106 Sentences With "rood loft" | Random Sentence Generator

The whole Passion story would then be read from the Rood loft, at the foot of the crucifix by three priests.

The presence of a medieval rood loft was recorded in 1810, but has since been removed - perhaps during the Victorian restoration of 1861-62.

The arms of the priory were "Azure, a St Catherine's wheel, with a Calvary cross projecting from it in chief, argent." This blazon, given by Richard Taylor in 1821, refers to these arms painted in one of the wooden panels of the medieval rood-loft of Fundenhall church; and notes that they were also painted in a similar position on the rood-loft of Flixton church.R. Taylor, Index Monasticus (Author, London 1821), p. 100 (Google).

One is at the base of the former rood loft stair, and this may be followed up a mural staircase built into the thickness of the wall, to a second door, which is high on the wall to the left. This would have been the entrance to the rood loft itself. The two doors are of slightly different style; the lower door has a triangular form not seen elsewhere in the church, suggesting early Tudor work.

Across the chancel arch was a rood screen with painted panels at the base. The open screen was surmounted by a rood loft and above this were figures of the crucified Jesus, with St Mary and St John on either side. Sections of the screen survive today in the font cover and pulpit. In the south-east corner of the north aisle are the original steps to the rood loft, which were blocked during the Reformation and re-discovered only in 1928.

It was extensively remodelled by William Butterfield in 1861. A late medieval screen and rood loft were removed around 1841. The font has survived since the 13th century. The pulpit is from the 16th century.

Organ The main body of the organ was made in two parts at about 1750 according to the traditions of the Vienna organ builders of that time. The gilded concave-convex balustrade of the rood loft is a typical example of the transition between Baroque and Rococo. The organ with 34 registers dates from 1895–1896 and was renovated in 1991. The painting under the rood loft is by an anonymous master from 1642 and depicts the glorification of the rosary and the mediation via Saint Dominic.

To the west of the porch is a 14th-century window with reticulated tracery, and to the east of the porch are two Perpendicular windows. On the north side of the church is a staircase to the rood loft.

It shows a flying angle crowning the Virgin Mary with Jesus watching. The chancel arch dates from the 19th-century restoration. There used to be a wooden rood loft at this point which was reached from a stair in the north chancel.

The altar, pulpit and double rood loft (Doppelempore) were fashioned in the neogothic style. The altar portrays a crucifixion group with Mary, Mary Magdalene and John. It was carved by a Tyrolean carver. The parish of St. George has about 2,300 members.

Today, in many British churches, the "rood stair" that gave access to the gallery is often the only remaining sign of the former rood screen and rood loft. In the 19th century, under the influence of the Oxford Movement, roods and screens were again added to many Anglican churches.

Inside the church is a 14th-century piscina and a sedilia. The stairs leading to the former rood loft are still present. The octagonal font dates from the 15th century, and its bowl is carved with shields and flowers. The reredos and the chancel ceiling were designed by Butterfield.

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.

The south transept contains the church sacristy, with the north transept a chapel dedicated to the Blessed Virgin Mary. Windows in both transepts are clear glazed. Both transepts contain aumbries, with the north, a wall statue bracket. Blocked rood loft access openings also exist at both east and west sides of the south transept.

Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary. There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it. Against this screen was placed the altar of St Nicholas, the parochial altar of the city.

The rood loft The church comprises a nave, chancel and porch with a separate shrine-chapel to the West. The walls are of rubble and the roofs of slate. The style throughout is Gothic. The wall to the right of the porch has a rare stone bench facing the preaching cross in the churchyard.

The injunctions also attacked the use of sacramentals, such as holy water. It was emphasised that they imparted neither blessing nor healing but were only reminders of Christ. Lighting votive candles before saints' images had been forbidden in 1538, and the 1547 injunctions went further by outlawing those placed on the rood loft. Reciting the rosary was also condemned.

The north aisle features two large perpendicular windows and a battlemented rood loft stair turret. The rebuilt south aisle has rectangular and arched perpendicular windows. The north and south transepts contain paired lancet windows on their east sides, one of which in the north transept is early 13th century. The end walls of the transepts contain large perpendicular windows.

On 19 September 1437, he was transferred to the see of Norwich,Fryde, et al. Handbook of British Chronology p. 262 where he is remembered for upholding the rights of the Cathedral over the townsfolk and for erecting the great rood loft. He died on 6 December 1445 at the Episcopal manor of Hoxne in Suffolk.

Llangwm Uchaf is best known for the Church of St. Jerome. The oldest parts of the church date from the 12th century, built in the Early English style. The church was partly rebuilt by J. P. Seddon in the 1860s. The church contains a remarkable medieval rood screen and rood loft, , restored during Seddon's 19th-century reconstruction.

Other subjects are interpreted as St. Vitus and the Enthronement of Thomas Becket. The building was restored in 1879. Henry J Williams of Bristol carried out the work, in the course of which the rood loft was discovered and the doors at the entrance and upper level were replaced and a new door placed in the porch.

