546 Sentences With "rood screen" | Random Sentence Generator

Beyond the house, the road meandered upward past more villas, then dustily through a cluster of old cottages around the medieval parish church, which had a distinguished rood screen.

"The Rude Screen," a play on the traditional church rood screen, is a discarded billowing blue fabric hanging abandoned on a branch, the blue evocative of so many Virgin paintings.

It examines ghoulish art and literature, from a fifteenth-century rood screen depicting a pair of fashionably dressed skeletons to the Christmas Eve cameo of Marley's ghost to the "everyday apparitions" of Muriel Spark.

Designed by Mr. Puryear in collaboration with Tod Williams Billie Tsien Architects, it's in two parts, the most immediately visible: a high, white perforated wood mesh that stretches across the Pavilion's forecourt, like a church rood screen, half-obscuring what's beyond it.

Its rood screen was removed to St Nicholas' Church, Newchurch.

It also contains the only rood screen still in place in Venice.

A rood screen and the altar have been placed in the chancel.

Rood screen in an Anglican parish church. The 15th-century rood screen of St Mellanus, Mullion, Cornwall, restored with rood figures and loft by F. C. Eden in 1925. The word rood is derived from the Saxon word rood or rode, meaning "cross". The rood screen is so called because it was surmounted by the Rood itself, a large figure of the crucified Christ.

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.

The church has a rood screen ("poutre de gloire") with a depiction on it of the crucified Christ.

The church is noted for retaining a small section of its medieval rood screen. It was recovered from a local farm and restored. The panels show saints and kings, one of the Kings being Edmund the Martyr, shown holding an arrow. File:Section of Rood Screen, St. Mary's Church, Kersey (1).

"Rood Screen Placed in Grace Church, Mt. Airy," The Churchman, vol. 50, no. 25 (December 18, 1909), New York, p. 950.

A fifth portal, located to the west, was also built around 1320. The main door of the church, with a carved tympanum, dates from the late fifteenth century. It could be the work of Conrad Sifer or his workshop, who was the designer of the rood screen of 1490. Indeed, the ornamental style is very reminiscent of the rood screen.

The low-pitched nave ceiling has cambered tie beams carried on short corbelled posts at the foot of which are figures of angels. The rood screen dates from about 1500 and is richly carved. The authors of the Buildings of England series regard this as the best rood screen in Cheshire. In the chancel are a carved ascending double sedilia and a piscina.

The basilica has remarkable gargoyles. Inside, you can admire a rood screen of the late 15th century whose right arcade houses the statue of the Virgin for which this basilica is famous. Statues include the Venerated Virgin (about 1300), Seated virgin (15th century) and St. Jacques in wood (17th century ). The altars date from 1542, and the rood screen from the 17th century.

The Romanesque basilica of the Holy Cross remains as the parish church. It is famous for its huge and intricately carved mediaeval rood screen.

It keeps imperial icons from the 18th century, the rood screen, the religious armchair and the cult silverware from the time of hegumen Cyrillic Strychnine.

In 1684, the decorator Charles le Brun modified the design of the choir, removing the rood screen and providing the apse columns with marble facing.

The Dunstable Priory clock was one of the oldest mechanical clocks in England, built-in 1283. Accounts say it was installed above the rood screen.

View up the nave showing the rood screen The rood screen is mainly late mediaeval and is in five bays with the extra-wide middle bay being the entry. It has been much altered. The oldest parts are thought to have been in position after the restoration in the 1480s. Traces of the mediaeval paint colours of red, green, cream and gold still remain.

In medieval times, there would have been a beautifully carved rood screen, but this was destroyed during the reformation. However, the original thirteenth century winding stone stair still remains and in accessed on the right of the chancel arch. The steps have never been restored and are very worn. The current rood screen was erected in 1905 as a memorial to Queen Victoria, at a cost of £250.

The significance of the church lies mainly in its late medieval decoration, particularly of the rood screen. Simon Jenkins considers the work "England's finest church screen paintings". The Twelve Apostles are represented in painted panels on the rood screen itself, with a total of 26 saints and bishops shown in panels elsewhere in the church. Pevsner dates them to the 1470s or 1480s and describes their "superb quality".

St. Mary's Church, in the village centre, has a rood screen forty-two feet long,Stabb, John Some Old Devon Churches: their rood screens, pulpits, fonts, etc.. 3 vols. London: Simpkin, Marshall, Hamilton, Kent, 1908, 1911, 1916, p. 15 and the stained-glass window dates from the fifteenth century. The rood screen is very unusual in being complete from end to end but also has the original coving, cornice and cresting.

Also the parapet of the rood screen in the western quire, an important piece of art, was commissioned by Rode and finished by Evert van Roden in 1512. Bremen Cathedral: Parapet of the rood screen towards the western quire, commissioned by Rode Bremen Cathedral: The sculptures on the parapet of the rood screen towards the western quire by Evert van Roden. Rode's attempt failed to reclaim alienated Bremian territory in Alt- and Neubruchhausen, in the course of the succession squarrels on the extinct comital line of Hoya Lower County. In 1503 Rode and Edzard I, Count of East Frisia concluded a 5-year non-aggression treaty on the thing site in Lehe, near today's Geeste ferry.

The site was excavated by David Sweetman in 1984, who found the remains of a 15th- century rood screen and a doorway in the gable end of the nave.

Ranworth rood screen is considered one of the finest examples of medieval rood screen to have survived the iconoclasm of the English Reformation. It is located in the Church of St Helen, Ranworth, Norfolk, England. The exact dates for the creation of the screen are unknown, though most experts agree that the paintings were probably executed sometime in the 15th century, with the erection of the wooden screen itself possibly occurring some years earlier.

In 1902, the chancel was restored by George Fellowes Prynne, and an oak rood screen was inserted. On 4 October 1960, the church was designated a grade I listed building.

In 1515 the west portal was added. From 1535-7 the porch was redesigned as the burial chapel of Bishop Sigismund von Lindenau. The rood screen was demolished in 1588.

Inside the church is a medieval rood screen which was partially restored by Frederick Bligh Bond. Most of the furniture and fittings are from the 16th century, including the font.

The closer was the pulpitum screen (which was attached to the choir stalls); the further was the rood screen, which had the altar of the Holy Cross attached to its western face.

1300), the West Window (c. 1440), the rood screen, the spire and the vault spanning the nave (c. 1450). The cathedral suffered much from iconoclasm during the Reformation and the civil wars.

The church was tidied very quickly for the funerals, a short while later, of the people killed by the bomb. In the interior, the rood screen is considered by many to be the finest in the county. It stretches all the way across the church, and is made up of three separate screens: a rood screen across the chancel arch and parclose screens across the north and south chancel aisles. A 15th century clock jack stands at the west end.

The crucifix proper is made of a single piece, carved in Mexican fennel root. Another Gothic rood screen, the work of the Toledan Julio Pascual, separates the choir from the rest of the chapel.

Detail of the Saint John's Hagerstown Reredos. The High Altar and Reredos are metaphors for Christ as the Word Incarnate. Saint John's wrought iron rood screen separates the Sanctuary from the Apex and Congregation.

The convent closed however, during the less than prosperous 15th century, before the reform movement arrived at the end of the century. The Church, including the Rood screen was classified a Monument historique in 1985.

Two candles on the altar were customary, though others were placed around it and on the rood screen. The Sarum missal calls for a low bow as an act of reverence, rather than the genuflection.

The rood screen dates from 1905 and was carved by Mary Rashleigh Pinwell. The church plate includes a silver chalice dated 1576. The parish registers date from 1559. There is a ring of six bells.

The church dates from the 11th century. It was largely rebuilt around 1470 as the result of a bequest by Ralph Cromwell. It has a single bell. Inside the church is a Jacobean rood screen.

The interior is "beautiful and evocative". It is long and low, with exposed stone walls. The rood screen with its loft dominates the interior. The loft has a carving of the Crucifixion on its front.

The church is listed by Cadw at Grade I because of its "possessing an exceptionally complete rood screen and loft and otherwise retaining much of its mediaeval character". The architectural historian Edward Hubbard states "the church indeed enjoys the rare good fortune of having a rood screen which retains its loft". Of the churchyard cross, the Royal Commission in 1914 described it as "a monument especially worthy of preservation", and the Cadw listing describes it as "a fine example of late pre-Reformation stonecarving".

Another wooden painted sculpture depicting the Virgin Mary is situated at the entrance to the south nave. Prior to 1792 this sculpture had been part of the rood screen which was pulled down by the revolutionaries.

Comper placed the organ above the south door entrance. The organ case is by Comper. The console is on the rood screen. A specification of the organ can be found on the National Pipe Organ Register.

The church's walls are thick and their tops are covered with water tables and crowned with ruinous parapets that might once have been crenulated. The church is divided into the choir (or chancel) in the east and the nave in the west by the 15th-century cut-stone rood screen. It consisted of a gallery across the church supported by ribbed groin vaults, three bays wide and one deep. This rood screen has been partially reconstructed from its surviving right and left endings in the abbey's latest restoration (see photo).

There was also a scholars' guild dedicated to St William in the Norfolk town of Lynn. The rood screen of St John's Church Garboldisham Images of William as a martyr were created for some churches, generally in the vicinity of Norwich. A panel of painted oak, depicting both William and Agatha of Sicily, is in the collection of the Victoria and Albert Museum in London; William is shown holding a hammer and with three nails in his head. The panel was formerly part of a rood screen at the Norwich Church of St John Maddermarket.

The rood screen The choir The cathedral's windows have some panel tracery. None of the medieval stained glass survives and most of the cathedral's glass was created by Charles Eamer Kempe who created many windows over 50 years. His windows are reminiscent in colour of those of the late Middle Ages, darker on the north wall with Old Testament themes and lighter on the south side where he placed New Testament figures. The cathedral has a 17th-century rood screen and above it a rood by Ninian Comper completed in 1950.

There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.

The organ case, rood screen and sedilia were designed by Bodley. The ornate font on a carved stone is raised from the ground by several steps, and above it is a carved wooden hood suspended from the walls.

Restoration and refitting was done about 1840 in a pre-Victorian way. Features of interest include the rood screen, the pulpit of continental origin, the 16th century bench ends and the old painted glass in the east window.

There was modification in the 14th century, when all the other windows were built. Inside, there is a late-medieval richly decorated rood screen. There is a timber-framed belfry built about 1700. New pews were installed in 1842.

The Notre-Dame de la Trinité church has a "poutre de gloire" (Rood screen) over the entry to the choir with a 15th-century carving of Jesus in the centre, surrounded by Fréours sculptures depicting Mary and John the Evangelist..

Cox, J. Charles (1916): Lincolnshire p. 156\. Methuen & Co. Ltd. Before the 1856 restoration an "elegant" Gothic carved oak rood screen between the chancel and nave was noted.Lewis, Samuel; 'Haresfield - Harlington', A Topographical Dictionary of England (1848), pp. 409-413.

A stained glass window in the Church of the Epiphany, Crafers, depicting angels of the Ascension and Resurrection, was dedicated to her memory. The rood screen in St George's designed by T H Lyon, 1905, was also dedicated to her memory.

There is a 15th-century font, and a 15th-century oak rood screen. A medieval dugout chest stands under the tower. The graveyard contains many burials of those drowned in the Severn as a result of shipwreck or other accident.

The furnishings are nearly all late 19th or early 20th-century, influenced by the Oxford Movement, with a carved rood screen in late medieval style. The south chapel has a reredos by Sir Ninian Comper with a central crucifixion group.

The sanctuary fittings include a delicate carved and painted rood screen and parclose screens around an 'English Altar' i.e. altar surrounded on three sides by hangings and a painted dossal, riddelposts with angels and a painted and gilded reredos; this was the kind of altar that the Alcuin Club favoured Sir William St John Hope under the auspices of the Alcuin Club, English Altars from Illuminated Manuscripts, Longman and Green, London, 1899 and Comper used in his early churches. At St Cyrpian's the altar is set beneath a tester placed high up in the roof. Above the rood screen is a suspended rood.

The cross is dressed or redecorated with locally obtained box foliage. The rope-like garland is hung across the rood screen during the "May Garland Service".Hole, 1978, pages 113–114 An engraving from 1823 shows the dressed rood cross as a more open, foliage-covered framework, similar to certain types of corn dolly, with a smaller attendant figure of similar appearance. Folklorists have commented on the garland crosses' resemblance to human figures, and noted that they replaced statues of St Mary and Saint James the Great which had stood on the rood screen until they were destroyed during the Reformation.

When Lord Shrewsbury proposed to fill St. Giles' with seats running the full width of the nave, without so much as a central passage, Pugin reacted with characteristic indignation. The rood-screen The care which Pugin took over the design of the rood-screen for Cheadle and was passionate over the necessity of screens in general. The joiners began work in February 1842, and Pugin promised that it would be "the richest yet produced". All went well until, in order to cut costs, Lord Shrewsbury proposed to dispense with the services of an expert wood-carver.

The baptismal font is 15th-century The Rood Screen is 15th-century and retains its painted figures Looking east towards the Rood Screen There are twin arches between the chancel and the chancel chapel with on the west side two canopied niches holding two statues supported on slender shafts with the original painted scrolling foliage carved below and to the backs of niches. The niches are part of a 15th-century rood screen of 9½ bays carved in the Perpendicular style. The Rood figures of Jesus, Mary and John the Apostle were carved in 1962 by Colin Shewring, basing his work on a picture in a medieval Book of Hours.Revd. Keith Wyer, St Peter ad Vincula Combe Martin Parish Church: Short Guide Privately published (2005) The chancel bays have three panels and the chancel chapel bays have four panels, with all the panels except for three still with their original Tudor painted figures of The Apostles and Christ.

The red sandstone building has hamstone dressings. The three stage tower is supported by diagonal buttresses. Inside the church is a 15th-century rood screen. In 2009 ceramic panels by local potter John Watt, depicting local scenes, were installed in the church.

The roof and chancel were restored in 1763, and the whole building in 1871.Kelly's Directory of Lincolnshire with the port of Hull 1885, pp. 397, 398 An earlier rood screen was sold to the church at Fishtoft.Cox, J. Charles (1916) Lincolnshire p.

