methuen & Co. Ltd On the north wall of the tower interior hangs a picture of the Armada,"St Peter and St Paul, Bratoft", Forward in Faith. Retrieved 1 July 2011 signed "Robert Stephenson".

He belonged to several clubs such as the Carlton Club, Junior Carlton Club, Bath Club, and Coaching Club. He died at age 48 at Brighton on 16 October 1899. A brass plate commemorating Palmer's donations to the parish, including chancel screen, choir seats, choir screens, the lectern, and the pulpit, is located at the Parish Church of St. Mildred in Tenterden.

The ribs that support the roof are also cast iron. The new church, Gothic in style with a pinnacle tower containing the bells, was officially consecrated by the Bishop of Salisbury on 22 June 1822. Samuel Sanders Teulon added the chancel and the apse in 1880. The chancel screen was added in 1898 to mark the 60-year reign of Queen Victoria.

It had a number of unusual building features, including a chancel screen (lektorium). After Protestant Reformation, the church was re-named Skeidi Church (Skeidis kirkja i Bamblum). Until 1738, Skeidi parish comprised Sannidal, Skåtøy, Kragerø and Bamble. Probably the church was the main church within the district of Grenland and therefore had the highest status of all churches in the area.

An oak lectern was donated as a memorial to another local family. Frederick Crunden, who gave money to the building fund, helped to decorate the church interior and later gave the land for the vicarage, also has memorials inside the church. Other fittings include an altar of stone and marble, an ornate chancel screen and an octagonal font. The original pews have been retained.

Inside the church are six- bay arcades on round columns, and the chancel arch is carried on round corbels. The font is circular on a circular base, and the pulpit is also circular. The chancel screen is in timber, and dates from about 1920. In the transept is a wall memorial to Revd Abraham Augustus Nunn, the first incumbent of the church, who died in 1889.

The north aisle was completed in 1965 due to a lack of funds previously. The aisles have low three-light windows. The chancel is slightly narrower than the nave and has three-bay arcades and a waggon roof with carved corbel bosses at the east end. There is an elaborate wooden chancel screen with grille; the octagonal baptismal font with fleuron decoration dates to 1916.

In 1891 the north aisle was built making the church symmetrical, the architect was Basil Champneys. The stained glass in the windows of the north aisle were by Charles Eamer Kempe. The chancel screen was erected in 1892. In 1866 the porch was rebuilt, above which is an old sundial and on the buttress to the right of the porch there is an ancient mass dial.

Internally the walls are plastered above a dado. The chancel screen is Jacobean in style and decorated with arcades. The octagonal oak pulpit is panelled and dates from 1887. The lectern and the font cover were carved by Mrs Constance Mary Greaves, an aunt of Clough Williams-Ellis; the lectern is in the form of an angel with spreading wings, while the font cover is an eagle.

The font is also Norman and was rescued and reinstalled in 1963 after 150 years outside in the vicarage garden. The oak chancel screen dates from 1520, and was relocated from St Ursula’s Chapel, Wigston Hospital (or Wyggeston Hospital) Leicester in 1810, following the rebuilding of the chancel. The choir stalls were also installed at this time, and may originate from the same source.

Inside the church the five-bay arcades are carried on round piers of polished granite. There is a low chancel screen, and a richly carved octagonal timber pulpit with a tester. Between the chancel and the chapel is a three-bay arcade with a parclose screen. The timber reredos is richly carved, and includes a panel in tile and mosaic of the Good Shepherd.

Initially the bell tower was a wooden structure next to the building. The three-naved church is built from stone on 510 sq.m. In 1860, the interior decoration, including the chancel-screen, was made, again by artists from the Tryavna School. In the very beginning of the 20th century the present elegant bell tower was added by Gencho Novakov, on a design by the Italian Paul Forlani.

A further restoration was carried out between 1904–05. The chancel was lengthened by to make room for an organ which was the gift of Mr Tilby of Teignmouth in memory of his wife. A stained glass window was added to the chancel in memory of William Henry Smith. A new chancel screen was erected to a similar design to that removed in 1856.

"How Caple". with the exception of the chancel, which remains medieval. The building is apparently admiredPevsner makes no comment on the architectural virtues but notes the "crazy" chancel screen with twisted columns and, perhaps uniquely, an arch formed also of a twisted roll, part of the 1690s rebuilding. for its architectural beauty despite being built in a time where architectural design was at its lowest ebb.

Internally there is a much- restored hammerbeam roof. Rev. Joseph Hooker Toogood, who was the incumbent from 1907 to 1946, was responsible for much of the woodwork in the church. Richards quotes a letter from him dated 1946 in which Rev Toogood stated that he made improvements to the chancel screen. He then made a new altar, the reredos and panelling for the sanctuary.

Inside the church the nave is separated from the aisles by arcades of four bays supported on alternate round and octagonal piers. All the fittings date from the time of the building of the church. These include the pews with poppyhead ends, the stone font, the stone pulpit, and the wooden chancel screen. The original gas fittings are still in the church, although they are no longer functioning.