The Charlton- on-Otmoor rood in 2011 Two corn-dolly-like garlands formerly stood in the rood loft, as illustrated in 1823. The single garland in the rood loft at Charlton- on-Otmoor, illustrated by J.H. Parker in 1840. A unique rood exists at St Mary's parish church, Charlton-on-Otmoor, near Oxford, England, where a large wooden cross, solidly covered in greenery stands on the early 16th-century rood screen (said by Sherwood and Pevsner to be the finest in Oxfordshire).Sherwood & Pevsner, 1974, page 530 The cross is redecorated twice a year, on 1 May and 19 September (the patronal festival, calculated according to the Julian Calendar), when children from the local primary school, carrying small crosses decorated with flowers, bring a long, flower-decorated, rope- like garland.

In the north wall of the nave is the doorway leading to stairs to the former rood loft. By the north wall of the nave is a medieval coffin lid. To the east of the north door is a wall painting of Saint Christopher and the Christ Child. To the west of the door is a board with the Lord's Prayer.

The screen had its paint removed, and was restored. The old stalls, miserere seats, and desks were repaired and restored. The organ was moved from the rood loft, and placed in the south chancel aisle, with an entry to the vestry through the middle of it. The windows of the nave and transepts were renewed with Hartley's rough plate glass in quarries.

The floor has been tiled and is devoid of monuments. There is now no trace of a rood loft but Henry Larkin's will of 1471 left goods to pay for its maintenance. Against the tower wall the Dutch Sanctus bell used to hang (see Bells, below). A modern WC and kitchenette has been installed at the west end of the nave.

The building is the frequently- used parish room. The rood loft stairs are open but partly bricked up at the top. The Victorian organ is in the chancel, for want of space in the nave, but it clutters the space and distracts attention from some Victorian stained glass. Behind the organ is a blocked entrance, also apparent from the outside.

The chancel also contains many 14th- century mosaic tiles with line-impressed decorations, dating from the 14th century. The rood screen is still partly present, and there is a door and stairs to the previous rood loft. The limestone font dates from the 14th century. It is carried on five columns, and its octagonal bowl is carved with different tracery on each face.

Leaning against the choir, one can see the altars of Saint Anne and Saint Barbara (both from about 1750). The rococo pulpit dates from 1756. it is decorated with reliefs representing St. Francis receiving the stigmata, Saint Francis talking to the birds and Moses enforcing discipline to the Hebrews. The rood loft, built in 1670, with the organ is supported by Tuscan pillars.

The east wall contains two two-lighted windows and a blocked doorway to the rood loft stairs. The south aisle is also thought to have been refaced. The plinth and string course are both chamfered. Each side of the porch has a 15th-century three-lighted pointed arch window. The west end contains a 14th-century two-lighted trefoil-headed.

It is erected in the south chancel aisle and comprises a tomb-chest in an ogee recess with quatrefoil decoration. The candelabra in brass was installed in 1701. In 1824 the outer north aisle was added. This north aisle was modified in 1869 by Sir Gilbert Scott who added additional seating which allowed for the removal of the western galleries and the galleries in the rood loft.

The bowl of the font is twelfth century and it stands on a nineteenth century base. The seventeenth century pulpit is five-sided, on a wineglass type stand; it has panels of round-headed blind arches. On the south side there is a stair to a former rood loft, and the rood screen dates to 1901. There are some good windows in the north aisle and tower.

The font is octagonal and carved with initials and date "EM 1662". The octagonal wooden font cover with a central finial has hinged panels on four sides. Doorways to the parvis stairs and rood loft stairs are in the south wall of the south aisle and the south wall of the north aisle respectively. The three chancel windows contain stained glass by Patrick Reyntiens installed in 1962.

In the south wall of the chancel is a double piscina and a sedilia. The benches in the chancel date from the 17th century and are carved with poppyheads. The communion rail dates from the same period and is carried on turned balusters and posts. At the southeast corner of the nave are the remains of a former stairway that led to a rood loft.

In the south wall of the nave near the door is a stoup, and to its east is the entry to the rood loft stairs. In the east wall is a squint. The north arcade has three bays with octagonal piers. In the north chapel is a piscina with a crocketted gable, a recess in the north wall, and a 19th-century grate in the northeast corner.

The Rood Beam which supports images of Our Lord on the Cross with Our Lady and St. John the Evangelist, carved in the 1930s by Read of Exeter was rescued from the redundant Church at Gildersome near Leeds and was restored and fitted here in the 1980s by Peter Larkworthy. The steps leading to the original Rood Loft survive at the East end of the North Aisle.

A crusaders floor slab lies on the south side of the sanctuary. Behind the pulpit is the start of a stone staircase that once led up to a rood loft, but this has long since been removed, together with the rest of the staircase. The Purbeck marble font is 12th century. The circular basin is lined and set in a square slab standing on five shafts.

The arcade is in three bays with pointed arches, carried on square piers without capitals. The chancel ceiling is plastered and coved; the nave ceiling is boarded. In the southeast corner of the nave is a recess for the former stairway to the rood loft. At the east end of the aisle is a raised area which contains some medieval tiles and a memorial slab.

The roof of the porch reuses medieval wood. The nave, which has five bays, measures 59 feet 6 inches by 16 feet 9 inches (18.1 by 5.1 m). A gallery at the west end is supported by two oak crossbeams, one of which has the date of 1777 inscribed. According to one 19th-century writer, an old rood loft had previously rested on one of the beams supporting the gallery.

Amongst the benefactors was a local carrier named Bellman, who is said to have provided the lead for the roof. The church at this time had a simple plan, consisting of a nave with aisles, and a west tower. It contained box pews, a rood loft, a three-decker pulpit and, by 1812, a west gallery. On the walls and roof beams were murals and painted biblical texts.