In the angle between the rood screen and the north wall is a simple three-sided pulpit. The loft is reached by a stairway in the north wall. In the nave, the pews are simple, with open backs. There are two stone fonts.

The Church of St Andrew in Chew Magna, Somerset, England dates from the 12th century with a large 15th-century pinnacled sandstone tower, a Norman font and a rood screen that is the full width of the church. It is a Grade I listed building.

Chudleigh church The church of St Martin and St Mary was consecrated in 1259. The structure is medieval but was heavily restored in 1868. The rood screen has paintings of saints and prophets and the Courtenay family coat of arms.Pevsner, N. (1952) South Devon.

St Peter's is most remarkable for its Norman south doorway, a festival of scrolls, leaves, zigzags and rolls. Inside there is beautifully carved wooden Rood Screen and a stone font. It is situated in the extreme west of Mundham, and was founded sometime before 1185.

The village is about six miles west of Dartmouth. The church is 15th-century, with a Norman baptismal font and a well-preserved rood screen. Blackawton has hosted an annual worm charming competition since 1980. There is one pub in Blackawton, The George Inn.

Office for National Statistics & Norfolk County Council (2001). Retrieved 20 June 2009. Salle is celebrated for its fine, huge late medieval church, which retains the lower part of its rood screen. The Salle Park Estate owns much of the village and surrounding agricultural land.

In the church the piers carrying the arcade are very slender. At the entrance to the tower, the chancel and the chapel are tall, painted perpendicular arches. In the tower are the organ and the choir gallery. The chancel arch contains a rood screen.

Inside the church is a north arcade of three bays, carried on octagonal piers. The rood screen is still present, and has retained its loft. It is considered to be one of the finest in Wales. It has twelve bays, with a central doorway.

The fair, which was held in the Churchyard and adjoining streets, was regarded as the most important of the Bristol Fairs. The income from the Fair meant that St James Church could be richly decorated, in 1498 an elaborate reredos was built to go with the existing rood screen. The contract made it clear that the rood screen should be bigger and better than the one recently erected at St Mary Redcliffe. The papers from a courtcase in 1518-19 show that the fair was so popular it had overflowed the boundaries of the graveyard and stalls and booths were sited in the surrounding streets.

The rood on a rood screen: a crucifix on the elaborate 16th- century jube in the church of left The rood screen was a physical and symbolic barrier, separating the chancel, the domain of the clergy, from the nave where lay people gathered to worship. It was also a means of seeing; often it was solid only to waist height and richly decorated with pictures of saints and angels. Concealment and revelation were part of the mediaeval Mass. When kneeling, the congregation could not see the priest, but might do so through the upper part of the screen, when he elevated the Host on Sundays.

When he finished this, he began constructing a new jubé or Rood screen that separated the ceremonial choir space from the nave, where the worshippers sat. On 27 February 1594, King Henry IV of France was crowned in Chartres Cathedral, rather than the traditional Reims Cathedral, since both Paris and Reims were occupied at the time by the Catholic League. The ceremony took place in the choir of the church, after which the King and the Bishop mounted the rood screen to be seen by the crowd in the nave. After the ceremony and a mass, they moved to the residence of the bishop next to the cathedral for a banquet.

In the 13th century, the baptismal font made of parts of the altar partition from the 11th century which was originally located in the cathedral was placed within the baptismal font. The oldest representation of Croatian king Peter Krešimir IV or Demetrius Zvonimir with their subjects is engraved on one of the marble rood screens. The second rood screen is decorated with pentagram with flowers and birds inside a star that is surrounded by a wreath which represents the Holy Trinity and the two natures of Jesus Christ - the divine and the human. A third rood screen is decorated with motifs of Croatian interlace in various forms.

The floor of the nave is flagged, the chancel has a wood- block floor, and the sanctuary has encaustic tiles. The outstanding feature of the interior is the rood screen which has retained its loft. It is finely carved with Perpendicular features. The font is dated 1665.

The interior is limewashed, the floor is stone-flagged, and it contains stone benches. In the north wall are the remnants of steps that formerly led to loft of the rood screen. The square font dates from the 12th century. The effigies are both in shallow relief.

The church floor has been renewed but is of brick. The primitive font has a marble plinth . There is a rood screen with fine paintings thought to be East Anglia, which are of a local flavour. The Saints chosen for the screen are for local devotions.

The altar Most pieces date back to the time between the burning and the new church, including an altar from the workshop of , a wood carver from Hamburg who created 24 biblical scenes, and the chancel, which was until 1962 in the centre of a rood screen.

The base of the rood screen remains as do the old wagon roofs, that in the aisle being a good example of its kind. The font is plain and early Norman and an irregular oval in shape.Pevsner, N. (1970) Cornwall; 2nd ed., revised by Enid Radcliffe.

St Mary's includes a peal of six bells, the earliest dated 1613, and an organ from 1837. In 1936 the spire was struck by lightning. Repairs entailed its complete removal and reconstruction. The Jacobean interior woodwork including the pulpit and rood screen are of national renown.

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.

In 1847 the church was reordered and the north arcade was built in Norman style. More recently the church has been modernised by re-siting the rood screen, removing the choirstalls, installing a kitchen and toilets and creating a crèche and meeting room in the tower.

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.

Chancel decoration was added by George Frederick Bodley in 1884. In 1914 the south aisle was added, by Temple Lushington Moore, paid for by Alfred Shuttleworth, at the same time the Rood Screen was added. In 1993 the north aisle was altered to provide the Louisa Smith meeting room.

The church was erected in the Early Decorated style in 1903 to designs by the architect C. Hodgson Fowler. It contains decoration, rood screen and stained glass dating from the early 20th century by Ninian Comper. The church is noted as having an altar slab from Bardney Abbey.

In the nave is a brass dated 1535. The pews date from the 19th century. A piscina dating from the 15th century has been re-set in the vestry. Also in the vestry is the former rood screen, which was moved there in 1871 and its painting was restored.

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.

The chancel has dado panelling, a piscina and choir stalls, all dating from the 17th century. The base of a rood screen with four panels is still present. Also dating from the 17th century are an octagonal pulpit and box pews. In the chancel is a brass dated 1472.

Furness had to sue him to recover a share of the architect's fee. Furness, Evans & Company continued as the firm's name, even after Furness's 1912 death. Evans worked at the firm until 1923, more than 50 years. In retirement, Evans designed the rood screen for St. Mary's Ardmore.

The interior of the church consists of four pointed arches typical of medieval churches. The arch closest to the altar has the remains of a Rood screen. The church has one altar and includes a painting of the Annunciation above it. It was painted by Renè Sacco in 2003.

603, requires hermits to be more secluded than was the custom in the Netherlands. As a result, there is an enclosed area in Warfhuizen in which the hermit lives and works. In the chapel this is created by the large rood screen which separates the choir from the nave.

The reredos depicts the Last Supper and was designed by Romaine Walker, the son of the first Vicar, 1882, and carved by Thomas Earp. The East window, also designed by Romaine Walker, shows Christ in Majesty; by Clayton Bell (c. 1880). The oak rood screen was added in 1911.

The unusual rood screen at St Mary the Virgin The Grade I listed church was built mainly around 1360. An outstanding feature is the stone rood screen, one of only three that survive in Europe (the others are at Great Bardfield and in Trondheim). The earliest written record referring to the present church dates from 1377, when it was reported of Henry de Ferrers that he was “said to have been born in the Abbey of Tilty and baptised in the church of St. Mary the Virgin, Stebbing”. During work inside the church a few years ago part of the foundations of an earlier building were uncovered along with coins of King Henry II (1154 - 1189).

The Roman Rite no longer has the pulpitum, or rood screen, a dividing wall characteristic of certain medieval cathedrals in northern Europe, or the iconostasis or curtain that heavily influences the ritual of some other rites. In large churches of the Middle Ages and early Renaissance the area near the main altar, reserved for the clergy, was separated from the nave (the area for the laity) by means of a rood screen extending from the floor to the beam that supported the great cross (the rood) of the church and sometimes topped by a loft or singing gallery. However, by about 1800 the Roman Rite had quite abandoned rood screens, although some fine examples survive.

A new library building was constructed in the early 1990s and opened by Queen Elizabeth II in 1996. In 1967 with the new liturgical fashion, the magnificent Scott Rood Screen was removed in pieces and discarded. It has since been restored and is now in the Victoria and Albert Museum.

The Salem Baptist chapel was erected in 1840. The Church of St Peter-in-Ely on Broad Street was built in 1890; the architect was James Piers St Aubyn and it contains a fine Ninian Comper rood screen. The Countess Free Church is part of the Countess of Huntingdon's Connexion.

The west tower is of standard Cornish Perpendicular style. There is stained glass of c. 1500 in the east windows of the chancel and S aisle. The 16th century rood screen, carved with leaves and flowers, was restored by Violet Pinwell in 1907 (by Edmund H. Sedding according to Pevsner).

W. L. Price, Wilson Eyre, Jr., Frank Miles Day & Bro., Cope & > Stewardson, Willis G. Hale, Wilson Brothers & Co., and others, including the > University Club, Philadelphia Art Club, the Rood-screen in St. Luke's > Church, and many of the finest private residences in and about > Philadelphia.The Architectural Review, vol. 3, no.

Its floor slopes downwards from the west. The walls are plastered and whitewashed; the pointed chancel arch is also plastered. The frame and the front of the loft of the original 15th-century rood screen are still present. The architectural historian John Newman records this as an "important medieval survival".

The nave and tower of the church were built in the 15th century. Around 1840 the chancel was rebuilt and a new roof installed. The rood screen was removed when the organ was installed. The parish is part of the Wellington and district benefice within the Diocese of Bath and Wells.

The 15th-century rood screen, pulpit with tester and timber roofs are all notable. In the 15th century six misericords were added to the choir stalls. These include carvings of a bat, a dragon and a mermaid. The misericord of the dragon also has some frog carvings for its supporters.

High altar, church interior The church has large internal buttresses that are pierced by passage aisles and which support high-level arches. The barrel roof is richly painted above chancel. An elaborately carved rood screen separates the nave from the chancel and the sanctuary is raised. The reredos is decorated with painted figures.

The north and south transepts are derelict. The style is mainly Perpendicular, with some Decorated. Retrieved 25 Nov 2011 It has an octagonal font, carved wooden bench ends and Decorated tracery, and a carved rood screen. St Margaret's is a nationally important building, with a Grade I listing for its exceptional architectural interest.

The north transept was built under the patronage of John of Gaunt, Duke of Lancaster around 1380. An upper floor to the porch was added in 1488. The lower part of the rood screen survived the destruction visited by Oliver Cromwell and the Puritans, although some of the painted panels were disfigured.

The church was dedicated by the Bishop of Waterford with Bishop Jocelin of Wells in 1170. The Hamstone nave has five bays and holds the font which may have survived from the pre Norman era. The 15th century aisles include a piscina and another font. The carved rood screen dates from around 1470.

The town council agreed on 27 February 1583 to take responsibility for repairing the kirk, while recording they had no obligation to do so.Extracts from the Burgh Records of Glasgow, (1876), 100. The church survives because of this resolution. Inside, the rood screen is also a very rare survivor in Scottish churches.

Sources disagree as to the date of the three-light east window in the chancel. It was inserted in either 1867 or 1876. Until the 16th century a rood screen occupied the chancel arch. It had a gallery, which was reached via a flight of stairs at the northwest corner of the chancel.

The Parish Church of St Andrew is a fine building of the 14th to 15th centuries with a handsome tower. The late medieval rood screen is a notable example with richly carved cornice and vaulting. The font is a very fine piece of Norman work and the pulpit is 15th century.Betjeman, John, ed.

The nave roof was restored to a high pitch and the chancel was raised above the nave. Clayton and Bell restored the mediaeval stained glass and added a new east window. The 14th century font was replaced with a new one of Caen stone. The 14th century rood screen was reduced in height.

The rood screen dates from about 1475 and the numerous bench ends are of an uncommon symmetrical design. The church has a substantial spire at the west end of the building containing a peal of eight bells. It is part of a joint parish with All Saints' Church, Barnby in the Willows.

The stone building had sandstone dressing and slate roofs. It consists of a two-bay nave with a [chancel , north east vestry and a south porch. The three-stage tower is supported by diagonal buttresses. Inside the church the rood screen was restored in the 19th century but has parts from the 14th.

The ancient rood screen was moved into the tower in 1853, the pews were replaced, and the pulpit and the gallery were removed. These changes reduced the capacity of the church slightly, to just over 200. The rood screen was later moved again to cover the arch inside the tower, and the rector bought the church its first proper organ, built by a Brighton-based firm for £133 (£ in ). This was in turn replaced with a new organ, which cost £1,100 (£ in ), in 1887, during the main period of restoration ; the church was closed for about a year while Benjamin Ingelow and Richard Herbert Carpenter added a vestry, north aisle with 50 seats, pulpit and lectern, and carried out structural repairs.

Most striking is the large stone rood screen across the chancel, which features five gothic arches topped by four statues, and the large carved stone reredos. The church was damaged by the bombing during the Second World War and restoration work was carried out by the conservation architects Caroe & Partners between 1946 and 1951. The stained glass designed by Clayton & Bell was lost during the bombing, but a large rose window has survived which is the work of Ninian Comper, a renowned late Gothic Revival designer who lived in Upper Norwood on Beulah Hill. The building is suffering from the effects of subsidence which has required the reconstruction of the rood screen and has threatened the structure of the south aisle.

The building was at first constructed in rather an undistinguished Perpendicular style, possessing a tower at the west end of the church. The church is best known for the twelve panels of its late-Gothic rood screen, rivalled in quality only by the rood screen of St. Helen's Church in Ranworth.Simon Jenkins, England’s Thousand Best Churches, p. 444 The twelve panels, probably from between 1440 and 1450, appear to have been influenced by Flemish work, and depict St. Apollonia, St. Zita, St. Barbara, and the nine choirs of angels. (The representations of the Dominions and the Seraphim were defaced during the English Civil War, most likely due to their inclusion of “papistical” symbols such as the tiara and a censer).