In 1921, a rood was added atop the chancel screen in memory of those men of the parish who had lost their lives in the First World War. A commemorative plaque recording this event and the names of the men who died is placed south of the pulpit. In 1948, a screen was fitted to the tower arch in memory of all those who had served in the Second World War.

The chancel screen dates from 1895 and is by Bodley and Garner, in a very elaborate late Perpendicular style with delicate tracery and a coved loft. There is a similar screen in the North aisle. There is also some good heraldic glass of 1627 in the West window and glass of 1884 in the South clerestory by Holiday, as well as other good 19th century and early 20th century windows.

At that time, the walls were whitewashed, and the baptismal font, chancel screen, and benches renovated. A new sounding board was installed above the pulpit and the galleries were modified. The interior was painted in brighter colors and the church was equipped with electric light and heating. The altarpiece from 1768 was taken from the Norwegian Museum of Cultural History and the one from 1898 moved to the cemetery chapel.

The chancel screen which was initially constructed by Parson Hawker was removed after his death and then replaced in 1908. It is made from fragments of 16th and 17th carving. In the chancel is a large reredos dated 1908 which was designed by E. H. Sedding and carved by the Pinwill sisters of Plymouth. It contains a cartoon by Giovanni Battista Piazzetta and three engravings by John-Baptist Jackson.

Its 600-year-old church contains Norman fragments. The fine nave, a blaze of light from great transomed windows, is 15th century, and its lofty height is crowned by a noble roof with a great span, with massive moulded beams and carved bosses. The oak chancel screen also dates from the 15th century and still has traces of painting in its panels. There is a 16th-century sundial.

The font has an octagonal bowl with a quatrefoil frieze and incorporates a fragment from the 14th or 15th century. The chancel screen of 1901 was designed by W. D. Caroe. Built into the splay of a north window is a Roman altar. The stained glass includes fragments in the north window dating from the 15th century, that were reassembled in 1956–57 under the direction of Eric Milner-White.

The nave of Bourne Abbey today. The two nave arcades are consistent with a building date of around 1138 as are the responds from the chancel screen, visible at the entrance to the chancel. The repaired scars from the removal of the pulpitum can be seen below them. In the building there are stones carved into the form of arches of a style consistent with the later 12th century.

The church contains a medieval baptismal font carved from soapstone. The church's altar and the pulpit date from 1725 and were created by Mogens Christian Trane. The wooden chancel screen displays the monogram of King Frederick V, flanked by lions and angels; it was carved by Ole Nilsen Weierholt. Weierholt probably also produced many of the other carvings in the church such as the fronts of the galleries and the confessional.

The museum has many noteworthy ecclesiastical exhibits, most notably an altar door from the Church of Agia Paraskevi (1760), an icon of St Demetrios with twelve smaller representations, an icon of the Virgin Mary and Christ from the Church of Agios Demetrios (1763), an icon of St Constantine and St Helen from the same church (1600), and an icon of Elijah (16th century). There are also ecclesiastical accessories, such as silver banners, gospels (1776, 1860), an antimension (1840), two chalices (1862, 1890), menaia printed in Venice in 1680 and 1860, part of a chancel screen (17th century), and several chancel-screen icons. Apart from the ecclesiastical exhibits, visitors may see traditional women's costumes, both for official occasions and for everyday wear, a shepherd's cape of waterproof goat's hair, belt-buckles for the local costumes and for priests, and weaponry used during the Macedonian Struggle. There are also tools of various local trades, such as stoneworking, tailoring, farriery, and shoemaking.

John Burcham Clamp (1869-1931), a former pupil of the parish school (Christ Church School), was parish architect from 1899 and was responsible for the restoration of the interior of Christ Church after a fire in August 1905. His work includes the reredos (1905), a font cover (1904), the St Laurence Chapel (1912) and screening under the organ (1914). Clamp also designed a chancel screen, installed in 1922 but removed in 1942.

Reportedly there was a rood tympanum but this had been removed before 1846. In the 18th century the wooden pulpit, tester and reading desk were added, along with the wooden panelling and west gallery. Some timbers from the chancel screen tympanum seem to have been re-used in the 18th-century reading desk and pew floors. There is also one box pew at the front of the nave, presumably for the manorial family.

It also holds a rare 300-year-old finger pillory,Nikolaus Pevsner, Elizabeth Williamson and Geoffrey K. Brandwood which may have been used to punish people misbehaving in church. Holy Trinity Church is a Gothic Revival building designed by H. I. Stevens in the Early English Gothic style and built in 1838–40. It has galleries supported by iron columns. The chancel was added in 1866 and the ironwork chancel screen in 1891.