Recorded were stone sedilia with canopies and a piscina, and remains of stairs to a former rood loft. The chancel chantry chapel was the family pew of the Pole family. Nave south chapel, with canopied piscina and credence, contains a monument to Lady Louisa Pole (died 6 August 1852). The decorated-style chancel east window included a stained glass memorial (erected 1879) to Rev Gilbert Malcolm, parish rector from 1812.

The King's England series, NORFOLK, by Arthur Mee, Pub: Hodder and Stoughton, 1972, page 323/324, Walsoken, To the base of the tower is the rounded Norman west doorway. The interior of the church has massive Norman arcades which are rich with zigzag moulding decoration. An arch in the chancel is supported on carved banded shafts. On one side is the 15th-century doorway to the old rood loft.

Interior view showing pulpit, ceiling and pews A fragment of the medieval rood screen preserved against the north wall of the north aisle. Blocked off doorway in the easternmost nave pier which originally led to the rood loft. The chancel is 13th century, without a plinth. It is narrower and lower than the nave. The east window is of 15th- or late 14th-century work with later restorations.

Above it is a stone reredos decorated with quatrefoils, fleurons, human heads, and pinnacles. On the north walls of both aisles are fragments of painted texts. In the north aisle is another medieval altar slab, a bracket for a statue, and a doorway leading to the rood loft. The south wall of the chancel contains a triple sedilia and a piscina, and on its east wall are brackets for statues carved with human heads.

Holy Trinity Church Adjacent to the castle is the Grade I listed Perpendicular-style Holy Trinity Collegiate Church, endowed by Ralph de Cromwell, 3rd Baron Cromwell, but built after his death. It received its charter from Henry VI in 1439 but building was not begun until 1472, reaching completion around 1500. The church has medieval stained glass, a collection of brasses and an intact rood loft. It was restored between 1893 and 1897.

208 The church was enlarged in the 15th or 16th centuries to include a moulded basket arch added to the north door, the addition of a north aisle with Perpendicular tracery and, near the east end, a rood loft stair turret. In the 16th century the south porch was added; this has an arch to the south door over which is a Norman tympanum.Church of St Gregory, Treneglos. British Listed Buildings. 16 September 2012.

On the south side of the top stage are two lancet bell openings; on the other sides the bell openings have two lights. The south wall of the nave has a plain parapet, two three-light windows, and a projection at the east for a stairway to the rood loft. The south porch also has a plain parapet. Along the wall of the north aisle are buttresses, two lancet windows, and a doorway.

His > rebus, a 'T' entwinned in a key can be found embellishing the church and > other interesting features include the remains of a rood loft and a curious > pulpit set in a niche in the north wall. Looking at the Old Rectory in greater detail, in 1643 during the English Civil War Sir Bevil Grenville was injured at the Battle of Lansdowne and carried to the Old Rectory at Cold Ashton, where he died.

At the east end of the north aisle still remain the steps of the rood loft, in a good state of preservation. On the south side of the chancel is a sedile of two stalls under semi-circular arches and a piscina. The font is very large, and octagonal, having two sculptured human heads annexed to two of its western angles. The chancel arch is pointed, and the chancel itself is spacious.

The rood loft viewed from the south-west. The Church of Apostles Peter and Paul was built during the reign of King Clovis, who was buried here with his wife Clotilde as well as Saint Genevieve. Later, it was rededicated as the abbey church of the royal Abbey of Sainte-Genevieve. The abbey church also served as the parish church for the surrounding area until it became too small to accommodate all the faithful.

Note (1) piscinas of different dates in chancel; (2) change of design in arcading of nave, showing subsequent lengthening of church — the earlier columns stand on Norm. bases; (3) rood-loft doorway and ancient pulpit stairs near modern pulpit; (4) Jacobean lectern and Bible of 1611. The "Bonville" chantry, S. of chancel, contains a 15th-cent. altar-tomb with recumbent effigies of Sir H. Fitzroger and wife, and a modern mural tablet with medallion to Viscountess Waldegrave.

Prior to the Reformation, St Giles' was furnished with as many as fifty stone subsidiary altars, each with their own furnishings and plate. The Dean of Guild's accounts from the 16th century also indicate the church possessed an Easter sepulchre, sacrament house, rood loft, lectern, pulpit, wooden chandeliers, and choir stalls.RCAHMS 1951, p. 28. At the Reformation, the interior was stripped and a new pulpit at the east side of the crossing became the church's focal point.

Above the chancel arch are rood-beam and corbels, but there is no trace of the rood-screen. The churchyard cross Externally there is a projection from the nave which would have been the stairway to the rood loft, which may have been blocked up at the time that the Kemeys monument was installed. In the churchyard there is a modern churchyard cross, standing on the original chamfered base with five steps. Above the porch entrance is a sundial dated 1718.

The 14th century rood loft and the upper part of the rood screen The floor of the church is stone-flagged, and there is a one-step rise between the nave and the chancel. Between them is a 14th-century rood screen complete with its loft. This is described as being "an exceptional regional example of a medieval rood screen". The loft is painted blood red, and it has quatrefoil openings to allow a view of the altar from it.