The church is a nave and chancel with mural stairs to a rood screen and an arched tomb recess. A carving of a man is near the door, possibly Colm Cille. The bell tower is three storeys high and has a base-batter. It contains fragments of a baptismal font and a tomb slab.

The Cadw citation states that the church is listed Grade I because it is "an important country church that has retained much of its medieval interior, including wall paintings and an exceptional rood screen". The church is used by local people for concerts and meetings, and it is a venue for the annual Talgarth Festival.

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 Church of St Issui, Partrishow, Powys, Wales, is a parish church dating from 1060. The existing building was mainly constructed in the 14th and 15th centuries and was sensitively restored in 1908–1909. The church is most famous for its rood screen which dates from 1500. It is a Grade I listed building.

Features of interest are the plain Norman font, the base of the rood screen, the octagonal pulpit dated 1688, and a good set of bench ends, reused in the restoration of 1889. The restoration was the work of J. D. Sedding. The stained glass (1989) commemorates the RAF station.Beacham, Peter & Pevsner, Nikolaus (2014) Cornwall.

The clock was placed in the cathedral between 1494 and 1519, during the tenure of Prior Thomas Castell. Dean Richard Hunt renovated it between 1620 and 1638. It was originally on the east side of the rood screen, but was moved in 1593 to its current location in the south transept.Stranks, C. J. (1973).

The chancel has an 1832 Gothic reredos by Charles Barry. The rood screen is from the 16th century. It has a tall four-stage tower with set-back buttresses which develop into crocketed pinnacles at the top stage. The top displays moulded string courses and a trefoil-pierced triangular parapet with gargoyles and corner pinnacles.

As has been said, St. Peter's Cathedral was founded in 1869 as a result of the Oxford Movement. It is a unique church in many ways. Choir members have worn surplices since the opening of the church. As early as 1872 the Rood Screen was erected and the seven hanging lamps placed in the sanctuary.

The present day church dates back to the 13th century and has undergone many changes. Much of the building was restored in 1873 with a £1400 donation from the Twinings tea family. Of interest inside the church is the rood screen dated 1528 and adorned with 12 panels depicting saints. Also, of note is the elaborate Jacobean font cover.

The chancel. The oak rood screen separating the choir from the rest of the church. On the top of the screen is a depiction of the crucifixion The 16th-century chancel separates the choir from the rest of the church. The space inside the chancel is reserved for the clergy and that outside the chancel for the congregation.

The crossing is separated from the nave by a stone rood screen. In earlier times, the front part of the church had been reserved for the knights of the Order. The church has two towers with an approximate height of 80 m (263 ft). The northern one is crowned by a star, the southern one by a knight.

Remnants of 14th- century stained glass survive in some of the windows. The church's elaborate rood screen dates from the 15th century. In the 15th century the Perpendicular Gothic Milcombe chapel (also known as the south chapel) was added. Although the patron and architect are unknown, it is likely that the new building was designed by Richard Winchcombe.

It is built of red sandstone and the arcades are of Beer stone. According to John Betjeman "the full-aisled Devon plan at its best". The tower is handsome and the rood screen is massive and stately with ancient colour and a good series of figure-paintings. The pulpit is medieval and the reredos is by Charles Eamer Kempe.

The interior dates from 1882 and was designed to accommodate 1,000 people, but many pews have now been removed. There are two chapels, but these were later additions. The rood was originally plain wood and has only recently been coloured. Part of the rood screen has been moved to the rear of the church to form a narthex.

As a Roman Catholic church, worship in Latin was conducted at the high altar behind the rood screen. Rich vestments and ornaments were in use. With the dissolution of the monasteries, the Abbey of St Werburgh ceased to exist. The newly created Diocese of Chester (1541) administered Prestbury until Sir Richard Cotton purchased the manor and advowson in 1547.

The 15th-century rood screen is of five bays. The open panels above have trefoiled ogee heads and the close panels below have cinquefoiled heads with carved foliated spandrels. The screen was formerly in a dilapidated condition and was repaired by the Rev. A. R. Pain with his own hands, after he was appointed to the living in 1845.

The tower is another 15th-century addition. It is thick-walled and square. It is placed on the main axis of the church just east of the rood screen and suspended over the church by the means of two lofty pointed and profiled arches. The underside of the tower is closed by a ribbed and groined fan vault.

Heavenly patrons however abound: the Saints of Breconshire (Cywydd XLV), those of Rome (XXIX) where he journeyed with his son (in 1475), Jesus and the Saints (XLV). Cywydd XLIV invokes Christ's Passion. Huw describes Brecon, its surroundings and the Rood Screen and Cross in the Priory Church (today Brecon Cathedral). Another poem describes a bardic contest at Tretower.

Rood doors survive, the rood screen being early 16th- century, with 1948 restoration. The pulpit and lectern is 19th-century, and the octagonal font, 17th. Within the porch is a 14th-century stone tomb cover with relief depictions of a woman's head and shoulders within a quatrefoil recess, and a shrouded baby. It was originally sited in the graveyard.

The brickwork is red sandstone which was laid down during the Triassic Period, with dressings of Hamstone. The interior includes a fan-vaulted rood screen, which was previously larger but parts of it were removed in 1803. The Anglican parish is within the benefice of Milverton with Halse, Fitzhead and Ash Priors within the archdeaconry of Taunton.

After 20 years, Morse is thought to have raised and spent £18,000 on the interior alone, re-roofing the aisles and transepts, and redesigning the chancel. Apart from the organ of 1871 (which was removed in 1915) the chancel stalls, bishop's throne, reredos, altar, sedilla and rood-screen are all from this date and still extant.

The main aisle of the priory was used in recent centuries as a burial ground. The now blocked-up rood screen can be seen over the doorway in the centre. The walls are full of put-log holes, now ideal nest sites for dozens of jackdaws. These holes were used in construction to affix scaffolding-timbers.

It historically formed part of the Halberton Hundred. The church of St Mary the Virgin is medieval; it has a small tower and a chancel, nave and north aisle. The south porch has some decoration and there is a late medieval rood screen (probably c. 1400 in date and fairly simple in design).Pevsner, N. (1952) South Devon.

Interior construction continued until 6 July 1927 when the church was consecrated. The rood screen was designed by Williams. The ceiling, organ gallery and reredos were designed by Geoffrey Webb. The reredos is a painted copy of the Coronation of the Virgin by Fra Angelico, it was designed by Webb and built by Robert Bridgeman of Lichfield.

Additions and alterations were made to the church in the 14th and 15th centuries. However, by 1796 it was in a dilapidated state. In 1840 it had a major restoration; the south porch, the roof bosses and the rood screen were removed. The exterior was covered in roughcast, a gallery was added and a brick vestry was built.

The rood screen is a Renaissance masterpiece by Flemish sculptor Cornelis Floris and dates from 1573. The cathedral was damaged by a severe tornado on the 24 August 1999. Assessment of the damage revealed underlying structural problems and the cathedral has been undergoing extensive repairs and archaeological investigation ever since. The Brunin Tower was stabilised in 2003.

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.

The Rood Screen is from the early 16th century. The parish is part of the benefice of Backwell with Chelvey and Brockley within the deanery of Portishead. A new building attached to the church and containing social and office space was added in 1984. There are plans to install solar panels on the roof of the church.

After 107 years of continual use, the bells were rehung once again in 2010 By John Taylor & Co of Loughborough, and were hung on self aligning modern ball bearings, making the bells easier to ring. The fine rood screen is from the 15th century. Within the church is a 19th century church organ which was rebuilt by J.G.Haskins & Co.

There are two war memorials, both dedicated to parishioners who died in the First World War. One is beside the main rood screen. Its design, by a "Mr. Robinson of Westminster" was announced in the Parish magazine of September 1917 to "take the form of Cavalry in oak over the choir screen", at a planned cost of around £100.

View of the Franciscan church from the town hall View of the rood screen The Franciscan Friary of Rothenburg ob der Tauber () is a former friary of the Conventual Franciscans in the town of Rothenburg ob der Tauber in Bavaria in the diocese of Bamberg. Nowadays the former Franciscan church is an Evangelical Lutheran parish church.

Parts of the premises (cloisters, refectory, etc.) were demolished; many of the contents were destroyed or sold, including the Wiblinger Altar by Tilman Riemenschneider. In spite of the losses and damages of the past the church today is a significant example of the church of a mendicant order, with a rood screen and important art treasures.

Also from that century is the rood screen, which still has traces of painted decoration. The pulpit, with its sounding board, dates from the 17th century. In the chancel is a two-bay sedilia, and a piscina with an ogee head. Attached to the screen is a wrought-iron hourglass stand which would have been used to time sermons.

The earliest parts of the church date from the late 13th early 14th century, but it was largely rebuilt in the 15th century. The north aisle was added in the 16th century. The church is noted by Pevsner for the Easter Sepulchre. The pulpit is built of wooden panelling formerly part of the rood screen of 1544.

The vaults, replacing an earlier flat wooden ceiling, were built c. 1485. Until about 1720, there was a rood screen and a medieval altar. The image of Mary was then moved into the chapel. The 18th-century pulpit is decorated with paintings of the prophets and disciples while the organ loft has modern paintings of the apostles.

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 parish church of Saint Mary the Virgin is on the south side of the village. The building is mainly 15th centuryThe King's England series, NORFOLK, by Arthur Mee,Pub:Hodder and Stoughton,1972, page 179 Northrepps, but the chancel has two lancet windows that date from the 13th century. The rood screen was given to the church in 1460 by John Playford and his wife Custance, their names being carved on its rail. The rood screen was at some time removed from the church and was found by the then rector of the church, John Cresswell, in a local barn.The Popular Guide to Norfolk Churches,1:North-East Norfolk, By D.P. Mortlock & C.V. Roberts, 1981, Pub:Acorn Editions, Page 69 Northrepps Saint Mary’s, He had it restored to the church in 1912.

They are depicted standing side by side, and below them are their five children, two boys and three girls. This is said to be one of the best pre- Reformation brasses in the county. Between the chancel and nave is the plastered stone base of the former rood screen. To each side of this, in the west wall, is a piscina.

The chapel also contains a rood screen, windows in memory of Egerton and the Boer Wars, and monuments to the school's war dead. The reredos was designed by Bucknall in 1912. The smaller Liddon Chapel, adjacent to the main chapel, is used as a classroom. Bloxham School has four large playing fields, three of which are used for cricket in the summer term.

Part of a 15th-century rood screen has been incorporated in 17th-century box pews. They were augmented and rearranged in the 17th century, and have been untouched since the 18th century. The pulpit dates from the 17th century; it is plain but has a reading desk decorated with arcading. The communion rails are in iron and date from about 1830.

This is of Norman foundation but the present building is almost entirely of the 15th century. The rood screen survives and there is some interesting stained glass. The church is at the riverside, next to a quay at the limit of navigation of the River Fowey. It is probably on the site of the 7th century oratory of St Winnoc.

The chapel roof has been dated at 1641. In 1712 a west gallery was built for the singers and there was also an east gallery by 1747. The west gallery was enlarged in 1812-14 and in 1826 a two-bay north aisle with a gallery was added to the nave. In 1841 the east gallery over the rood screen was taken down.

The cloister seems also to have been built at about this time, close to a ravine. In the 14th century, the cathedral was refurbished in the Renaissance style; the flat wooden ceiling was replaced by a vaulted one, the windows were enlarged, and the interior was decorated with frescos. The first rood screen was constructed and spires were added to the towers.

The church is entered by the 15th-century south door which is finely carved with motifs including roses, lilies and human faces. Between the nave and the aisle is a three-bay arcade. Dividing the nave from the Lady Chapel is a wooden 15th-century rood screen. This is carved and has five arches, the central one forming the doorway.

The parish church of Catfield is called All Saints. Most of the building dates from the 14th century.The Popular Guide to Norfolk Churches,1:North-East Norfolk, By D.P. Mortlock & C.V. Roberts, 1981, Pub:Acorn Editions, Page 24 catfield All saints, On the rood screen there are sixteen paintings of kings.Norfolk 1: Norwich and North-East, By Nikolaus Pevsner and Bill Wilson, Catfield entry.

The 18th century saw degrees of toleration gained, except for the Jacobite rising of 1745. The Catholic Relief Act of 1791 saw the legality of Catholic public worship, and a permanent chapel was built in Elvet along with a residence for a Vicar Apostolic, a Catholic bishop, for Northern England. Interior of St Cuthbert's with the high altar and heraldic rood screen.

The church houses a medieval rood screen constructed in about 1430, the lower panels having a unique series of coloured paintings depicting 36 saints. The screen is a rare survivor of the reformation and survived because the panels were whitewashed. These screens made national headlines when they were stolen in 2013 but later recovered by the police, restored and reinstalled.

Aisles were added in 1504. The church was shared for worship between the monks of Dunster Priory and the parishioners, however this led to several conflicts between them. One outcome was the carved rood screen which divided the church in two with the parish using the west chancel and the monks the east. It was restored in 1875–77 by George Edmund Street.

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.

Llanwnnog Church in the community of Caersws is a single-chambered structure, variously considered to date from the 13th or 15th century and restored in 1863. It contains the best example of a 15th or 16th century rood screen and loft in Montgomeryshire, a medieval font bowl and one 17th century memorial. Maesmawr Hall was built in the early 19th century.

Interior of St. Peter's from the choir loft. Note the rood screen in front of the chancel. St. Peter's Church was founded on January 1, 1827, as the Episcopal church for the growing community in Morristown. Its first services were held in the home of George Macculloch –a prominent town member and builder of the Morris Canal whose mansion stands near the church.

Other work on the church included a new hammer-beam roof with carved ends displaying shields, rood screen, choir stalls and marble floors with the stone imported from Italy. The greater community also benefited from Jodrell's philanthropy. He carried out restoration work on the parish churches of Salle, Letheringsett, Blakeney and Wiveton. Jodrell was also noted for his generosity to people.

At the west end is a baptistery in a canted apse. The interior is "spacious" and has a high-quality roof of open timberwork; Blomfield's churches have characteristically good woodwork. Fittings include Heaton, Butler and Bayne stained glass windows, an "impressively ornate" wrought-iron rood screen and an intricate reredos with marble mosaic work. The pulpit is of stone and wrought iron.