Internally the responds of the north arcade have early 13th-century capitals and the west lancet windows of the north aisle are probably also from this century. Dating from the 1907 restoration are the roof, and the chancel screen. A Roman votive stone has been built into the surround of a window in the north aisle. At the east end of the south aisle is a chapel known as the Chapel of the Holy Trinity.

The church stands in the Exchequer near the site of a Saxon church, St Mary's, (which is believed to be under the present cathedral building) mentioned in the Domesday book. The current building dates from the late twelfth/early thirteenth century, was opened in 1317 and was rebuilt in 1695, following damage by the Parliamentary forces in 1644. In 1882 George Frederick Bodley undertook some remodelling work including a chancel screen and organ case.

The construction of the church started in 1912 but soon after that it was stopped because of the Balkan War. Finally it was completed in 1936. In 1961 unique wood-carved chancel-screen was made by professor Petar Kushlev. During the Seventies it was completely repaired and reconstructed with the donation from Andrey, Metropolitan of New York, who was the diocesan prelate of the Bulgarian Eastern Orthodox Diocese of the USA, Canada and Australia.

Both the church and the hall are built of Bedford limestone and they have a slate roof. The interior of the church contains hand-carved furnishings by William Bartels of Carthage, Illinois. He carved the reredos, altar, altar rail, chancel screen and the ends of the pews. The three panels on the front of the altar depict grapes and wheat to represent the Eucharist, and a bas relief of Christ carrying the cross.

In the beginning of 20th century Razboishte Monastery became desolated until 1947 when three nuns settled here. They found the buildings in decay and the priceless frescoes in the old church almost completely destroyed. In the course of time the nuns, with the help from the local people, succeeded in restoring the Monastery and reconstructing the church. The new chancel-screen is from 1950, but the remnants from the old one are kept in the monastery.

To offset the rather austere interior, Gibbs introduced a wrought- iron chancel screen, extending across the entire width of the church, manufactured by the local iron-smith and gate-maker Robert Bakewell, but not completed until five years after the new church was opened. The first sermon was preached in the new church on 25 November 1725.Derby Cathedral Official Guide, 2014. By Order in Council on 1 July 1927 All Saints' Church became a cathedral.

The organ At the beginning of the 19th century a new organ, by George Pike England, with three manuals, was provided by the trustees of the Magnus, Brown's and Phyllypott's charities at a cost of £1,300. It was opened on 11 November 1804 by Thomas Spofforth. It was placed on the west gallery from where the choir sang services. In 1814 the organ was re-located on the chancel screen and the choir returned to the chancel.

The west tower was built in 1672. There was formerly a south porch, destroyed in 1843, which probably belonged to the period of the rebuilding of the south aisle about 1500. A north vestry was built on the site of the north chapel in 1910, and the church was restored in 1844 at the behest of Edward Fellowes. At that time some of its ancient fittings were removed, including a chancel screen and some old glass.

A chancel arch and wooden chancel screen followed in the 14th century. A porch was in place in the early 17th century, and may have replaced the aisle and chapel on that side. A fire destroyed the nave and roof in 1830, although the chancel and tower were undamaged. Architect John Garrett designed a new four-bay nave with north and south aisles in a lean-to style, rounded arches and lancet windows in groups of three.

It consisted of an aisled nave with six bays, aisled transepts of two bays, a chancel without an aisle and a bell tower. In 1360, the west aisle of the south transept and the south aisle of the nave were widened, and the outer south aisle added. Also, at this time, the south porch and the tower were built. In the middle of fifteenth century the chancel screen and a rood were added, reached by a spiral staircase.

For most of the medieval period, there would have been no fixed screen or barrier separating the congregational space from the altar space in parish churches in the Latin West; although as noted above, a curtain might be drawn across the altar at specific points in the Mass. Following the exposition of the doctrine of transubstantiation at the fourth Lateran Council of 1215, clergy were required to ensure that the reserved sacrament was to be kept protected from irreverent access or abuse; and accordingly some form of permanent screen came to be seen as essential, as the parish nave was commonly kept open and used for a wide range of secular purposes. Hence the origin of the chancel screen was independent of the Great Rood; indeed most surviving early screens lack lofts, and do not appear ever to have had a rood cross mounted on them. Nevertheless, over time, the rood beam and its sculptures tended to become incorporated into the chancel screen in new or reworked churches.

A 17th-century chancel screen by Christopher Wren originally from All Hallows' Church, Thames Street, alt= St Albans Abbey At the Reformation, the Reformers sought to destroy abused images i.e. those statues and paintings which they alleged to have been the focus of superstitious adoration. Thus not a single mediaeval Rood survives in Britain. They were removed as a result of the 1547 Injunctions of Edward VI (some to be restored when Mary came to the throne and removed again under Elizabeth).

Detail from north side of the chancel screen The roofs were restored in 1857 by Edward Lushington Blackburne and in 1866-1867 by Richard Phipson. The chancel was restored in 1885. Following bomb damage to the lead roof during the Second World War, it was entirely replaced with copper in 1948. This covering degraded over time, partly due to the church's seaside environment, and it was decided in 2013 to reroof the entire church, including replacing the flèche, in lead.