Walkelin died 3 January 1098, at Winchester, and was buried in the nave of his cathedral, "before the steps under the rood-loft (pulpitum), in which stands the silver cross of Stigand, with the two great silver images; and he lies at the feet of William Giffard [his successor], having over him a marble stone" under the following inscription: :Praesul Walklynus istic requiescit humatus – Walkelin lies buried beneath here :Tempore Willelmi Conquestoris cathedratus – cathedral-builder in the time of William the Conqueror.

Also 15th-century are the choir stalls, the screen between the chancel and Lady chapel, the baptismal font and a doorway to a former rood loft. Inside St Michael's are several monumental brasses, most of which are late Medieval. One is of a priest, John Balam, who died in 1496. A triple brass from about 1500 depicts a knight and his two successive wives. Another represents Sir John Daunce, who died in 1545, with his wife who died in 1523 and their children.

A few years afterwards, in 1580, Thomas Legh of Adlington acquired the manor and advowson and became Lay Rector of Prestbury. The Legh family has held the manor and advowson of Prestbury ever since. St Peter's Church before the general restorationPublic worship in Latin was abolished by the Acts of Uniformity. A pulpit was erected in 1560. The high altar and the rood loft were taken down during the years 1563-72 and a moveable Communion table was set up.

The earliest documentary reference to the church is in 1379 but it is thought that it was established around the 1280s. Additions were made to the church and it was remodelled in the late 15th century under the patronage of Sir William Stanley. During the Civil War it was damaged when it was occupied by Parliamentary forces; bullet marks are still present from that occupation. In 1732 the church was renovated; this included removal of the rood loft and screens.

Bermondsey Priory sold the church in the late thirteenth or early fourteenth century. The west tower with internal stairs and gargoyles up the parapet and a porch were built in the early fourteenth century. In the late fourteenth century the rood loft and three windows on the west-side and one on the east-side were added. In the fifteenth century, the south chapel was built and two trefoil-headed lights were added on the south-side of the chancel arch.

Simon Jenkins noted that "the tower with its octagonal top is visible for miles around, a forest of pinnacles topped by golden weathervanes. From a distance they seem to flutter in the sun, like pennants summoning us to some forgotten Tudor tournament". An entry in the churchwardens' accounts records taking down the rood-loft and filling the holes in May 1644. In July 1645 payment was made for the "glazing of the windows when the crucifixion and scandalous pictures were taken down".

However, this was abruptly halted by the 16th century Reformation which prohibited the veneration of saints.Lehane p.140. Few substantial alterations have taken place since: the rood loft has been removed, the south vestry was added in 1822 and during restoration work in the 1840s the roofs of the chancel and south transept were replaced, the north aisle was widened and the clerestory windows were installed. The modern parish of Whitchurch Canonicorum belongs to the Church of England Diocese of Salisbury.

The remains of the rood screen in front of the more recent lectern date from the 14th century, and would have separated the nave from the chancel. The church once had a rood loft and gallery, and the remains of these can be seen in on the nave walls, and from the beam at the back of the church. The gallery was demolished in the 19th century. The reader's desk possibly dates from the 16th century, although the door is more recent.

During Lent the rood was veiled; on Palm Sunday it was revealed before the procession of palms, and the congregation knelt before it. The whole Passion story would then be read from the rood loft, at the foot of the crucifix, by three ministers. No original medieval rood has survived in a church in the United Kingdom.Duffy, 1992, page not cited Most were deliberately destroyed as acts of iconoclasm during the English Reformation and the English Civil War, when many rood screens were also removed.

So the accumulated litany binding the endowments and prayers of the churches to the ancestral civic twilight was unravelled. In the Edwardian reform the Rood itself (though not the Rood-loft) and some images were removed from the church, in accordance with the order of 22 September 1547,W.H. Overall (ed.), The Accounts of the Churchwardens of the Parish of St Michael, Cornhill (Alfred James Waterlow, for the vestry, London [1871]), p. XXI, note 4 (Internet Archive): citing Corporation of London, Letter Book Q, fol. 214.

The interiors of mediaeval churches, apart from their many altars and stained glass (which, of course can only be properly seen from inside) had their purpose made visually plain by the almost universal presence of roods, huge figures of the crucified Christ, high above the congregation, mounted on a rood loft at the chancel arch -with steps to enable the priest to climb up; something which no one could miss. A wooden rood screen beneath might have painted on it figures of the apostles and angels.

The staircase and passages through the arcades remain. William Hals (1658) gives this description:- “The Rood loft (yet standing though without a rood on it) a most curious and costly piece of workmanship, carved and painted with gold, silver, vermilion and bice, is a masterpiece of art in these parts of that kind.” The church was seated with benches “built by the poor stock in 1595” and had carved ends. They were destroyed in 1795 but one is to be seen in the North aisle.

In one of the square piers in the south aisle is a slab, carved in bold relief, with some creature resembling a serpent and two curiously formed animals. The two pointed arches of the north aisle rise to a greater height than the arches on the opposite side. There is a piscina at the east end of the south aisle, shewing the spot to be the site of an altar in ancient times. In the south aisle are the steps which formerly led to the rood loft.

The interior of St Mary's Church Hinckley showing Nave and Rood Loft The church is entered via the North door, or through what was the North Chapel but is now the coffee bar. The total length of the church, including the chancel and tower is 38.4m. But the most remarkable feature is the width of the building compared with its length: it is almost a square. The total length of the nave is only 19.1m while the width of the nave and aisles is 21.7m, and including the transepts, 31.7m.