Another notable feature is the Rood Screen, a fine wood carving of Flemish work now positioned over the sacristy door. The East Window is based upon a Pugin design and the memorial windows of the Lady Chapel were made & decorated by the Barrett family, and financed by the Palmes family of Naburn, the Dolmans of Pocklington and the Coxes of Herefordshire.

The rood screen dates from about 1475 and the numerous bench ends are of an uncommon symmetrical design. The church has a substantial spire at the west end of the building containing a peal of eight bells. The lower part of the tower is 13th century but the upper parts must be later, either late 14th or early 15th century.Pevsner, N. (1951) Nottinghamshire.

The church was built in the late 12th century. It was altered in the 15th century, including a new rood screen and windows, and again in the 19th century when a gallery was added and the vestry added. The church is part of a benefice with the Church of St Peter and St Paul, South Petherton, within the Diocese of Bath and Wells.

The tower has a clock with a one-handed dial, one of only 22 in England. The five-bay rood screen is 15th-century. There is a wall painting above the chancel arch of the Stuart royal coat of arms. In 1643, in the English Civil War, gunpowder and munitions stored in the church exploded, shattering windows and damaging part of the tower.

Another medieval survival is the rood screen depicting 11 disciples and St Paul (their faces were scratched out during the Reformation). Lord Nelson's daughter is said to have been married in the church. In 1589 Robert Thexton became the rector of Trunch. While at Cambridge University, Thexton had been the room-mate of Christopher Marlowe the famous, and infamous, Elizabethan playwright.

The church also houses commemorations of several mayors of the City throughout the centuries including the Southerton's, Bubbin and Ralph Segram (died 1472). Segram was a merchant who became a member of parliament and Mayor of Norwich. He commissioned a rood screen for the church, from which two panels of painted oak are now in the Victoria and Albert Museum in London.

The nave has a 19th-century waggon roof; the chancel has a plain plaster vault. In the chancel there are niches on each side of the east window, and a recess for an aumbry in the north wall. The chancel floor contains two memorial slabs. In the nave is an arch leading to the stairway to a former rood screen.

Ante-choir, the term given to the space enclosed in a church between the outer gate or railing of the rood screen and the door of the screen; sometimes there is only one rail, gate or door, but in Westminster Abbey it is equal in depth to one bay of the nave. The ante-choir is also called the "fore choir".

Tomb effigy of Philippe III at Saint-Denis Pierre de Chelles was a French architect from the late 13th and early 14th centuries. He was one of the architects of the Notre-Dame de Paris Cathedral. He completed the choir began in 1300, the high flying buttresses above the apse, and the building of the rood screen. He was also a sculptor.

In 1904, numerous changes were made to the church. The rood screen was moved and replaced by altar rails made of alabaster. A new reredos was installed and the clock in the tower was replaced.Church of the Immaculate Conception from Historic England, retrieved 24 May 2016 In 1947, a stained glass window, made by Hardman & Co. was installed in the south-east chapel.

This chapel contains stained glass which Pugin exhibited in the Great Exhibition in 1851. The Lady Altar is also a significant piece of stonework. In this chapel, on the altar, the Blessed Sacrament is currently reserved. Here, too, are the parclose screens which once divided the Chancel from the Lady Chapel, and the Rood Screen which once divided the Chancel from the Nave.

Under the tower arch is a screen which has been made from the former canopy of the pulpit. Part of the former rood screen now forms part of a pew. The north chapel contains a monument to Sir Edward Baesh who died in 1587. It contains the effigies of Sir Edward and his wife, both of whom are kneeling, and carvings of their children, also kneeling.

The church dates from the twelfth century but the current building is medieval. The interior contains "perhaps the most complete rood arrangement remaining in any church in England and Wales". The rood screen, loft and tympanum are all in situ. The Royal Commission on the Ancient and Historical Monuments of Wales considers that the screen is "most remarkable" and "probably unique in the British Isles".

In 1556 a late Gothic spire was added onto the westwork between the two existing towers. In 1770 the entire westwork was crowned with Baroque helmet spires, designed by the Liège architect Etienne Fayen. Over the centuries the interior of the church underwent many changes. In the 17th century, the Gothic choir rood screen with sculpted depictions of the life of Servatius was demolished.

The structure of the present church is thought to originate from the 13th century, although because the churchyard is round in shape, it is likely that there had been an earlier church on the site. Additions and modifications were made during the following centuries. Dating from the pre- Reformation period are the east window, the roof and the rood screen. The bellcote is dated 1688.

Hanging rood with no rood screen but with Mary (left) and John as attendant figures – in alt= Wechselburg in Saxony A rood or rood cross, sometimes known as a triumphal cross,Gothic Sculpture, 1140-1300 by Paul Williamson (1998). Retrieved 26 Oct 2014. is a cross or crucifix, especially the large crucifix set above the entrance to the chancel of a medieval church. Curl, James Stevens (2006).

The south aisle contains two stained glass windows, one by Cox & Sons, c.1860. At the east end of the aisle is a doorway, Tudor arch headed, and spiral stairs to a loft above a previous rood screen, above which is another exit doorway. There is also a double aumbry. The arched doorway and door from the south porch is at the west bay.

The Church in Hessett is of significance and is featured in Simon Jenkins 1,000 Best Churches. The dedication is to Æthelberht II of East Anglia as St. Ethelbert and the building is a described as typical Suffolk perpendicular church of the 15th century with the chancel being separated from the nave by a 15th century rood screen, which is elegantly painted and gilded on the west side.

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.

Internally there is a low-pitched tie-beam roof. The font is octagonal and dates from the 15th century. On the chancel arch is a painting, also from the 15th century, and from the same period are the choirstalls, the rood screen and alabaster effigies of Sir Christopher Boynton and his two wives. The porch has a barrel roof, over which is a room for the priest.

Staverton's Church of England parish church of St Paul de Leon is mostly early 14th century. It has a nave and north and south aisles and a thin west tower. The medieval windows have been replaced by ones of a later period. Features of interest include the rood screen (much restored), the 18th-century pulpit, and a monument to the family of Worth, 1629.

The entire building was heavily restored in the 1860s, and the tower is dated 1865. Further restoration was undertaken in the 1880s, through gifts by Sir John and Lady Adela Searle after they came to live at nearby Wonastow Court. They also provided a new porch in 1909, and a rood screen and reredos in 1913, as well as stained glass windows and a new altar.

Pugin was reportedly dissatisfied with the church, saying he "wished the earth would open and swallow that building". The church remains almost identical to its original construction, apart from reconstruction of the porch, and the repositioning of the font. Additional windows and a clerestory were added to give more light, and the rood screen was also removed. Unusually, the church sanctuary faces north west, rather than east.

Some submitted while others were obstinate and so were deprived of their benefices. Civil marriage was instituted in 1653 but was not popular; much iconoclasm took place in churches such as the destruction of the stained glass at St Agnes and the rood screen at St Ives. The church organs at Launceston and St Ives were also destroyed.Brown, H. Miles (1964) The Church in Cornwall.

In this genre, the more noteworthy works are The Beardless ChristRoberts I 1978 p388. (Five Figures set above the rood screen in the Episcopal Church of St. Mary, Newport-on-Tay), Wind frae the Baltic, Sou- Wester, The Shrew & Gale Force. Altogether 109 of Lamb's works were shown at the RSA annual exhibition 1925–1951. These included 84 works of sculpture, 5 prints and 20 drawings.

The first post-Romanesque addition to the cathedral was the western rood screen. This was done in the Gothic style at the time of the western renovations. Following this example, the intersect area was heavily renovated in the next few centuries in the Gothic style. A Gothic window in the cathedral Starting in 1279, Gothic chapels featuring large decorative windows were built onto the cathedral.

St Carantoc's Church was founded in Norman times and was originally cruciform, but was reconstructed in the 14th and 15th centuries: restoration was carried out during the period 1899–1902 by E. H. Sedding, who died in 1921 and is buried in the churchyard. The font is Norman and the rood screen is much restored. The church was collegiate from ca. 1236 to the Reformation.

Most of the furnishings are by the Bromsgrove Guild, and some were designed by Matear. The reredos of 1921 has an elaborately carved frame and contains paintings by Sidney Meteyard with Walter Gilbert. The rood screen incorporates the pulpit and a tester, and is carved with a vine frieze, birds and snails. The furnishings in the choir are also carved and include dragons, ravens, and trumpeting angels.

It is a fine example of high Victorian decoration and was conserved and restored in 2008 with help from the Heritage Lottery Fund. Bodley also designed the lectern. The church has the only medieval rood screen remaining in a Cambridge parish church; its paintings date from the late 19th-century restoration. The South Chapel was refurbished in memory of those who died in the First World War.

St Mary's Church was rebuilt by Henry Chaddesden, Archdeacon of Leicester, in approximately 1347; the chancel dates from this period. It has an ornate rood screen and an unusual chalice shaped font, believed to be over 600 years old. There are monuments to the Wilmot family who were local landlords. In the church yard is a small mound, where six almshouses used to stand.

The reredos and rood-screen date from 1889, a later addition by George Frederick Bodley; the artist was Charles Edgar Buckeridge. The paintings on the Bodley organ case were done by John Roddam Spencer Stanhope. On 16 December 1914, the church was one of many buildings in Scarborough which were damaged during the German bombardment of the town. The raid took place just as the 8.00 a.m.

The church's interior features an oak carved altar, lectern, pulpit, rood screen, and altar rail. Stained glass windows line the east and west walls. The original frame church was renovated in the 1950s for classrooms, office space, and a children's chapel. In 1985 a pipe organ, which had been built for a church in Bloomer, Wisconsin in 1930, was purchased a rebuilt in the church.

The altar coming from the Abbey of Saint-Acheul of Amiens, was bought in 1805. Altar, steps and tabernacle made of painted oak, form a harmonious whole. A Beam of Glory, modest reduction of a rood screen, was marking a separation between the choir and the nave. Two holes in pillars sustaining the high ogival Triumpal arch, are nowadays the only memory of that beam.

Charles Robert Ashbee, who was a considerable designer and prime mover in the Arts and Crafts Movement, lived in the village with his wife, Janet at Stormont Court. He was the church architect for some time at St Peter & St Paul's Seal and designed the internal belltower screen at the west end and the 'new' rood screen. The family grave is in Seal church yard.

It contains a 15th-century rood screen, the only one in Lincolnshire. There is a Jacobean family pew at the west end, and the rest of the seating is just rough benches sometimes described as "rustic". There is the royal coat of arms of Charles I dating from 1635 and brasses to a William Butler (d.1590) and his wife; the figures on these are small.

Rood Screen of five lights survives, without cresting, but with five different ogee tracery heads robustly carved in oak. Crossley observed that the semicircular heads and boarding at the base are characteristic of the Dee valley screens and resemble the screen at Pennant Melangell.Crossley, F H & Ridgway, M H, 1947. Screens, lofts and stalls situated in Wales and Monmouthshire, Part V, Archaeologia Cambrensis 99, 221.

Between 1235 and 1267 the nave expanded and was flanked with two aisles. During the 13th century, the choir was covered with a Gothic ribbed vault and a rood screen was installed to separate the chancel from the nave. The famous organ was installed around 1430–1435 and other than a modification in the 1700s is essentially unchanged. The murals date from about 1435 as well.

Six large stained glass windows provide light, supplemented by sunlight through the clear conventional glass in the clerestory windows. The wooden floor of the nave gives way to mosaic in the choir, sanctuary and two side chapels. Underneath it is supported by steel beams and brick arches. An intricately decorated iron and brass rood screen on a stone base sets the choir apart from the nave.

On the north wall of the nave are monuments to the Powell family, forerunners of Robert Baden-Powell. Beside the south door is a damaged stoup. The north transept contains a narrow brick staircase leading to the upper storey. The upper room of the transept is joined to the corresponding room in the south transept by a beam, the only remaining part of a rood screen.

The panels came from the lower wall and gates of a rood screen, and were moved here in 1973. The woodwork, with green, red and gold, is intricately carved with Biblical scenes and the Herling unicorn. A rare mediaeval church lectern was lost during the 19th century restoration. The current wooden lectern has the form of a large eagle and was donated in 1879 by Elizabeth Norton.

Pugin's rood screen was moved to the west end in 1895-6. It is in Caen stone, painted brown, and has a wide central ogee arch flanked by three similar but smaller arches on each side. The painted rood figures, representing the Crucifixion, and also by Pugin, hang on the chancel arch. Pugin's altar has been moved into the Sacred Heart chapel, and has been altered.

The rood screen memorial was unveiled on 28 September 1918, on the eve of the Patronal Feast of St Michael and All Angels. The bronze plaque with the names of the 91 fallen was completed in 1919. The other memorial is just outside the church, by the church hall. It is in the form of a semi-circular stone bench, and is Grade II listed.

In 1938 construction of the present cathedral began, and was completed in 1942 under Bishop Patrick Lyons. Ralph Byrne of W.H. Byrne & Son were the architects of the new cathedral. The plan layout is quite unorthodox for Irish churches. The nave is lined with columns which extend down both sides, and unusually turn to form what could appear to be the beginning of a rood screen.

The rood screen is from the 16th century. The churchyard contains the war grave of a Royal Navy seaman of World War II CWGC Casualty Record and the grave of Harry Mengden Scarth. Scarth was a noted expert on Roman Britain and the rector of this church from 1871 to his death in Tangiers in 1890.William Hunt, ‘Scarth, Harry Mengden (1814–1890)’, rev.

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.

The tower Until 1548 the interior of the building would have resembled the interior of any medieval church, with a rood screen separating the chancel from the nave (projections to support the screen can still be seen on the piers either side of the nave on the west side of the crossing). It is not known if there were ever wall paintings, but successive generations of plaster and whitewash over the last five centuries will have long concealed any which may have existed. In 1548 Edward VI ordered the destruction of all aspects of ‘Popish Superstition’ within the churches of his realm. The Jerseymen, strongly influenced by Huguenot immigrants fleeing persecution in France, carried out the King's orders with zeal, and all altars, fonts, holy water stoups and piscinas were removed, the rood screen was dismantled, the stained glass smashed and all but one bell was taken from the tower.