St. Martin's Church () is a Roman Catholic church in Split, Croatia. Built into a small space (an early guardhouse) within the ancient Golden Gate of Diocletian's northern wall, it is one of the oldest churches in the city, St. Martin's Church is one of Split's tourist attractions and is known for its fine 11th century chancel screen. It is currently in the care of the Dominican sisters, who have a monastery next door. The church itself is open to the public to visit.

The Church of England parish church of St Mary Magdalene is a sandstone building completed in the 13th century. In 1878 it was restored to designs by the architects HJ Austin, RJ Johnson and WS Hicks, who added a new roof, chancel screen (designed by Hicks) and north aisle. It is a Grade I listed building. Medomsley's church served many inhabitants of Shotley Bridge for baptisms, marriages and burials until the creation of Shotley Bridge parish in the 19th century.

Multiple items of ecclesiastical nature were found in the structure. These include fragments of marble chancel screens, an altar table and a Second-Temple era stone ossuary in use as a reliquary and containing a skull. Crosses were ubiquitous, including on roof tiles, oil lamps, door knockers, and several bronze crosses, one of which was in length. Several fragments of a chancel screen depict two deer, Christian symbols of faith and devotion mentioned in , facing a cross planted on the Hill of Golgotha.

The building was heavily modified in 1845, when it acquired its current high-pitched roof and facade. In 1864 it became a chapel of ease in the parish of St Mary the Virgin, and in 1870 it became a parish church in its own right. The chancel screen in the Church is designed by Augustus Pugin that was originally installed in St Chad's Cathedral in Birmingham. It escaped destruction and was rescued and installed here by a former Vicar, Fr Brindley.

St Mary's, Lower Gravenhurst - Looking east to chancel screen St Mary's Church is a redundant Anglican church in the village of Lower Gravenhurst, Bedfordshire, England. It is recorded in the National Heritage List for England as a designated Grade I listed building, and is under the care of the Churches Conservation Trust. Lower Gravenhurst is some southeast of Bedford, to the east of the A6 road. The church is surrounded by fields and stands on a small hill and open daily.

The tower has a rib vault in which the ribs are moulded and rest on columns with rounded abaci. The central placement of the tower and the vaulted arrangement mean that its lower section forms the quire. Outside, it is capped by a shallow, pyramid-shaped hipped roof laid with pantiles. Interior features include the Lewknor family's tomb in the Easter Sepulchre, a pulpit with two decks, an organ in its own gallery, a 14th-century chancel screen, a rare singing-desk and some box pews.

15th-century stained glass of St Christopher in St Mary's church The Church of England parish church of Saint Mary was built in about 1200, extensively rebuilt in about 1300 and has a Perpendicular Gothic west tower and chancel screen. The south arcade is of two bays. The north arcade is of three bays and was built about 1300. The east window of the north aisle has fragments of early 15th-century Medieval stained glass representing St Christopher, and St Anne with St Mary.

There was formerly a chancel screen stretching across the nave and aisles at the first pier, which was taken down in 1844. The nave was formerly of eight bays, but one bay has been embedded in the western tower. The arcades are fine examples of 12th-century work. The arches are all two-centred of two plain orders, but the piers, although corresponding in the pairs opposite one another, differ, each pair from the other, some being of grouped shafts, others round and octagonal.

In 1865 the ridge turret was replaced by a tower in the west and with a gable roof at the east end of the choir. The ceiling was paneled, new hardwood floors replaced the stone floor, new gallery at the west wall, larger gallery at the north wall and new benches. During a restoration in 1947, the chancel screen and the north gallery were removed and west gallery was renewed. The church got a new altar and paintings on the north wall were uncovered.

The timber chancel screen was begun in the 14th century. A boarded tympanum from the 15th century is described by Historic England as "exceptional", although the lower part is missing: it is painted with two angels and the Commandments. The tower arch carries a large royal coat of arms dated 1602, moved here in 1983 from the tympanum to reveal the painting. The 15th-century tympanum The pulpit is dated 1626, and the pews in the nave are box pews from the same century, now cut down to make benches.

Parish church of St Thomas Parishioners attended the parish church of St Nicholas at North Bradley until an iron mission church was built in 1881; it was destroyed by fire in 1897. The parish church of St Thomas was built in 1899–1904 to designs of C.E. Ponting, in Gothic style using rock-faced limestone. The two- stage tower is surmounted by a shingled flèche. Inside is a wooden chancel screen in Arts and Crafts style, and an immersion tank for baptism, in keeping with Southwick's Baptist tradition.

The parish church of Ss Peter and Paul is a Grade I listed building. It was built in the 15th century on the site of an older church and has a magnificent hammerbeam roof which rises to a height of 45 feet above the floor. The building contains many other medieval survivals such as the panels of the chancel screen, an older screen surrounding the Lady Chapel with intricate carvings in its spandrels, choir stalls in the chancel, remains of a mural and the octagonal font. There are also a number of interesting tombs.