Some scholars thought that the readings were proclaimed from the top of the rood screen, which was most unlikely given the tiny access doors to the rood loft in most churches. This would not have permitted dignified access for a vested Gospel procession. Chief among the proponents of Sarum customs was the Anglican priest Percy Dearmer, who put these into practice (according to his own interpretation) at his parish of St Mary the Virgin, Primrose Hill, in London. He explained them at length in The Parson's Handbook, which ran through several editions.

Repairs were necessary because the structure of the church had deteriorated over the years, and in more recent years it had been vandalised. These were undertaken in two phases. In the first phase, starting in April 2004, the building was stabilised and made weatherproof. The second phase has included repairs to the interior of the church, replacing doors and windows, dealing with cracks in the walls, rebuilding the stairway leading to the rood loft, conserving the wall paintings, repairing the nave ceiling and removing the chancel ceiling, and restoring the bellcote.

The specific functions of the late medieval parish rood loft, over and above supporting the rood and its lights, remain an issue of conjecture and debate. In this respect it may be significant that, although there are terms for a rood screen in the vernacular languages of Europe, there is no counterpart specific term in liturgical Latin. Nor does the 13th century liturgical commentator Durandus refer directly to rood screens or rood lofts. This is consistent with the ritual uses of rood lofts being substantially a late medieval development.

Most of her donations were ecclesiastical. She donated a house in Broad Street to All Saints, established a chantry for her husband, commissioned a weekly Jesus mass and two anniversary masses for her husband. She also gave her church numerous embroideries (including a black and gold hearse cloth for funerals, bearing the words "Orate pro animabus Henrici Chester et Aliciae uxoris eius" ), ornate altar fronts, plate, a silver cross, and paid for a new rood loft. The church's record of benefactors refers to her, somewhat effusively, as "this blessed woman".

24 In the years 1471–1472 to 1474 Waynflete was largely engaged in completing the church, now called the chapel, at Eton: his glazier supplied the windows, and he contracted on 15 August 1475 for the rood-loft to be made on one side "like to the rode bite" in Bishop Wykeham's college at Winchester, and on the other like that of the college of St Thomas of Acre in London. In 1479 he built the ante-chapel at the west end of the chapel, of Headington stone.

The building is of simple design, unpretentious and attractively > rustic, the tower dates from the early 14th century, and is one of only 22 > Suffolk towers which form porches. The interior is graced with a number of > fittings and memorials dating from its earliest days, including the 15th > century rood screen with paintings of saints and others, all of which were > mutilated by tudor reformers or later by puritans in the 1640s, a rood loft > staircase set into the thickness of the outer wall, brass rubbings, and > wooden pews.

The arcades each have seven four- centred arches of granite, supported by monolith granite pillars with sculpted capitals of St Stephens porcelain stone. The tower of three stages is 85 feet in height, with a battlemented parapet and crocketted finials, the top stage is decorated with four carved figures, possibly the Four Evangelists. There is a piscina (used to cleanse sacred vessels after mass at the high altar) on the north side and the remains of rood loft stairs, now built up. In the south aisle is a second piscina and a priest's doorway.

The east window is Perpendicular and high, and on the south side of the nave is an exceedingly small window which lighted the former rood loft. The beams of the slightly flattened barrel roof and the wall-plate are of some age. The font is octagonal. The small south door has been built-in and entrance to the building is through the timbered west porch above which is a turret containing two bells, one of which is of 13th-century date but slightly smaller than those at Gwernesney.

Mariä Krönung (Coronation of Mary) is a Catholic pilgrimage church in Lautenbach, Baden-Württemberg, Germany, where pilgrimage to a miraculous image of Mary was documented in the 14th century. The present church was built in the 15th century in Late-Gothic style, a home for Premonstratensian friars from a dissolved monastery. Mariä Krönung is a significant cultural monument in southern Germany, because it retains many original Gothic features, such as the rood loft and fused stained-glass windows. It has been the parish church of the village since 1815.

In the north wall is another rood loft door, now blocked. The 15th-century clerestory, which runs continuously above the arcades in both nave and chancel, has seven windows on each side. The roof, also of the 15th century, is precisely like that of the chancel and rests on corbels carved with heads. The west tower stands at 130 feet to the top of the spire, the lower part of the walls probably dating back to the time of the earliest known church, - circa 1150, but the fine lower arch is 14th century.

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 chancel contains the only extant specimen in Somerset of a > frid stool, a rough seat let into the sill of the N. window of the sacrarium > for the accommodation of anyone claiming sanctuary. Note (1) piscinas of > different dates in chancel; (2) change of design in arcading of nave, > showing subsequent lengthening of church — the earlier columns stand on > Norm. bases; (3) rood-loft doorway and ancient pulpit stairs near modern > pulpit; (4) Jacobean lectern and Bible of 1611. The "Bonville" chantry, S. > of chancel, contains a 15th-cent.

Former parish church of St James St James' Church, Chignal St James is a former parish church in Chignal St James in Essex, England. The building has a 13th or 14th century nave with flint rubble walls including some freestone and Roman brick fragments, limestone and brick dressings and a tiled roof. The east and south walls of its chancel seem to have been rebuilt and a stairway to a rood loft added, both in the early 16th century, though the building has never had a chancel arch. It was restored in the 19th century and its north porch is modern.