The Church of St Mary the Virgin was built circa 1300, and was enlarged early in the 16th century. Around this time a carved and painted rood screen was installed, together with a matching pulpit of unusual design. A hollow yew tree in the churchyard was thought to have been planted around 1300. Nearby is a prominent cross, with an octagonal cross section, which marks the grave of the Rev.

The nave and choir are separated by a brick rood screen. Bavaria was secularized after the Reformation and so the monastery was closed in 1543 - it and the church fell into disrepair. When Huguenots settled in Uckermark, the church was restored and used by them between 1699 and 1788. From 1725 onwards the choir was used as a magazine and the southern monastery (with its two cloisters) was demolished in 1767.

The All Saints Chapel is also known as the Bishop Urban Memorial Chapel in honor of the cathedral's first dean. It features a carved Rood Screen that separates the nave and the chancel. On top of the screen is a depiction of the crucified Christ that is flanked by his mother Mary and the apostle John. The stained glass windows in the chancel depict the life of Mary.

It is a one-nave chapel of a trunk structure with a tower covered with an onion-shaped helmet with a lantern. Interior decoration is from the turn of the 18th / 19th centuries. On the rood-screen beam there are statues of St. Rosalie and carvings of putti holding an hourglass and a skull. In the main altar of the 18th century there is a modern painting depicting St. Rosalie.

In the year of the college's foundation, a new, stone church was begun which was roughly two-thirds the size of the present building. The hall church, with a long choir and rood screen was consecrated to Mary on 7 May 1320. It survived less than two hundred years. In 1510 it was entirely demolished to make way for the construction of the present building on the same site.

Statue of St Julian holding an oar The Porch has a 14th-century oak door. The east end of the south aisle bears a scratch dial of a Sundial. The octagonal south rood stair turret dates from around 1450 however most of the chancel is from a 19th-century refurbishment. The nave includes a clerestory which was added around the middle of the 15th century along with the Rood Screen.

St Columb Minor, Newquay Newquay St. Michael's, a large Anglican church in the Cornish style designed by Sir Ninian Comper, was opened in 1911. There is a fine rood screen; the churchmanship is High. The church was destroyed by an arson attack on 29 June 1993, but has since been reopened (rededicated in 1996). Most of Newquay was in earlier times part of the parish of St Columb Minor.

He was Edward I's chancellor and later became Canon of Llandaff. A founder's tomb, which is in a slightly different style, is probably that of his successor, John de Fenton, who was rector until 1832. The font is a lavish Victorian affair by Charles Kirk Junior, which was shown at the 1862 International Exhibition in London. The Pulpit is Jacobean and the Rood screen by Temple Moore dates from 1910.

The screen could be finished instead by one of his own estate joiners, Thomas Harris, who had already produced carvings at Alton Towers' chapel and at St. John's in Alton. Pugin responded in half-joking fashion, accusing the Earl of penny-pinching, and heading his letter with sketches of a rood-screen and a block of cheese marked "2d 1/2" a pound. It is not known if the joiner returned.

The church underwent Victorian restoration in 1888. The church has a high tower, built in five stages, which dates from around 1491, The tower contains the heaviest peal of six bells in the world by total weight. The interior contains memorials to many of the Mildmay family, who were Lords of the manor. There is a wooden rood screen and octagonal stone font supported by four large carved supports.

As originally built, the interior was very plain: most of the fittings post-date it by several years. The Lady Chapel of 1930 in the base of the tower is elaborately decorated with a carved reredos and rood screen of stone. Stencilwork patterns cover the ceiling and walls, and there is a Madonna statue. The chancel and nave are separated by a chamfered chancel arch with moulded columns and simple capitals.

The interior has tall arcades, an original rood screen and a diamond-patterned floor in the nave and aisles.Betjeman, J. (ed.) (1968) Collins Pocket Guide to English Parish Churches: the South. London: Collins; p. 105 According to local legend, five strange marks on the church porch were left by the Devil as he tried to claim the soul of Sir Rowland Alston, who is buried in the church.

Internally, the church retains many of its medieval architectural elements, including an unusually large stone font. A recess near the north door was once the wafer oven used to bake communion wafers. St Margaret's also retains its rood screen, donated in 1458 by William and Johanne Groom; the screen's panels originally depicted images of saints and the Grooms, but these images were defaced during the Reformation. St Margaret's has two pulpits.

However, as they were badly behaved it was necessary to appoint a beadle to keep them in order. The church contained many large memorials. By 1865 restoration was needed and the architect Giles Gilbert Scott carried out an extensive plan, removing the porch, the gallery and the three-decker pulpit, and installing the rood screen, pews and choir vestry which we have today. The spire was built to replace the cupola.

The rood screen is the highlight of the interior. In the Powys volume of The Buildings of Wales series, the architectural historians Richard Scourfield and Robert Haslam record a description of it as, "the most perfect and elegant now standing in the kingdom". It dates from 1500 and was sensitively restored by Caröe. It stretches the entire nave, and has a frieze of dragons or wyverns expectorating vines.

The church contains many finely crafted elements including an exposed roof frame which dominates the interior, ornate timber colonnades, rood screen, chancel arch, carved English oak altar, pulpit, bishop's chair, pews, panels of the angels and crucifix. Elaborately decorated candlesticks, chalice and paten and a painting of St Peter are also housed in the church. Its steeply pitched roof crested with an ornate bellcote makes a strong impact in the streetscape.

Each side of the transept has an entrance, the south entrance leading into the cloister. The ceiling in the nave is higher than in the aisles, allowing for clerestory windows to give light to the nave. There is a separate narthex (entrance area) in the west. The presbytery in the east is separated from the nave by a stone wall, serving the same function as a rood screen.

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.

Architect George T. Pearson designed a new building for St. Alban's Church (1915), in the Olney section of Northeast Philadelphia. John Barber executed its French Gothic woodwork, for which Maene did the figural carving."Philadelphia Suburban Church Consecrated," The Living Church, June 26, 1915, pp. 315-316. The oak rood screen features a large Crucifix, flanked by separate figures of Mary and St. John, all carved by Maene.

The tower is on the west end and is in two stages; it has diagonal buttresses, pinnacles and a parapet surrounded by battlements. The interior is plastered and whitewashed and has a possibly medieval ribbed wagon roof. The font, hexagonal pulpit and the panelling in the tomb chamber are eighteenth century. The screen between the chancel and tomb chamber may use parts of the fifteenth century rood screen.

Inside the church, the nave is divided from the chancel by a 14th-century stone screen. In the lower part of the screen is a three-bay arcade with pointed arches carried on octagonal piers. Between and to the sides of the arches are four corbels which formerly supported the rood screen. Above the arcade the screen is pierced by a large round-headed opening which silhouetted the rood cross.

Interior of chapel on Overlook Mountain showing altar behind rood screen. In 1938, Francis moved to Woodstock, New York. The next year, Francis and three members of his seven-member Mariavite group repaired an abandoned chapel on Overlook Mountain to use as "nothing more than a monastic chapel". The chapel was placed on the National Register of Historic Places as the Church of the Holy Transfiguration of Christ-on-the-Mount.

The chancel rails are in two bays with a central opening; they were made from a former 15th-century oak rood screen. The wooden octagonal pulpit dates from the late 18th or the early 19th century, and contains painted panels. In the tower is a carved stone infant's coffin. The lead Romanesque font that was formerly in the church has been moved to the North Lincolnshire Museum in Scunthorpe.

The oldest of the bells in the tower was cast in 1607. Inside the church at a 15th century font and late medieval rood screen and rood stair. The pulpit is from the 17th century. There are various memorials and the coats of arms of Queen Anne and George II. There is a stained glass window designed by Sir Henry Holiday, which appeared on postage stamps in 2009.

The tower houses a ring of six bells of which five were cast in 1759. The interior of the church is whitewashed with a barrel-vaulted roof, and a Perpendicular- style pointed tower arch. The interior includes a Jacobean pulpit and chair and a medieval rood screen. The Anglican parish is part of the benefice of Porlock and Porlock Weir with Stoke Pero, Selworthy and Luccombe within the archdeaconry of Taunton.

The screen too is Perpendicular. The octagonal oak pulpit is 19th century, possibly constructed with old wood taken from the previous rood screen. Pevsner notes a 1696 chalice and paten, and an 1808 alms basin by Peter and William Bateman. There are brasses to Nicolas Deen (d. 1479), and the wife (d. 1508) of James Deen, and a tablet to the family of Dr Hurst, Chaplain to Charles I, dated 1674.

Church interior The furnishings were largely replaced in 1863-64 although the base of a rood screen dating from around the fifteenth century has survived. The granite font dates from the twelfth century. It has a lead lined round bowl which stands on a shaft carved with cable moulding on a round base. A memorial stone to John Mably who died in 1687 is in the south porch.

There is also a rood screen, dating from the 1630s, or later, and another screen in the south aisle. The two-manual pipe organ was built in about 1870 by Bevington and Sons. There is a ring of six bells, all of which were cast at the Whitechapel Bell Foundry, five of them in 1843 by Thomas Mears II, and the sixth in 1927 by Mears and Stainbank.

Its rood screen was carved in around 1500, but as is the case with many old English Churches, the figures were defaced during the Reformation. A granite cross once stood in the churchyard, but was destroyed in the mid-19th century by the vicar, Rev. John Charles Carwithen. He did so because he disapproved of what he considered to be a superstitious custom of carrying coffins three times around the cross before burial.

The church was built in the 14th century (and heavily modified in the 19th century) with the tower and steeple over St John's Gate, the last remaining city gateway. The church is very narrow as it is built into and alongside the city walls. Consequently, it is also known as St John's on the Wall. The rood stair entrance high up on the wall shows where the earlier great rood screen would have stood.

Also in oak is the reading desk, dated 1671. Behind the 15th-century altar is a reredos consisting of a curved beam supported by two medieval newel posts. Between the nave and the chancel is a rood screen, again in oak, with a central opening and four further openings on each side. Tree-ring dating has shown that the wood used for making it came from trees felled between 1496 and 1506.

The reredos was made with dark encaustic tiles on the two sides with carved alabaster in the centre, and a super altar of polished serpentine. In the centre of the reredos, a large cross of Irish marble was inlaid. Interesting features include the carved base of the rood screen and the font of Catacleuse stone. The feast traditionally celebrated in the parish is held on the Sunday after the first Thursday in January.

The carved woodwork behind the altar may well be the remains of the rood screen which once stood above the chancel arch. Below the chancel were tombs of some of the Jones family, was well as those of some of the former parish rectors. Horatio Westmacott, rector in the 1880s was the third son of the famous Victorian sculptor Sir Richard Westmacott. On the floor of the south aisle near the lectern are two brasses.

The Church of St Helen, Ranworth, Norfolk is a church of medieval origins notable for its collection of church paintings. Known as "the cathedral of The Broads", the church dates from the 14th century, although with origins in Saxon times. It contains a major collection of medieval artefacts, in particular the rood screen and the Ranworth Antiphoner, a liturgical manuscript. The church remains an active parish church and is a Grade I listed building.

Scene four was described as the best preserved, showing John about to be decapitated. Lying on a medieval pilgrimage route to Walsingham the church also venerated St Anne, who is shown teaching the Virgin in a painted rood screen panel. Another panel shows the Visitation, with Elizabeth shown in nun's habit. In the 20th century a small organ built by Norman and Beard in 1901 was installed in the north-east corner of the nave.

The gilded reredos The high altar, located under the tower crossing since 1960, is on a raised white marble floor. The gilded reredos, a reworking of the 15th- century rood screen presents the figures of twelve saints. To the left of the sanctuary is the long brass plaque listing the rectors of Great Berkhamsted from 1222 to the present day. Brass memorials on the walls commemorate Rev JW Cobb and his wife.

Early 20th- century work to the church includes the Rood screen (designed by George Frederick Bodley), the English Altar and altar rails (designed by the Bromsgrove Guild), and restoration work to the Trinity Chapel (instituted by C. E. Mallows). Later in the 20th century, from the mid-1970s to 1982, the church was restored and otherwise improved. In 2014 new work was completed on a Narthex at the west end of the church.

The unusual red and green painted rood screen was completed in 1536 and shows twenty-two painted images of saints. The tracery of the upper portions of the screen are carved with great delicacy. The female saints can be identified as Sitha, Cecilia, Dorothy, Juliana, Agnes, Petronella, Helena, and Ursula. The baptismal font is of the early 15th century and shows shields, now stripped of their identifying painted arms, on the bowl.

A major item of the church furniture was a pre-Reformation rood screen. It was destroyed when the church was rebuilt in the 19th century, although a few fragments were used in the construction of the present choir stalls. The nave of the church measured by and the tower was high. At some time the dedication of the church was changed from St Bertelin to St Bartholomew, and later to All Saints.

The church contains two noteworthy funeral monuments: the "O'Craian altar tomb" and the mural in remembrance of "Sir Donogh O'Connor Sligo". O'Craian's tomb is the oldest surviving monument in the church. Its Latin inscription dates it from 1506 and states that it is the tomb of Cormac O'Craian (or Crean) and his wife Johanna, daughter of Ennis (or Magennis). It fills a niche in the southern wall of the nave next to the rood screen.

The Anglican Church of St Peter & St Paul in Churchstanton, Somerset, England dates from the 14th century and has been designated as a Grade I listed building. Restoration work was carried out in 1719 and in 1830 a west gallery was added. The rood screen was added in 1910. The church consists of a four- bay nave and a chancel which is at an angle to the nave and has a waggon roof.

The North aisle is dedicated to St James. The nave is of 5 bays and the chancel retains its mid-14th century sedilia. The original rood screen dividing the chancel from the nave was probably destroyed during the English Reformation. Today in its place is a modern cross above the altar of The Risen Christ by John Mills, President of the Royal Society of British Sculptors and who lives nearby in Hinxworth Place.

Wills of the late 1450s also suggest there was a choir, two choir masters, song books and an organ. In the corner at the north-west is an opening which accessed a loft on top of the rood screen. The reredos was designed, in 1952, by Munro Cauntley of Ipswich, as were the communion table and rails, They were carved by Edward Barnes of Ipswich, in memory of Mary and George Reeder.