164 The font is Norman and the altar rails are c. 1700\. On the tympanum above the chancel screen is affixed a large triptych of decorated wooden panels, the central one dated 1808 displaying the Royal Arms of King George III with a panel on either side listing the Ten Commandments.Church leaflet: St Mary's Parish Church, Molland: A Short Guide, p.3 The arcade forming the southern boundary of the north aisle is in a precarious state, leaning into the north aisle, and is supported by oak buttresses resting on the outside wall.

In 1896 a memorial chancel screen was installed in the church, with a brass plaque reading "Erected in memory of William Turner of Oxford, Water Colour Painter and architect of this church." In the 20th century Richard Branson owned the manor house and turned it into The Manor Studio, a recording studio for Virgin Records. Albums recorded there included Tubular Bells by Mike Oldfield in 1972–73 and Born Again by Black Sabbath in 1983. In 1995 it was closed as a recording studio by EMI, by then the owner of Virgin Records.

The single baluster and sounding board are the only original interior appointments.Rawlings 34–35 The original interior appointments were long ago destroyed and the present is a restoration from the 1950s. It consists of a square pew of each side of the altar, two box pews west of the chancel screen, and seventeen slip pews in the nave.Rawlings 35 The pulpit is a reconstruction three-decker of 1950s origin; Rawlings postulates that a two- decker pulpit originally was built due to the lack of space for a clerk's desk.

The screen The most striking aspect of the church's interior is the complex of seven screens dating to the early to mid 16th century, when the current church was built. They are described by Pollard and Pevsner as the church's "great glory" with the chancel screen forming "the magnificent centrepiece of the whole church". They are richly carved with Gothic and Renaissance motifs, the latter including friezes with putti. The wooden stalls in the chancel and twenty six rows of pews lining the nave were carved especially for Sefton, and date to around 1590.

The nave has four bays with arcades dating from the 15th century, the piers on the north side being octagonal and those on the south side hexagonal. The chancel screen has Italian gates which were made in the 16th century and brought from Siena by the Countess of Haddington in 1889. Also in the church are two sanctuary chairs, an old vestment chest and a 15th-century octagonal font which spent some years in a farmyard. A collection of Cromwellian helmets and pieces of armour is kept in the church.

Angels adorn its tiebeams and hammerbeams, and figures of the apostles with others carved in the wall posts. The chancel screen dates from the 15th century and has the remains of old painting and gilding and in the north aisle windows in glass as old as the screen are of more angels. The chancel is 13th century and the east window is a fine trinity of lancets reaching up to the roof. The rood-stairs are in a turret by the chancel arch, and there is a simple 15th- century font.

The chancel arch was restored in the mid-19th century, but the 15th-century chancel screen was retained during the renovations of 1853. Also in the chancel are six misericords, two with carved heads. There are several memorials in the church. The Henty family is commemorated by a tablet and a 19th-century window near the altar; there is also a window for Robert Southey, the poet, who was the father-in-law of the vicar (Reverend J. Warter) who had restored the church in the mid-19th century.

The chancel screen is by F. H. Crossley and is dated 1921. The stone screen to the Ridley chapel, a chantry chapel constructed in 1527 on the instructions of Sir Ralph (Raufe) Egerton of Ridley, is "the only substantial painted medieval screen to survive in Cheshire". Twelve painted figures also survive from a former parclose screen of around 1450, which include Saint Catherine, Saint Apollonia, and Saint Anthony of Egypt; they were restored in 1988 and are currently mounted along the south wall. In several windows there are fragments of original stained glass.

Holy Trinity Church, also known as the Church of the Holy Trinity, is a Church of England parish church in the town of Reading in the English county of Berkshire. It is situated on the Oxford Road some west of the town centre. It is a Grade II listed building. The chancel screen was designed by Augustus Pugin The church was built in 1826 as a proprietary chapel and was designed by Edward Garbett, a local architect who was also responsible for the church of the same name in Theale.

Door within chancel screen, entry to St Bridget's Chapel, north aisle of Swimbridge Church, looking east Ceiling of St Bridget's Chapel with heraldic bosses showing arms of Mules, repainted in 1727 Squint allowing a view of the high altar from within St Bridget's Chapel According to Tristram Risdon, writing in the early 17th century, John Mules of Ernesborough built the north aisle of Swimbridge Church, and gave his estate of Furse for the maintenance of it.Risdon, Tristram (died 1640), Survey of Devon. With considerable additions. London, 1811. p.

They include the organ gallery, the chancel screen and the lectern, all of which were designed by Jewson. The cover of the font, which lifts and descends by means of a counterbalance in the roof space, was carved by one of Waals' craftsmen, Owen Scrubey. From 1920 to 1937 the workshop produced high quality furniture to Waals' and Jewson's designs and also trained apprentices in the Arts and Crafts tradition. An apprenticeship at the Chalford workshop with Waals lasted from five to six years, and apprentices were on trial for three months without pay.