Rood screens are the Western equivalent of the Byzantine templon beam, which developed into the Eastern Orthodox iconostasis. Some rood screens incorporate a rood loft, a narrow gallery or just flat walkway which could be used to clean or decorate the rood or cover it up in Lent, or in larger examples used by singers or musicians. An alternative type of screen is the Pulpitum, as seen in Exeter Cathedral, which is near the main altar of the church. The rood provided a focus for worship, most especially in Holy Week when worship was highly elaborate.

The capitals in like manner differ, some scalloped, others have water-leaves and volutes. Over the second pier on each side is the entrance, now blocked, to the rood loft, indications of which may be seen on the south side. The clerestory, consisting of seven windows of two cinquefoiled lights in four-centred heads on each side, is of 15th-century date. The north and south aisles have windows of similar detail each with three cinquefoiled lights in a four-centred head, all of about 1500, and the north and south doorways are of the same date.

The Early English pointed arch and the tower either built or re-modelled towards the end of the 13th century. The stone screen was added to the wall between the nave and the chancel towards the end of the 14th century. It is richly ornamented on the eastern side but plainer on the west as here there was a carved wooden screen with Rood Loft and Rood above and an altar on each side of the archway into the Chancel. The Chancel was re-built and lengthened in 1399 and the squared headed perpendicular windows replaced the narrower Norman windows in the aisles.

The upper level is moulded top and bottom, with each side paneled with inset tracery and quatrefoils, and is supported by scrolled brackets set on an inset base. The 13th-century south aisle contains the church square-paneled and plank south door, that is recessed to the same style as the chancel south door. A further small plank door at the south aisle north-east wall is within a pointed doorway with a continuous moulded surround, an entrance to a previous rood loft, defined externally by the south aisle turret. To the east of the door are twin aumbries.

The north aisle, comprising two medieval (the east-most) and two modern arches, has stiff-leaf decoration on the capitals of the former. St Paul's had a tower and belfry and there was a room over the church door. Inside, there is a fourteenth-century doorway to a former rood loft stair. In the south east corner where the altar stood (and stands) are three piscina recesses presumably credences with carved chamfered ogee heads of the fourteenth century. The remains (the lower halves) of two “good fourteenth century figures”Pevsner, Nikolaus; Harris, John; The Buildings of England, Lincolnshire.

St David's Church, Llangeview, is a redundant church sited in a round churchyard adjacent to the junction of the A449 and A472 roads to the east of the town of Usk in Monmouthshire, Wales. It has been designated by Cadw as a Grade I listed building, and is under the care of the Friends of Friendless Churches. It is Grade I listed because of its "exceptional interior" including a 15th-century rood-loft and "rare pre-Victorian box pews and fittings". The church stands in a churchyard that is almost circular, and is surrounded by a bank and the traces of a ditch.

The Church of St. Nicholas is the Church of England parish church of Thelnetham and part of the United Benefice of Stanton. Dating from the 14th century, it is said to have been built by Edmund Gonville, founder of Gonville Hall, later Gonville and Caius College, Cambridge, who was rector here from 1320–1326. Many older features remain including a simple octagonal font, the doorways and stairs to the rood loft behind the pulpit, a 14th century arcade, and arches with octagonal piers and quarter-round mouldings. The chancel and south aisle both have medieval stone altars with recut consecration crosses which were reinstated during the 1895 restoration.

In 1896 the west gallery was removed and further restorations completed. In 1908 the south porch stopped being a vestry after a new level was created in the tower for a vestry. A complete restoration in 1931 removed the apse and chancel ceilings, opened out the rood-loft stair and stripped the external plaster from the tower. The London Blitz destroyed the chancel roof and the whole church's stained glass in 1941, along with other damage, but repairs were immediate and a permanent restoration of the nave was complete by the war's end, followed by a more comprehensive restorations in 1950 and 1965-1966.

The pulpit has been described as "Victorian craftsmanship of matchless quality". The north porch was restored in 1896, and in the following year the west tower was repaired, and pews of a 15th-century pattern placed in the nave. 1910 saw the restoration of the rood screen in a style consistent with that of the two ancient panels, the reconstruction of the rood loft, and the installation of a Norman and Beard two-manual organ with more than a thousand pipes. The organ pipes are above the parclose screens; the bellows, wind chest and electric blower are concealed in the chamber above the chancel.

The visitation recorded an annual income of £133 6 s 8 d; The Ledger Book of Vale Royal Abbey ed. John Brownbill (Manchester Record Society, Manchester, 1914), pp. 191–192. Monuments in the chancel, and entrance to stair leading to the rood loft and the door leading to the vestries, Llanbadarn Fawr Church After the Dissolution of the Monasteries, and the closure of Vale Royal Abbey in 1538, St Padarn's Church regained its independence, though now solely as a parish church rather than as a religious community. The church remained important in part because the parish was one of the largest in Wales (over 240 square miles).

While removing old plaster from the walls, a doorway leading to the rood loft on the north side of the chancel arch was uncovered. The plaster removal also located a 13th-century tomb in a recess of the north nave wall. During the restoration, a tomb in the chancel floor from circa 1200 and the church's original pillar piscina were also located. When the restoration was completed, the church had been completely re-roofed, the church walls and tower were renovated, new floors were installed along with new pews, a new pulpit and reading desk, as well as a new altar and altar rail.