The pulpit is that from the earlier three-decker arrangement, re-located in 1865. It incorporates, in its sides, panels and cresting, used as borders, from the 15th-century rood screen. All of the benches date from 1865, but four traceried bench-ends, with poppy heads, remain, possibly from 1500. The front pair also have arms with animals: a monkey, representing sinfulness, on the south and a lion, representing resurrection, on the north.

Interior including east window The 15th century rood screen is carved with vines and animals. Parker covered the walls with large scripture quotations. A double-decker pulpit was installed. The church contains a memorial to Elias Owen (1833–1899), the Welsh antiquarian and author of "Welsh Folklore", published in 1887, who was incumbent at the church from 1892 until his death, and a number of monuments to the Tanat and Bridgeman families.

The aisles are divided from the nave by a colonnade of timber arches supporting the main roof formed from timber posts and decorative timber brackets. The chancel is separated from the nave and crossing by a timber framed chancel arch with a variation of a rood screen formed in timber supporting a wooden crucifix. All timberwork is unpainted. The chancel is slightly raised and contains the altar which is formed from carved English oak.

The parish church dedicated to St Mary is chiefly of the time of Henry VII (1485–1509) and was renovated in 1843.Wilson, John Marius, Imperial Gazetteer of England and Wales, 1870-2 It contains a beautiful ancient rood-screen, and fine monuments of the Ayshford family. The parish church was renovated in 1843 when new carved oak pews and stained glass windows were added and the heraldic blazonry on the screen was re-painted.

St. Michael and All Angels Right choir screen Left choir screen Cherubim (detail) from rood screen St Michael and All Angels is the Church of England parish church of Barton Turf in the county of Norfolk in England. See Inside here. It stands about a kilometre south-west of the village in the midst of a plantation of trees. Particularly notable for its surviving paintings, the church is listed with Grade I.

The interior of the church is replete with polychrome sculpture and decoration. Dominating the nave is a 16th-century rood screen, showing the crucified Christ, attended by the Virgin Mary and St John the Apostle. Below this, scenes of the Passion are represented in rich detail. A number of complex retables focus on the Passion and on the lives and deeds of saints, including John the Baptist, St Margaret the Virgin, and St Lawrence.

Notable internal features are the 13th-century font, the 15th-century piscina, the 16th-century rood screen and the Jacobean pulpit. The east window dating from 1340 has undergone some restoration. The saints in the left and right hand sections are predominantly of the original 14th-century glass. Inside the main door is a parish chest, believed to date from the late 12th century, hewn out of one tree trunk and banded with iron.

The church of St Peter was built in 1861 by the architect Charles Edmund Giles. It is a Grade II listed building. The majority of the stonework is that known locally as 'Draycott Marble', a dolomitic conglomerate with a pronounced pinkish tinge, that was quarried quite close by at Draycott quarry. Notable interior features are the stained glass east windows, the fine wrought-iron rood screen (1894), and the neo-Norman font by William Burges.

At the south east of the nave is the lady chapel, which also contains two tombs. This is separated from the nave by a parclose screen. The north facing section of this screen is 14th century, with three-light openings and faded red and green colouring. The west-facing canopied section was once part of a rood screen, and is red, green and gold, with a dark blue sky and gold stars.

The rood screen was replaced by a wrought-iron lattice in 1692. A simplified, low-ceilinged upper floor was added to the narthex in 1731, a porch was constructed at the northern portal in 1735. From 1799 to 1828 the high central tower was demolished and replaced by a lower pyramidical tower. In 1868, a storm caused the southern tower spire to collapse during a mass, killing 21 and injuring 31 people.

The church is completely ashlar-faced. The tower is of Decorated style with a Perpendicular crocketed spire attached by flying buttresses, and pinnacles set in battlements. The north side of the chancel houses a mural brass to Antonie Newlove, patron of the vicarage, died 1597. The circular font is from 1200 and the rood screen 17th century, and parts of an architectural Norman frieze are on the south wall and north-east corner.

The Norton Fitzwarren Dragon is just one of many stories about dragons in Somerset. After a battle a dragon was formed from the pile of corpses and it began terrorising the area by devouring children and destroying crops. A young man took on the beast and after a long and bloody struggle, he pierced the dragons heart and cut off its head. In All Saints Church, a sixteenth-century rood screen depicts the story.

The rood screen is probably of the same date, but the screen's Perpendicular Gothic top is later. The tower has a ring of eight bells. Joseph Carter, who was Master bellfounder at the Whitechapel Bell Foundry and also had a foundry at Reading, cast the fourth bell in 1590 and the seventh bell in 1597. William Yare of Reading cast the third and fifth bells in 1611 and the sixth and tenor bells in 1612.

Expelled by the Revolutionary government, the monks left the abbey for good in 1797. The 44th and final abbot of Cambron, Florent Pépin, died in the Netherlands on November 16, 1795. The abbey's assets were sold and the buildings torn down by the succeeding owners. Elements of the abbey interiors are displayed in the Attre Castle along with the columns from the rood screen which have been re-erected along the castle's former entrance avenue.

Church at Blaston, Leicestershire, rebuilt in a simple Gothic style in 1878 Crucifix on the rood screen at Blisland, Cornwall The Plymouth Brethren seceded from the established church in the 1820s. The church in this period was affected by the Evangelical revival and the growth of industrial towns in the Industrial Revolution. There was an expansion of the various Nonconformist churches, notably Methodism. From the 1830s the Oxford Movement became influential and occasioned the revival of Anglo-Catholicism.

The chapel is entered through a west doorway in a porch that is continued round the north side to form a covered walkway. The internal fittings are in Arts and Crafts style. The decorated barrel-vaulted plastered ceiling was designed by George Bankart, the stained glass at the east end by Louis Davis, and the painted altarpiece by John Cooke. Dawber designed the perpendicular style rood screen, and probably the pulpit, pews, choir stalls and light fittings.

The church, Holy Trinity, is Grade I listed and the pub, the Barnstaple Inn, is grade 2 listed. The pub is one of only two buildings within the village that are still thatched. The parish church of Holy Trinity dates from the 16th century, but it is of old foundation and its incumbents are recorded from 1277. It has a notable granite arcade, wagon roof with carved bosses, an early 16th-century rood screen and a Norman font.

The piers are composed of five columns each with circular rolled capitals. The arches are moulded and pointed, with the nave arch bordered by a hood mould with label stops. There are mason marks on both nave-side pillars. To the south of the west crossing arch at the east of the nave, above and behind the Sir Charles Hussey monument, is a blocked entrance for a previous rood screen loft, indicated by an ogee head moulding.

St Mary's was rebuilt by Henry Chaddesden, Archdeacon of Leicester, in approximately 1347; the chancel dates from this period. The church contains a 15th-century rood screen and an unusual chalice-shaped font which may be over 600 years old. The church has long been associated with the Wilmot family, who formerly owned much land around the then village of Chaddesden from the Mediaeval period. The monuments of several members of the family can be seen in the churchyard.

The chancel St Andrew's Church is a Church of England parish church in the Essex village of Marks Tey. It was Grade I listed in 1965. Its nave was built around 1100, using coursed walls of mixed rubble, puddingstone and Roman bricks, possibly from an undiscovered villa in the area. Its chancel was rebuilt around 1330, with a sedilla, a piscina, a mid or late 14th century chancel arch and a blocked-up doorway to a former rood screen.

There was once a rood screen across the chancel, as shown by markings on the north wall and on the westernmost of the arches. It was still in position in 1867, when one visitor mentioned it in his notes on the church. Panelling has been fixed to the east and south walls of the sanctuary in the chapel as a reredos. The chapel measures 32 feet 6 inches by 14 feet 6 inches (9.9 by 4.4 m).

The entire length is 125 feet, and the breadth is 55 feet. The fittings of the church are of the most beautiful and costly character. The chancel is furnished with fourteen elaborate misereres, and a rood-screen, and lateral parcloses of exquisite design and in remarkable preservation. The whole floor is paved in chequers of blue and white marble; and the roof of every part is excellently carved wood, with good corbels both for the principal and secondary rafters.

The chancel was separated from the nave by a rood screen but this has now been removed. Behind the altar is the east window of the church. The original from the 14th century was removed during the repairs to the chancel in 1896 and was stored in the garden of the rectory in Bell Lane. The new window was set about higher than the original, to accommodate a reredos (since removed) and is thus unusually high.

One candidate is the Dunstable Priory clock in Bedfordshire, England built in 1283, because accounts say it was installed above the rood screen, where it would be difficult to replenish the water needed for a water clock. Another is the clock built at the Palace of the Visconti, Milan, Italy, in 1335., p.196 Astronomer Robertus Anglicus wrote in 1271 that clockmakers were trying to invent an escapement, but hadn't been successful yet.White, 1966, pp. 126-127.

Inside the church the 19th century kingpost roof is visible, but older arched braces survive above the site of the rood screen. This was one of the first Norfolk churches to replace its box pews with benches and these survive along with an elaborate font and cover dating to 1846. Also of note is the plaster cast Royal Arms of Victoria to commemorate Queen Victoria's Jubilee in 1887, which are painted and gilt and survive in fine condition.

The parish church of St Ladoca has a fine west tower built of granite blocks. The north side of the church is 13th-century in date while the south aisle is 15th-century and the chancel was much altered by George Street in 1862–1864. Interesting features include the carved base of the rood screen and the font of Catacleuse stone. The feast traditionally celebrated in the parish is held on the Sunday after the first Thursday in January.

The stalls or pews inside the East side of the rood screen – three on either side of the opening – have shaped and moulded divisions and curved and moulded cappings. It is believed that these seats were brought to the church from another site. It is known that they were re- positioned during the 1880 restoration from the south wall of the chancel. They may well have been for the six priests known to be in the village in 1490.

Three architects were involved in this work. The first was John Obrecht, Mayor of Schlettstatt in 1401 and the second was Matthis, between 1400 and 1410. But the most famous was the third, Erhart Kindelin, who probably built the three bays of the apse between 1415 and 1422. The construction of the tower continued during the fifteenth century and a rood screen was built in 1489 and 1490 by Conrad Sifer, but was destroyed during the French Revolution.

Other work still extant in the cathedral are the arcades, the exteriors of the clerestory and those galleries that are unvaulted.Wischermann "Romanesque Architecture" Romanesque p. 235 The art historian George Zarnecki has argued that the rood screen in the cathedral also dates from Luffa's episcopate. Two panels from this work still survive, and depict the meeting of Jesus with Mary and Martha at Bethany as well as the miracle where Jesus raised Lazarus from the dead.

The village church, across the river to the north of the village, is on an ancient site, but the current church was entirely rebuilt in 1821, retaining nothing of the medieval fabric, which included a double rood screen and three arches. National Monuments Record of Wales The church and parish are named after St Ceitho. The water of St Ceitho's Spring is said to have the peculiarity that it is cool in summer and tepid in winter.

Rood screen on right The square wooden bell turret has a slatted lower stage and a second stage consisting of two square-headed louvred apertures in each face. There is a pyramidal slate roof surmounted by a wrought iron weathervane. The truss at the west end defines the position of the former gallery, which was originally reached by a ladder stair set in the north-west corner. Four modern chamfered uprights support what is now the bell turret.

At the east of the nave is an arch leading to the north transept. This chamfered arch was reused when the nave was widened in the 14th century, and is supported by semi-octagonal responds added in the 19th. The nave south wall arch to the south transept is 13th century, chamfered, with square responds. Between this transept arch and east wall is a blocked 15th-century doorway that led to the loft above a former rood screen.

The first stage included sanctuary, chancel and a short nave. An unusual feature is the open rood screen, uncommon in Queensland churches and believed to be the only one in western part of Queensland. A number of the furnishings for the new church came out from England including a lectern copied from that in Exeter Cathedral. The font was a gift of the children of Archdeacon Halford's old parish of St Peter, Jarrow-on-Tyne in England.

The rood screen in St Peter's church which separates nave from chancel is thought to be the only screen of its type in western Queensland. The place is important in demonstrating the principal characteristics of a particular class of cultural places. St Peter's Church demonstrates the principal characteristics of a regional timber Gothic Revival church and retains its original furniture and fittings. The hall is also a characteristic example of a timber church hall of its era.

The Parish Church of St Nectan has the highest tower in Devon (), built in the late Perpendicular style. The church is large () and was built in the mid-14th century. Notable features include the fine Norman font, the rood screen (described as the finest in north Devon) and the old wagon roofs. The monuments include an elaborate medieval tomb-chest, a small brass of 1610 and a metal-inlaid lid of a churchyard tomb from 1618.

From the old church, the new one took over an endowment for secular clergy (as opposed to regular clergy). Given its architecture and appointments (golden altar, rood screen, wall paintings), it is among the Rhineland’s most important Gothic churches.Die Kirche Unserer Lieben Frau zu Oberwesel, Anton Ph. Schwarz, 2001 Saint Martin’s Church, too, is a Gothic building that arose on a foregoing church’s old site. It was built in 1350, but was not finished owing to strained finances.

He also made the rood screen for the Notre-Dame Cathedral in Tournai and the tomb monument of Jean II de Mérode in the Saint Dymphna Church in Gheel. This sequence of major assignments points to a large workshop with a fair number of employees. Cornelis Floris acted mainly as an organizer and planner. His pupils and assistants travelled to the various locations (usually in Northern Europe) where the monuments designed by Floris were to be installed.

The name particularly recalls the College's main patron, King James IV of Scotland. Particularly notable within the chapel are the choir stalls and rood screen, which date back to around 1509. These form the most complete mediaeval church interior in Scotland. Since 1928, the antechapel has been used as the university's war memorial: five hundred and twenty-four students of the university are commemorated on its walls, having fallen in the First and Second World Wars.

The chancel was rebuilt in the second half of the 15th century, and the east window retains fragments of early 14th-century stained glass depicting Saint George and Saint James. Other historic monuments include the fifteenth century chancel effigy and rood screen, and wall monuments from the late sixteenth century. In about 1310 a cross was constructed in the churchyard. This is Grade II listed in its own right, as is part of the churchyard wall.