In 1947–50 the Oxford Diocesan Surveyor T. Lawrence Dale added a chancel screen and rood loft. Dale described this work as "One of the most enjoyable things he ever did", likening it to "putting new wine into an old bottle". St. Etheldreda's interior has Mediaeval wall paintings: a large and well-preserved one of Saint Christopher, on the north wall, and a rare one of Saint Zita, on the north nave pillar. The tower was repaired in 1785; a stair parapet was removed early in the 19th century.

The north door into the nave (main entrance, facing the village) was renewed and a porch added, while windows and pillars in the aisled nave were altered. The low chancel screen was installed, with evidence that there was at some time another screen above it. In 1599 the altar slabs were removed by order of Queen Elizabeth I. The remains of a Medieval one of Sussex Marble, partially concreted over, can be seen just inside the chancel, by the screen. 1819\. The west door was added, and a gallery built at west end. 1826\.

The Lady Chapel was built later that century at the east end of the south aisle and was linked to the holders of the manor, at that time the Brounckers; the chapel was refitted in 1909. Extensive remodelling in 1845 by T.H. Wyatt included moving the four-stage 16th-century tower from the crossing to the west end, and adding a vestry and chapel on the north side. In 1881 the chancel was restored. The fine carved limestone reredos of 1894 is by C.E. Ponting, and the carved oak chancel screen is of the same date.

The Chancel, where the choir sits, and Sanctuary, behind the altar rail, incorporate 14th and later 19th century work. The later work by Giles Gilbert Scott consists of a lofty space with three bays set below a quasi barrel vault. Under the East window, behind the altar, is a wooden reredos in memory of Major Francis J Ball.Penshurst Church and Village, booklet, available at the church (see also online), accessed 22 July 2015 The Chancel screen was installed in 1897 as a memorial to Charles Hardinge, 1st Baron Hardinge of Penshurst (1858–1944), Viceroy of India from 1910–1916.

From the Romanesque period onwards are the golden Altar frontal of Basel Cathedral (1022), Bonanno Pisano's bronze doors at Monreale Cathedral (1185), the font of St Michael's, Hildesheim (1240) and reliquaries, altar frontals and other such objects. In the early 15th century the renowned sculptor, Donatello was commissioned to create series of figures for the chancel screen of the Basilica di Sant'Antonio in Padua. alt=The altar and the reredos that rises behind it together are an example of German Baroque church fitting. They have polychrome marbled surfaces of pink and grey which match the columns of the church.

The roof is tiled. The church has a chancel, chancel arch, nave with aisles on the north and south sides, vestry at the northeast corner, baptistery, buttressed narthex (entered from the nave through arches in the buttresses, beneath an overall arch and tympanum) and clerestories above the aisles. Both the aisles and the clerestories have five pairs of lancet windows. Interior features include a sedilia, organ chamber, choir stalls, chancel screen, ornate multi-sided pulpit with green marble work, stone reredos designed as a triptych and depicting the Ascension of Jesus, and a marble font depicting an angel kneeling with a shell.

The arcades are carried on octagonal piers. The font dates from the 15th century. The pews and the reredos are from the 1880s, and the chancel screen, which incorporates the pulpit and a reading desk, was added in 1920 as a memorial to those who died in the First World War. The memorials include a marble wall monument to the Palladian architect Matthew Brettingham, who designed Holkham Hall, and other family members, and one to a textile manufacturer, Thomas Clabburn, erected by "upwards of six hundred of the weavers of Norwich and assistants".See The Descendants of Thomas Clabburn, born 1760 at airgale.com.au.

The first known mention of a religious establishment in Tilton is a reference in the Domesday Book to a priest. Much of the current church dates to the 13th and 14th Century and is a landmark for miles around. In 1854 substantial restoration work was carried out, overseen by R.C. Hussey, which led to the removal of the gallery at the west end of the church, as well as the medieval chancel screen. New roofs were installed but the bosses and corbelheads are thought to be 15th century originals,Listed Building Description for Church of St Peter, Tilton on the Hill.

One arm of these churches' layout constitutes the choir, separated from the nave with a chancel screen, usually crowned with the king's monogram supported by two lions—in the case of Lesja Church, that of Frederick V. In Lesja Church the cross-arms have a gable roof of uniform height. The cross-arms to the north and west have a gallery. An extensive restoration in 1901 was partially reversed by the architect Heinrich Jürgensen in the 1920s. The tower resembles other towers in the Gudbrand Valley (including the churches in Ringebu and Vågå), the style of which was developed by Werner Olsen 100 years earlier.