René Beauvais (commonly known as René Saint-James) (October 8, 1795 - September 4, 1837) was a carpenter and master woodcarver from Lower Canada. Little is known about Beauvais's apprenticeship but it was most likely with Louis Quévillon or possibly one of his associates. We do know that he became a master woodcarver by 1812 and did extensive work in the church at Sainte- Thérèse-de-Blainville which included some carpentry, woodcarving, and gilding as well as the structure housing the altar, rood-loft, cornice, and vaulting of this building. By 1815, Beauvais was in partnership with Quévillon and two other partners working on many important projects.

In Anglican churches, under the influence of the Cambridge Camden Society, many medieval screens were restored; though until the 20th century, generally without roods or with only a plain cross rather than a crucifix. A nearly complete restoration can be seen at Eye, Suffolk, where the rood screen dates from 1480. Its missing rood loft was reconstructed by Sir Ninian Comper in 1925, complete with a Rood and figures of saints and angels, and gives a good impression of how a full rood group might have appeared in a mediaeval English church - except that the former tympanum has not been replaced. Indeed, because tympanums, repainted with the Royal Arms, were erroneously considered post-medieval, they were almost all removed in the course of 19th- century restorations.

No time was lost in 1558 in taking down the Rood again, and now the Rood-loft itself was broken up and sold; a year later "St Peter's Tabernacle" and the holy water stock were cut away by a mason.Simpson, 'Parish of St Peter', p. 257, 261. On 14 January 1559, during her royal progress through the City, Queen Elizabeth was presented with a Bible in English as she passed the church door. With this turn, Richard Smith continued as parson until his burial in the midst of the choir in 1570, but through the 1560s William Porrage (ordained in 1560 by Bishop GrindalClergy of the Church of England database, CCEd Ordination Record ID: 164936.) was curate or minister of the parish.Simpson, 'Antiquities', Appendix I, p. 384.

Also in the 19th century the whole building was repaired, and the north aisle and north chapel were re-roofed. The belfry stage of the tower was restored in the early 20th century. A small 19th century porch on the northwest replaces the former rood-loft staircase, but the upper doorway, which is blocked, and part of the lower doorway remain, the latter in the aisle, just outside the screen. At the north-east corner of the chapel is an elaborately carved niche of the 14th century, which must have been moved to its present position in the 15th century, when the wide east window was inserted and the north wall was recessed. On the south side is a 14th-century piscina.

The passage through the rood screen was fitted with doors, which were kept locked except during services. Crucifixion atop Rood Screen, Anglo-Catholic Church of the Good Shepherd (Rosemont, Pennsylvania) The terms pulpitum, Lettner, jubé and doksaal all suggest a screen platform used for readings from scripture, and there is plentiful documentary evidence for this practice in major churches in Europe in the 16th century. From this it was concluded by Victorian liturgists that the specification ad pulpitum for the location for Gospel lections in the rubrics of the Use of Sarum referred both to the cathedral pulpitum screen and the parish rood loft. However, rood stairs in English parish churches are rarely, if ever, found to have been built wide enough to accommodate the Gospel procession required in the Sarum Use.

The Holy Maid of Leominster, known only as Elizabeth, was installed in the rood loft above the chancel of the priory of Leominster by its prior in the late 15th or early 16th century. The prior claimed that she had been sent by God, and that she could survive without either food or drink except for "Aungels foode" (communion bread). Elizabeth had no need to descend to the chapel for her sustenance, as during Mass the bread was seen to fly up out of the prior's hands and into her mouth. Margaret Beaufort, the mother of King Henry VII, had convened a council whose task was to investigate cases like those of the Holy Maid, who had developed a cult following, and attracted visitors seeking cures and blessings.

Charlton had a parish church by the 11th century. The present Church of England parish church of Saint Mary the Virgin was a 13th-century Early English Gothic building but there were substantial Decorated Gothic alterations in the 14th century. The east window is slightly later, in the transitional style from Decorated to Perpendicular Gothic. Around the beginning of the 16th century the clerestory and a new roof were added to the nave, and a new window was added to the south aisle. Garlanded rood on 16th- century screen in St Mary the Virgin parish church 13th-century shaft cross in St Mary's churchyard In the early 16th century the present rood screen and rood loft (for a crucifix between the chancel and nave) were added to the church.

Since the widening of the tower arches in 1270 and 1320 the tower of St. Mary's had been structurally weak. The subsequent addition of the bells and belfry and the lead-covered spire added to the weight of the tower, and the number of burials of local notables within the church and of parishioners immediately outside the church building weakened the structure further. By the 18th century the problems had become severe enough that the west arch of the south transept was blocked up in an effort the strengthen the structure, and a hollow pillar which housed the stairway to the rood loft was filled in. The tower continued to weaken, a situation made worse by the addition in 1812 of a new ring of six bells with a 17 cwt (860 kg) tenor bell, cast by Thomas Mears II of the Whitechapel Bell Foundry.