There is no chancel arch, and the chancel is longer than the nave. The wall of the south aisle was rebuilt in about 1325–50, incorporating an ogee-arched tomb recess containing the effigy of a lady wearing a wimple. Two new windows were added to the church in the 14th century, and two more including the Perpendicular Gothic east window of the chancel in the 15th century. The church has a Perpendicular Gothic rood screen.

On 8 June 1998 the church suffered a bad although accidental fire which devastated the north wing and despite the efforts of the local fire brigade and local people the north aisle of the church was destroyed including the altarpiece "Notre-Dame de Vray Secours" and the nave with the rood screen. A public appeal sought to raise funds to repair the damage and over 700 donations were recorded. Extensive restoration followed, completed in 2005. The lost altarpiece was completely and exactly replicated.

Seven services were held daily, most of which were solely for the clergy and took place behind the rood screen which separated the high altar and choir from lay worshipers. Only cathedrals, collegiate churches and large burgh churches were resourced to perform the more elaborate services; the services in the parish churches were more basic.Cowan, Medieval Church in Scotland, p. 171 The clergy were augmented by an unknown number of lay lawyers and clerks as well as masons, carpenters, glaziers, plumbers, and gardeners.

285 In 1640 the General Assembly ordered Gilbert Ross, the minister of St Giles kirk, to remove the rood screen which still partitioned the choir and presbytery from the nave. Ross was assisted in this by the Lairds of Innes and Brodie who chopped it up for firewood.Shaw, History of Moray, pp. 290–1MacGibbon, Ecclesiastical Architecture, p. 123 It is believed that the destruction of the great west window was caused by Oliver Cromwell's soldiers sometime between 1650 and 1660.

It has a large circular stained glass east window, an unusually tall south porch and an open stone bell turret mounted at the east end of the church hung with two bells. The impressive wood rood screen was designed by Augustus Pugin. The village lies less than a mile to the north of Hopton Heath, which was a significant battlefield (Battle of Hopton ) in the English Civil War where in 1643 Parliamentarian forces were defeated by Royalists under Spencer Compton, who died there.

A picture of Emperor Henry was placed. In 1528 the painter Jan van Scorel became canon of St. Mary's Church; among other things he designed a rood screen and some stained glass windows. After his death he was buried in St. Mary's Church, his tomb becoming the first elaborately decorated grave ever to be given to an artist in the Netherlands. The church' decline began during the siege of Vredenburg in 1576, when the north tower was destroyed by cannon fire.

The oldest pieces of equipment that have survived to this day are the baptismal font from 1220 and the triumphal cross from 1230. The broken rood screen from 1664 has also survived. Twelve statues received from the Münster sculptor Heinrich Brabender remain preserved to this day, including figures of the Christ and of the Apostles, and also a smaller number of statues received from Duke Erich II of Saxe-Lauenburg, Bishop of Münster. These are on display at the Diocesan Museum of Osnabrück.

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 plan of the church consists of a nave with a clerestory, a south porch, a north transept containing the organ and vestries, a chancel with the Lady Chapel to the south and the Prayer Corner to the north, and a west tower embraced by the nave. The window tracery is mainly in Perpendicular style, with some in Decorated style. The font stands at the west end of the nave, and has a Jacobean cover. The rood screen dates from 1533.

It is not recorded when the anchorage at St. Julian's was built, but it was used by a number of different anchorites up to the Dissolution of the Monasteries in the 1530s, some of whom were named Julian. After this time the cell was demolished and the church stripped of its rood screen and statues. No rector was then appointed until 1581. By 1845 St. Julian's was in a very poor state of repair and that year the east wall collapsed.

The single bell was cast in 1913 by John Warner & Sons of Spitalfields. Nikolaus Pevsner referred to the church in his Buildings of England as "a fragment of a major medieval church". The interior has a rood screen with a high triumphal crucifix over an arch that is thought to have been crafted by Robert Bridgeman of Lichfield to designs by Tapper. The high altar reredos was designed by Tapper and made by Jack Bewsey who also designed most of the stained glass.

The church had existed since Saxon times, no later than the 11th century, but little is known of it: the structure was probably built of plaster, wattle and daub and thatch, in common with other churches of the era. It was dedicated to St Nicholas. In about 1265, the church was rebuilt and rededicated to Thomas Becket. The new design, a simple two-cell building, had a nave and a chancel separated by a rood screen, above which was a crucifix.

The choir stalls and the organ case are carved with angels playing a variety of instruments. On the vestry door is a carving of the Annunciation. The rood screen has depictions of saints, and carries a plain cross. The reredos includes a painting by James Cranke, and is flanked by carved figures of Virgin Mary and Saint Michael. The three-decker pulpit dates from the 18th century, and has a tester of 1912, which consists of a scallop carried by putti.

St Mary's is an Anglican parish church in Elsing, a small village and civil parish in the Breckland district of Norfolk, England. The 14th-century church was built to a single plan in Decorated Gothic style by a local knight and has remained largely unaltered to the present day. The church contains a brass monument of national importance, a tall medieval font cover and rood screen paintings. The chancel retains some stained glass contemporary with the construction of the building.

There is a painting of the Adoration of the Magi by the mediocre artist (Melchior-)Paul von Deschwanden (another copy is at Fribourg).Pevsner, N. (1952) South Devon. Penguin Books; pp. 194-95 The rood screen, carved by the Pinwill sisters, is impressive and was designed to resemble the one installed in 1523-24: it is adorned by 23 paintings, by Sabine Baring-Gould's daughter, Margaret (Daisy), 11 of the life of Jesus and 12 of Westcountry saints, and was completed in 1915.

The first line of fortification was the work of Francis I; the second line and the donjon date back to the 11th century. The church of Arques, a building of the 16th century, preserves a stone rood screen, statuary, stained glass and other relics of the Renaissance period. Just outside the town is the World War I Commonwealth War Graves Commission cemetery, designed by J R Truelove, the final resting place of 377 men of the South African Native Labour Corps.

In 1683, two years after the annexation of Strasbourg by France, Louis XIV ordered that part of the Church be returned to the Catholics and that a wall be constructed inside the church by the rood screen, to restrict the Protestant services to the Nave. It was not until 2012 that a door was opened in this dividing wall. In the 19th century, the Catholic part of the Church was extended. The extension was designed by the architect Conrath and opened in 1867.

The building sits on the corner of Macquarie and Murray Streets and forms one quadrant of what is considered to be the finest Georgian streetscape in Australia. On the pinnacles of each gable is a quatrefoil, repeated on the extremities of the large crucifix of the rood screen which dominates the sanctuary. The cathedral choir offers sacred music both classical and contemporary in worship and in concert. The organ, considered one of the superior organs of Australia, is played by quality organists.

Desborough has an Anglican parish church, St Giles's, along with a Baptist church, a United Reformed Church, and the Roman Catholic Church of the Holy Trinity. St Giles's Church is the oldest surviving building in the town, dating from about 1225. It is believed to stand on the site of an earlier Saxon church. Its relics from the town's history include part of an Anglo-Saxon cross carved from stone, a Tudor rood screen, and reminders of the English Civil War.

After the Dissolution, the bell-tower was used as the gaol for the borough until it was demolished in the late 18th century. The central stone tower was originally topped with a wooden spire, which collapsed in 1559 and was never rebuilt. Restoration undertaken in the late 19th century under Sir George Gilbert Scott was reopened on 23 September 1879. Work continued under the direction of his son John Oldrid Scott until 1910 and included the rood screen of 1892.

The loft floor rested on the top of the rood screen and was usually balanced and kept in position by means of a groined vaulting (Harberton, Devon) or a cove (Eddington, Somerset). The finest examples of vaulting are to be seen in Devon. The bosses at the intersections of the ribs and the carved tracery of the screen at Honiton stand unrivaled. Many screens still possess the beam which formed the edge of the loft floor and on which the gallery rested.

At the East end of the nave above the former rood screen is a ceilure or Glory, with three bays enriched by cross-ribs and much decoration. The chancel ceiling is modern by George Fellowes Prynne in 1899. The square baptismal font is Norman of about 1160 and is decorated with three rosettes and ears of wheat on each face with a scalloped underside. It was moved to its present position in 1861 during the 1861-1864 restoration by John Hayward.

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.

The Church of St Jerome stands in the settlement of Llangwm Uchaf, (upper) Llangwm, in a remote part of Monmouthshire, Wales. Originally constructed in the twelfth century, in an Early English style, it was heavily restored in the nineteenth century. The church has a "large and unusual" tower, an "outstanding" late-Medieval rood screen and Victorian interior fittings of "exceptional quality". After being declared redundant by the Church in Wales, the church is now administered by the Friends of Friendless Churches.

The rood screen that divided the choir monks from the lay brothers has also been removed. From 1878 to 1891, the interior of the abbey church was repainted with stenciled imitation medieval designs. These were removed during a restoration of the church to a more accurate approximation of its original appearance in the 1960s. Along the south side of the nave is an open gallery stretching over the north side of the cloister created in the last years of the 15th century.

The fifteenth century saw the completion of the tower, and the installation of the rood screen and the early Tudor period baptismal font. In the sixteenth century the roofs over the aisles were raised. Next to the altar at the south end is the tomb of Robert Wynne, a major benefactor of St Mary's, and the builder of Plas Mawr on Conwy's High Street. The chancel floor was raised at a later date, and in 1872 the roof of the nave was raised.

Attleborough parish church The parish church of the Assumption of the Blessed Virgin Mary is partly Norman and partly 14th century. The east end of the church is Norman and the nave is late 14th century. In 1368 the College of Holy Cross was founded in the Norman part and at that time the nave was built for the use of the parish. The remarkable rood screen has the loft intact for its full width but has been often restored.

The facade of the Church has three floors and two stored portico flanked by round towers with cupolas, crowned with crosses. The windows in the high, near the roof, are giving the impression of a fortress church, which is cruciform on plan. In addition, light manual Indian design are visible elements on the facade, large cords are located at the cornice as well as the individual towers. The southern tower has a turning staircase to get to the Rood screen.

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.

The oak rood screen between nave and chancel is 15th-century, and has perpendicular tracery; there are 17th-century wooden doors in the screen. The chancel and sanctuary are long. Behind the choir stalls are 14th-century misericords, carved with foliage and figure heads. On the south wall of the south aisle is a wall painting from the early 14th century, depicting Christ seated on a throne, and Mary seated and crowned, and attendant figures of a knight and a lady.

The large window to the left of the main altar is 16th century, though the stained glass is of a later date. One of the outstanding features of the church is the 15th century rood screen, a rare survival and now in its original position though there was a time when it was used under the belfry where it formed a gallery. Its supporting arches are of a later date. St. Andrew's is rich in monuments and heraldry, particularly of the Whyte family.

The church is decorated internally with murals from two different periods: one set dated circa 1300-1350 in the choir, and another dated circa 1480 in the nave. The murals were renovated in 1934 and again in 1969. The church also has some medieval furnishings: two Romanesque baptismal fonts and an altar chalice from the early 16th century, as well as, possibly, the wooden front door. Incorporated in a wooden gallery of the church, the only known medieval rood screen in Sweden has been discovered.

Illustration from a manuscript on the Sarum Rite, c. 1400 The ceremonies of the Sarum Rite are elaborate when compared not only to the post-1969 Roman Rite Mass, but even to the Tridentine Mass. The Mass of Sundays and great feasts involved up to four sacred ministers: priest, deacon, subdeacon, and acolyte. It was customary for them to visit in procession all the altars of the church and cense them, ending at the great rood screen, where antiphons and collects would be sung.

Its massive tower of flint and local stone was reduced in height in 1910, after ivy had made part of it unsafe, and the bells were hung lower. Inside the church is a rood screen carved with dragons, wild men, and flying hearts, but the carving may be modern or restored. The chancel arch, like some walls, is decorated with paintings, but not the screen. There is an octagonal Purbeck stone font, which stands on pillars and on a substantial two-tier octagonal base.

It was rebuilt and redecorated as it would have appeared in about 1530. The new roof timbers were sourced from Northeast Wales and a new rood screen and a loft were carved from Radnorshire oak by the project's head carpenter, Ray Smith MBE. The missing sections of the wall paintings were reconstructed from what was left. Around one-third of the paintings now displayed are reconstructions of those discovered under the wall-plaster, the originals having been preserved and held by the National Museum of Wales.

The chapel in the north transept was also extended at this time, and a trefoil-headed rood screen was installed. This survives, although not in its original condition. The next significant work was carried out between 1839 and 1840 by John Mason Neale who opened out the interior, rebuilt the transepts (the north transept and its chapel, in particular, were ruinous at that time) and added a new arch, built vestries and replaced most of the windows. At the same time J.C. Buckler restored the chancel.

This neat and well-kept church stands on a hill – ‘Clocaenog’ means ‘mossy knoll’ – above the village. Dedicated to St Foddhyd (Meddvyth), ancient records show that its patron was ‘St Meddvyth the Virgin’, daughter of St. Idloes of Llanidloes in Powys. The restored interior is dominated by a fine ‘rood screen’ (see Derwen), its top rail intricately carved with trailing foliage and its lower panels with ‘candle-flame’ motifs. These date to about 1538, the date once inscribed in the big east window above the altar.

The triple lancet east window dates from around 1230, although the glass is Victorian. The Lady Chapel is from the 15th century, as is the oak screen below the west gallery and rood screen. The three stage tower has a stair turret on the south east corner leading to the belfry, which is surmounted by battlements, crocheted pinnacles and gargoyles. The vestry in the base of the tower includes a clock by William Monk, who also made the clock in Sherborne Abbey, and dating from 1710.

The church's chancel The rood screen (which would have had access to the loft on the south side) is of the 15th century but the canopy has been removed, probably at the Reformation. The recess in the south wall is known as the Founder's Tomb and is probably of the 14th century. The east window which is recent is a memorial to Fr. Canner, vicar 1950-1976. On the north wall is a statue of the patron saint in memory of Parson Chapman, vicar 1894-1916.