In 2008, a large Byzantine-era oil refinery was discovered on the outskirts on the moshav. Among the artifacts recovered during excavations were roof tiles, a marble colonnette, fragments of a marble chancel screen, stem lamps, a carved plate with a figure carrying a child and a bronze lamp chain. These items indicate that a church may have been located nearby and the olive press was situated inside a Byzantine monastery. An ancient complex for Producing Oil was discovered An archaeological excavation of the site was conducted in 2010 and in 2014 by Rafeh Abu-Rya, on behalf of the Israel Antiquities Authority (IAA).

Tomb of Emperor Napoleon III at St Mary's Roman Catholic Church, Chislehurst, dated 1879 Nutt was a keen churchman and undertook several commissions for architectural work in the Church of England, many through contacts he had made during his time at Windsor. These varied from St John the Evangelist, Little Leighs, Essex, where Nutt undertook general restoration work (in particular, to the porch, chancel screen and pulpit) to the construction of England's first concrete church, St John and St Mary Magdalene in Goldthorpe, South Yorkshire on the commission of Lord Halifax.The Buildings of England, Yorkshire:The West Riding, Pevsner, N., Harmondsworth, 1959, 2nd edn. 1967.

The wooden maqsura in the alt= Maqsurah (Arabic مقصورة, literally "closed-off space") is an enclosure, box, or wooden screen near the mihrab or the center of the qibla wall in a mosque. It was typically reserved for a Muslim ruler (and his entourage) and was originally designed to shield him from potential assassins during prayer."Maqsurah", Encyclopædia Britannica Online The imam officiating inside the maqsurah typically belonged to the same school of law to which the ruler belonged.Gibbs, H.A.R. The Travels of Ibn Battuta (Munshiram Manoharlal, 1999) p127 There also may have been some spiritual connotation similar to the chancel screen in churches.

However, Wren's design for the church of St James, Piccadilly of 1684 dispensed with a chancel screen, retaining only rails around the altar itself, and this auditory church plan was widely adopted as a model for new churches from then on. In the 18th and 19th centuries hundreds of surviving medieval screens were removed altogether; today, in many British churches, the rood stair (which gave access to the rood loft) is often the only remaining trace of the former rood loft and screen. In the 19th century, Augustus Welby Northmore Pugin campaigned for the re- introduction of rood screens into Catholic church architecture. His screens survive in Macclesfield and Cheadle, Staffordshire, although others have been removed.

These were sold after his death, and were donated back to Rossall School by the purchaser (a former student of the school) for the use of future headmasters. A memorial tablet to James was erected in 1933 in the chapel of Rossall School; it was unveiled by Lord Derby, president of the Rossall School Corporation. A oak chancel screen was also erected as a memorial to James in St Mary's Church, Panteg, with the unveiling in 1935 being carried out by Lord Trevethin, a friend of James since childhood. Rugby School erected the James Pavilion in his memory, which was opened in 1937 with Sir Pelham Warner, an Old Rugbeian, paying tribute to James's love of cricket.

Parts of the chancel screen are incorporated into the pews. The font is 12th-century, and the south doorway, with a trefoiled head, is Early English. The tower arch is of Decorated style, and the roof, with attached figures, Perpendicular. The four stained glass windows in the chancel, and two at the west end of the church, were presented by F. W. Affix. Other memorial windows were incorporated in 1880 and 1904 by The Rev’d Pemberton Lloyd MA, vicar from 1895 to 1903, to Lucy Anderson Lloyd, Lucy Penelope Lloyd, Marjorie Stote and Stephen Pemberton MA, BM. Set in the south wall is a late 13th-century window with cusped lights and an encircled quatrefoil.

At the top of the nave in front of the chancel screen is laid a stone slab in memory of Reginald de Argentein (died 1307), believed to be a Knight Templar and who was responsible for rebuilding the church.Fowler, Rev. H., Transactions of the St Albans & Herts Architectural and Archaeological Society (1885) Outside the vestry (originally the north chapel) is a Purbeck marble coffin lid of the 13th century, with a cross in relief. On the north wall above this is a brass of a man and his wife, of about 1400; the man is dressed as a forester, and the lower part of his figure, and the dog at his feet, together with the inscription, are missing.

The pulpit is Victorian, with fragments from the 15th-century screen. The chancel screen and lectern date from the restoration of 1883. The stained- glass east window of the Resurrection is by Charles Eamer Kempe of 1871. Monuments, mainly on the west wall of chancel and aisle, include Margaretta Herbert who died 1838 depicting a female figure with a book, a dove and light descending; Harriet Lang who died 1847 with two Gothic arches and canopy; John Herbert who died 1807, by C. Lewis with a mourning woman leaning on a broken pillar, the capital lying upturned beside; the Reverend John Catlyn, died 1717, a slab with an incised angel; and John Owen Herbert, died 1821, with a draped urn above an oval tablet in a rectangle.