H. R. Gough contributed little to the church after 1888, but he did design The Rood screen and made by Jones and Willis, (1893), with the figure of Christ after that in Capilla Real, Granada Cathedral. The Rood loft has an altar on the south side with a Tabernacle where the Blessed Sacrament was reserved as the bishop of London, John Jackson, objected to the Sacrament being reserved in the Lady Chapel, so to strictly comply with the bishop's instruction The Sacrament was reserved in the Rood Screen altar Tabernacle. On the Feast of the Translation of The Relics of St Cuthbert on 4 September 2015 the three Relics held by the parish were moved to the altar to a permanent reliquary. The Latin inscription is from the first chapter of St John's Gospel – Verbum caro fact est et habitat in nobs – The Word was made flesh and dwelt among us.

St Mary's Church, Greywell Restored in 1870, it still boasts many old features, the most important of which is the early 16th century rood-screen, made of carved oak which before the restoration was used as a men's gallery with rood loft and circular stairs. The narrow 13th-century Early English chancel arch is also a prominent feature, while on the stonework to the left outside the church door there are visible remains of several consecration crosses dating back to the period of the Crusades. Church Cottage, beside the lych-gate on The Street, is believed to have been originally the priest's lodgings. St Mary's Church in Greywell is part of the United Parish of Newnham with Nately Scures with Mapledurwell with Up Nately with Greywell, which in turn is part of the North Hampshire Downs Benefice in the Church of England Diocese of Winchester.

Commonly, to either side of the Rood, there stood supporting statues of saints, normally Mary and St John, in an arrangement comparable to the Deesis always found in the centre of an Orthodox iconostasis (which uses John the Baptist instead of the Apostle, and a Pantokrator instead of a Crucifixion). Detail of the rood screen of St. Edmund's church, Southwold, United Kingdom Latterly in England and Wales the Rood tended to rise above a narrow loft (called the "rood loft"), which could occasionally be substantial enough to be used as a singing gallery (and might even contain an altar); but whose main purpose was to hold candles to light the rood itself. The panels and uprights of the screen did not support the loft, which instead rested on a substantial transverse beam called the "rood beam" or "candle beam". Access was via a narrow rood stair set into the piers supporting the chancel arch.

Over the succeeding three centuries, and especially in the latter period when it became standard for the screen to be topped by a rood loft facing the congregation, a range of local ritual practices developed which incorporated the rood and loft into the performance of the liturgy; especially in the Use of Sarum, the form of the missal that was most common in England. For example, during the 40 days of "Lent" the rood in England was obscured by the "Lenten Veil", a large hanging suspended by stays from hooks set into the chancel arch; in such a way that it could be dropped abruptly to the ground on Palm Sunday, at the reading of Matthew 27:51 when the Veil of the Temple is torn asunder. The 12th-century ruined church of Castle Acre Priory looking west from the site of the High Altar. The foundations of two transverse screens can be seen.

The massive piers at the entrance to the transepts suggest a central tower. Both transepts are singularly deep and must have been original features, though the south one has been lengthened , probably in the 16th century when the east window was inserted. The aisles must have been undertaken later in the century, as they are not in alignment with the transept piers. They both end in pointed arches, that to the north being splayed inwards for some ritual purpose, while the south one was rebuilt when the way to the rood-loft was cut through in the 15th century. The south wall of the nave is lighted by 14th century windows with cusped heads, and has been raised to admit of their insertion. The north wall is pierced by two windows and a door of the 13th century, the westernmost window having been converted into a single round-headed light in the 17th century.

There are two references in wills to a 'Calverton Crosse', presumably a now lost village standing cross. Village crosses were free-standing upright structures, usually of stone, which were mostly erected during the medieval period.J. Lang, Corpus of Anglo-Saxon Stone Sculpture, Volume VI: Northern Yorkshire (2002), p.24 There are two extant examples in the nearby village of Linby.N. Pevsner, The Buildings of England: Nottinghamshire, 2nd edition revised by E. Williamson (1979), p.165. In 1499 Thomas Belfin (or Belfyn) of Calverton, amongst various bequests to the church of St Wilfrid, including a rood loft, bequeathed 6s 8d (34p) to the cross; Item lego fabricæ crucis de le ston in parte occidentali vilæ de Calverton vjs viijd (Item I leave to the fabric of the stone cross at the west part of Calverton village 6s 8d).‘Wills Proved before the Chapter of Southwell, 1470-1541’, pp.113-4 in A.F. Leach (ed.), Visitations and memorials of Southwell Minster, (Camden Society, 1891) In Testamenta Eboracensia, the 1545 will of Richard Willoughbye, alderman of Nottingham, contains the sentence, 'To Wilyame Willughebie, my sone... a garden sette at Calverton Crosse in the tenor of John Godbere...’J.

The earliest known dedication of the Church of England parish church was to Saint Germanus of Auxerre, recorded in 1328. A "German's Well" recorded in the parish in 1626 refers to St Germanus. By 1846 the church had been rededicated to Saint Mary and by 1864 it had been changed again to Saint James. The present dedication of Saint Leonard and Saint James dates from 1904. The church building dates from the 12th century. The easternmost bay of the arcade for the south aisle was built in about 1180 and the bell tower was added early in the 13th century. Between 1296 and 1316 a chantry chapel was added to the north side of the nave. Slightly later the south aisle was extended the full length of the nave, a south chapel was included and a south porch was added. The arch to the south chapel is 14th century and all the windows of the south aisle are Decorated Gothic. In the 15th century a clerestory was added to the nave and a rood screen and rood loft were built across the nave and aisle.