Busbridge War Memorial overlooking the nearby road junction Lutyens' connection with Busbridge originated through Gertrude Jekyll, a garden designer with whom Lutyens established a long-running friendship and professional partnership. He designed her house at Munstead Wood on the outskirts of the village in 1896 to complement the garden she had built and the pair worked together on several garden and country house projects, particularly in the local area. Lutyens went on to design several memorials to members of the Jekyll family, which stand in the same churchyard as the war memorial and a chancel screen in the church itself. Lutyens established his reputation as an architect designing country houses for wealthy clients; Busbridge is one of several of his war memorial commissions which apparently resulted from pre-war clients and associates.

The high altar is of stone, a feature of the influence of the Oxford Movement, with a triptych hanging above it, which is closed during Lent. The saints portrayed on the triptych are connected with the life and work of Arthur Livingston: St Patrick (Irish ancestry); St Frideswide (depicted with Christchurch, Oxford, where Livingstone was educated); Hugh of Lincoln; The Venerable Bede, as Livingston was Canon of Durham; St Ethelreda of Ely and St Edmund of East Anglia, due to Livingstone's connection with Sudbury. This is the work of Sister Catherine Ruth of the All Saints' Community, Margaret St., London. The chancel screen, the font cover and the cross and candlesticks on the altar are the work of George Bainbridge Reynolds, while the rood is the work of an unknown artist from Oberammergau.

His life and ministry are commemorated by two stained glass windows, the chancel screen (erected in 1913) and the oak pulpit. In 1914 C. O. Merritt Fox, a churchwarden, published a history of St Saviour's. He concluded his book by saying: > people of the present day ... owe a great deal to the men and women of the > earlier date, who did so much by stirring up enthusiasm about Church > matters, and contributing liberally of their time and money to build > churches, work the parishes, and level up the religious standard of the day. > How can we show our gratitude for their efforts better than giving in like > manner our services and our money, and in every possible way supporting the > parochial organizations and the work which the Clergy are carrying on in our > parish at the present time”.

The placement of the choir within a large Latin cross church The choir of Bristol Cathedral, with the nave seen through the chancel screen, so looking west A choir, also sometimes called quire,OED, "Choir" is the area of a church or cathedral that provides seating for the clergy and church choir. It is in the western part of the chancel, between the nave and the sanctuary, which houses the altar and Church tabernacle. In larger medieval churches it contained choir-stalls, seating aligned with the side of the church, so at right-angles to the seating for the congregation in the nave. Smaller medieval churches may not have a choir in the architectural sense at all, and they are often lacking in churches built by all denominations after the Protestant Reformation, though the Gothic Revival revived them as a distinct feature.

In February 1985 the church was damaged by arson, when the 1884 Foster and Andrews organ, the Lady Chapel and a number of other fittings were completely destroyed. The ensuing restoration, by E. G. Thorne, included the complete renewal of even those parts of the building which had not been directly affected by the fire. At the same time, changes in liturgical worship made it convenient to move the High Altar from the east end to a new bay in the Chancel, and remove the old chancel screen to the west end of the church, where it lent greater dignity to a new baptistery area, created in a more central location with a new marble font at its centre. During the eighteen months during which the church was completely out of action, the congregation used the Church House for worship. The church was rehallowed by Bishop Stanley Booth-Clibborn on 8 September 1986.

The provisions of the Lateran Council had less effect on monastic churches and cathedrals in England; as these would have already been fitted with two transverse screens; a pulpitum screen separating off the ritual choir; and an additional rood screen one bay further west, delineating the area of the nave provided for lay worship (or in monastic churches of the Cistercian order, delineating the distinct church area reserved for the worship of lay brothers). The monastic rood screen invariably had a nave altar set against its western face, which, from at least the late 11th century onwards, was commonly dedicated to the Holy Cross; as for example in Norwich Cathedral, and in Castle Acre Priory. In the later medieval period many monastic churches erected an additional transverse parclose screen, or fence screen, to the west of the nave altar; an example of which survives as the chancel screen in Dunstable Priory in Bedfordshire. Hence the Rites of Durham, a detailed account of the liturgical arrangements of Durham Cathedral Priory before the Reformation, describes three transverse screens; fence screen, rood screen and pulpitum.

The east end of the chancel is from the original church on this site and is late 12th century, but the remainder of the chancel, the north chapel (now the vestry), the nave, north and south aisles, west tower, and probably the lower part of the south porch were built about 1330. The eastern and earlier portion of the chancel has an east window of five lights; under this window on the outside is a 14th-century niche with a trefoiled head, having a rebated edge, and the remains of iron hinges The late 14th century chancel screen (or rood screen), which is in the same line with those of the chapels, is a fine one in carved oak of three bays, and two half bays at the north and south ends. The screen in the north aisle is 15th century with four narrow bays on either side, while that in the south aisle dates to about 1480, with three bays on either side of the doorway.Gray, pgs 21-22 The 15th-century roof of the chancel has moulded wall plates and ties, trusses, with tracery in the spandrels.