An internal stair within the thickness of the pulpitum gives access to a broad upper platform, which commonly supports the cathedral organ. The pulpitum is invariably pierced by a central passage, leading immediately into the choir stalls to the (ritual) east. Many pulpita, as those of Glasgow Cathedral, Exeter Cathedral and Southwell Minster, incorporated subsidiary altars either side of their central passages. In the late medieval period, there was also a rood screen or rood beam placed one bay to the west of the pulpitum (i.e.

The church was described by Francis Carolus Eeles ("St Decuman's Church") in 1932. He highlighted a fine geometrical east window with original tracery dating from the end of the 13th century and the perpendicular window tracery in the south isle. The series of wagon roofs with rich carving are above the rood screen in the nave and south aisle. The Wyndham Chapel occupies the east end of the north aisle and is dedicated to the Wyndham family of nearby Orchard Wyndham House, former lords of the manor.

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.

Towards the end of the 14th century carvers gave up natural foliage treatment to a great extent, and took to more conventional forms. The oak and the maple no longer inspired the designer, but the vine was constantly employed. A very large amount of 15th- century work remains to us, but the briefest reference only can be made to some of the more beautiful examples that help to make this period so great. The rood screen, that wonderful feature of the medieval church, was now universal.

Since its opening, the exterior of St Andrew's Church has experienced little change, and there have been only gradual increases in the decoration of the interior. A new marble altar was placed in the chancel in 1902, one year after a wooden altar was added in the Lady chapel. A rood screen, carved in oak, and walnut-wood choir stalls were added in 1905 (the latter were replaced by oak stalls in 1932). Another altar, this time in the south transept, was installed in 1922.

The rood screen is 15th-century and not well preserved. The baptismal font is 18th-century.The Pilgrim's Guide to Devon's Churches, Cloister Books (2008) pg 94 The reredos consists of glazed tiles in "robust Victorian colours". The adjacent war memorial is a Grade II listed building. Carved in dressed granite, it is a copy of St Martin’s Cross in Iona in Scotland and is dedicated to the members of the Bishop's Tawton Parish who died in World War I; it was unveiled and dedicated by the Revd.

The Medieval Rood Screen and Loft extended right across the Aisles and Nave. If the steps appear to start fairly high on the wall this is partly because the whole floor level was lowered in the 19th century restoration. The Perpendicular oak Screens, however, are original and probably remnants of the Par-close Screens of the medieval Chapels at the eastern ends of the Chancel Aisles. Also in the 19th century restoration, an extensive Gallery at the Western end of the Nave was removed.

St Mawgan also has a 13th- century parish church, dedicated to St Mauganus and St Nicholas. The church was originally a cruciform building of the 13th century but was enlarged by a south aisle and the upper part of the tower in the 15th. The unusual rood screen and bench ends are noteworthy and there are many monumental brasses to members of the Arundell family; these include George Arundell, 1573, Mary Arundell, 1578, Cyssel and Jane Arundell, c. 1580, Edward Arundell (?), 1586,Dunkin, E.

At both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and completed in February 1567. It was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo (Province of Alessandria, Piedmont).

The parish church of St Petroc, at , was restored in 1858 by the Victorian architect William White. It was originally built in the 14th century and is now Grade I listed.Images of England (John) Athelstan Riley, 1858–1945, was a notable benefactor of this church and responsible for employing Ninian Comper to restore it in 1908: his work includes the high altar, reredos and rood screen. Other features of interest are the monuments to Sir Roger de Lemporu, 13th century, and Andalusia, the Hon. Mrs.

The church was shared for worship between the monks of Dunster Priory and the parishioners, however this led to several conflicts between them. One outcome was the carved rood screen which divided the church in two with the parish using the west chancel and the monks the east. It was restored in 1875–77 by George Edmund Street. The church has a cruciform plan with a central four-stage tower, built in 1443 with diagonal buttresses, a stair turret and single bell-chamber windows.

The ecclesiastical parishes of Braddock and Boconnoc have been united since 1742. Braddock church is dedicated to St Mary the Virgin: the earliest parts of the building are Norman but an aisle and a tower were added in the 15th century.Cornish Church Guide (1925) Truro: Blackford; p. 63 The font is Norman and there are many good examples of woodcarving in the church: these include the bench ends, part of the rood screen, wagon roofs, an Elizabethan pulpit and two carved panels perhaps of the 18th century.

The rood screen is a fine example of 15th century workmanship and is well preserved, bearing the original coloured Tudor roses. Probably from the same period are two oak benches. The dug out parish chest, which was reputedly hewn out of a solid block of timber, is an ancient churchwarden's chest and probably dates form the 13th century. At the end of the chest is an iron ring for use when it was drawn by a horse to be buried or hidden in times of trouble.

Later, he married Mary Cokayne and had a family of three sons and three daughters. He died in 1752 and is buried in St Peter's Church, Derby. Examples of his work can be seen at Derby Cathedral, where he made the wrought iron rood screen and the gates at the west door. There are also wrought iron gates by Bakewell at the Derby Industrial Museum, and ironwork by him in a number of churches in Derbyshire towns and villages: Alvaston, Ashbourne, Borrowash, Duffield, Etwall, Foremark, Radbourne.

On 8 June 1998, a fire destroyed a part of the north aisle and an extensive programme of restoration was finished in 2005. The Gothic bell-tower and Renaissance tower dates from 1563 and was finished in 1626. The porch has a sculpture depicting Saint Thégonnec in the attire of a bishop and inside the porch, statues of some of the apostles lead towards the door into the church. The church has a rood screen and in the choir area the stained glass is by Jean-Louis Nicolas and dates to 1862-1863.

The tomb of Sir Richard Pembridge, Knight of the Garter in the reign of Edward III, is a fine example of the armour of that period, and it is one of the earliest instances of an effigy wearing the garter. A square-headed doorway gives access from this aisle to the Bishop's Cloister. At the northern entrance is a porch and Decorated doorway, a good general view is at once obtained. There is a modern rood screen, a spacious and lofty central lantern, and a reredos with a carved spandrel.

The aforementioned altarpiece still stands behind the main altar and is adorned with statues depicting, on the central panel, the Holy Virgin with the infant Christ, and on each side of her statues of James the Greater and James the Lesser. The baptismal font is also medieval, as are two separate sculptures of saints. The pulpit is one of the oldest in Norrland, and Baroque in style. The rood screen with its ornamented obelisks dates from the mid-18th century, while two more free-standing sculptures come from an altarpiece made in the 1880s.

Of Lescot's constructions at the Louvre there also remain the Salle des Gardes and the Henry II staircase. Fontaine des innocents His first achievements (1540 – 1545) were the rood-screen in Saint-Germain l'Auxerrois, of which only some sculptures by Goujon have been saved and in Paris the Hôtel de Ligneris (1548-50, now the Musée Carnavalet, which was thoroughly altered by François Mansart). Here and especially in the design of the Fountain of Nymphs (1547-49, illustration, right), his moderate tectonic role is outshone by Goujon's sculpture.

In 1899 Edward Holt, of the Holt family of brewers, began the process of enriching St Margaret's with beautiful carved oak work by the Kendal craftsman, Arthur Simpson, with a gift of new choir stalls designed by Dan Gibson. Over the following 21 years, the church was enhanced with a new high altar, reredos, panelling, bishop's throne, rood screen, war memorial and other items, largely designed by Gibson and made by Simpson. This outstanding Arts and Crafts work, believed to be the best example of Simpson's ecclesiastical work, creates a superb liturgical setting.

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.

The church possesses a 15th-century stone reredos, purportedly from Troyes; above are five scenes of the Passion of Christ, and below is the Last Supper and Adoration of the Kings; the lower two occupy the same length as the Passion scenes above. The base to a 15th-century rood screen is present. There are four misericords on the north side, as well as three on the south side; the latter are older, probably dating to the early 14th century. The chancel's south window contains early 14th century grisaille glass in the head.

The work of these two architects restored the medieval interior of the church which had been lost in the period following the English Reformation. The result is Comper's finest and most complete work in the region, comprising a free standing altarpiece and reredos, canopy, hanging pyx, various statues and stained glass windows. A large and highly decorated rood screen and rood are also the work of Comper. In 1989, owing to the increasing size of the congregation, an extension was built on the north side of the church building, almost doubling it in size.

The Cathedral's treasures include the 18th-century wrought iron rood screen manufactured by Robert Bakewell, for which he was paid £157.10.0d; a monument with effigy of Bess of Hardwick of Hardwick Hall and monumental brasses of her descendants the Cavendish family, later Dukes of Devonshire, including brasses of Henry Cavendish and of Georgiana Cavendish, Duchess of Devonshire. The entrance gates, moved to the cathedral from St Mary's Gate in 1957, were also made by Robert Bakewell. The gates were refurbished in 2012 and renamed the Queen Elizabeth II Gates to celebrate the Queen's Diamond Jubilee.

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.

A chapel of ease already existed before 1911 but the growth in population meant that it was no longer adequate.St Michael's appears on W. Jago's ecclesiastical map of Cornwall, 1877, in Cornish Church Guide Arthur Mee in his Cornwall (King's England) describes the perpetual light maintained in the church as a memorial to the men of Newquay who died in the First World War. The stained glass windows and rood screen are also described: the main themes are St Michael, the three other archangels, and Jesus Christ and Mary the Blessed Virgin.Mee, A. (1937) Cornwall.

The south wall of the chancel contains a three-seat sedilia and a piscina. Piscina are also located in the south wall of the north aisle, the south wall of the south chapel and by the south door. A 17th-century staircase on the north wall of the tower leads to the bell chamber. The 15th-century rood screen across the east end of nave and both aisles is of eleven panels with fine tracery with slender columns supporting an intricately carved 19th- century fan vault and walkway.

The original mediaeval altar was found in a nearby farm, being used for salting meat and making cheese, and was returned to the church. The original nave was blocked off and a new tower erected, and a new carved oak rood screen, incorporating the arms of Scudamore, Laud, and King Charles I, was made by John Abel of Hereford. In addition, new stained glass was provided, and the walls were painted with instructional pictures and texts, many of which remain visible. The new church was re-consecrated on 22 March 1634.

This was paid for by one of the trustees of the hospital, the Reverend George Mason after the reorganisation of the chapel in 1864. It is known that the rood screen was in position in 1875, but by 1902, the chapel had fallen into disuse and the screen had been removed, with the suggestion that it had been installed in the cathedral. In 1917, the chapel underwent another restoration overseen by George Bland, an architect from Harrogate. It was renovated from 1985 onwards, and was rededicated in 1989.

The church contains five 15th century misericords featuring imagery such as composite creatures; one, half-woman, half beast playing a viol, and another, half-man with the hindquarters and tail of a beast, mimicking her by playing a pair of bellows with a crutch. Another shows a pelican with her chicks, and another depicts a man holding a pig. There are numerous other outstanding fittings, including a painted rood screen dating from c. 1330–1340 and an octagonal font also from the 14th century which is much worn.

In 1753, further modifications were made to the interior to adapt it to new theological practices. The stone pillars were covered with stucco, and the tapestries which hung behind the stalls were replaced by marble reliefs. The rood screen that separated the liturgical choir from the nave was torn down and the present stalls built. At the same time, some of the stained glass in the clerestory was removed and replaced with grisaille windows, greatly increasing the light on the high altar in the center of the church.

The addition of reinforcing tie-beams above the crossing, designed by Christopher Wren in 1668, halted further deformation. The beams were hidden by a false ceiling installed below the lantern stage of the tower. Significant changes to the cathedral were made by the architect James Wyatt in 1790, including the replacement of the original rood screen and demolition of a bell tower which stood about northwest of the main building. Salisbury is one of only three English cathedrals to lack a ring of bells, the others being Norwich Cathedral and Ely Cathedral.

The Tudor hammerbeam roof of the nave was also little changed in the 1827 restoration. In the church are an oak parish chest from 1686, some old pews, a Jacobean altar table, a Georgian pulpit and, in the chancel, three old chairs, two of them dating from the time of Charles II. The west gallery incorporates part of the original rood screen. The memorials include a wall monument to Henry Bunbury dated 1732 in marble. They also include 13 memorial boards which are probably by members of the Randle Holme family of Chester.

One outcome was the carved rood screen which divided the church in two with the parish using the west chancel and the monks the east. The priory church is now in parochial use as the Priory Church of St George which still contains 12th and 13th century work, although most of the current building is from the 15th century. It has been designated as a Grade I listed building. By 1291 the priory had income from lands and rents of £5 13s. 3d., and from churches and ecclesiastical dues of £13 7s. 4d.

The civil parish, which includes the whole of Barton Broad and the smaller village of Irstead at its southern end, has an area of 10.86 km2. In the 2001 census it had a population of 480 in 181 households, the population decreasing to 467 at the 2011 Census. Barton Turf's St Michael and All Angels Church, Barton Turf, about a mile from the clustered village centre, has a large, ornate medieval painted rood screen such as many medieval parishes who could afford fine artisans once had, but which have rarely survived the English Reformation.

With the beginning of the 16th century, the great Renaissance began to elbow its way in to the exclusion of Gothic design. But the process was not sudden, and much transition work has great merit. The rood screen at Hurst, Berkshire, the stall work of Cartmel Priory, Westmorland, and the bench ends of many of the churches in Somerset, give good illustrations. But the new style was unequal to the old in devotional feeling, except in classic buildings like St Paul's Cathedral, where the stalls of Grinling Gibbons better suit their own surroundings.

Aisles were added to the nave in the 14th century, first on the north side and then on the south, doubling the seating capacity. More windows were also installed in the nave. A century later, a timber porch was built on the north side, the chancel arch was widened and a rood screen was installed, a standard feature of churches in the medieval era, as were wall decorations and paintings. Ecclesiastical feeling moved in favour of austere, whitewashed walls, screens and pillars by the 17th century, and Parliament decreed these changes in the 1640s.

The vicar of Ifield, Reverend Robert Goddin, was a strict Protestant who was strongly opposed to Catholic- style worship, ceremony and church decoration, and he enforced the new style rigorously. The rood screen and all internal decoration were removed at this time. Lychgate at the churchyard entrance The next major work took place in 1760, when a gallery was built for the choir and the pews were replaced with large box-pews taken from St Margaret's Church, Westminster (the parish church of the Palace of Westminster in London). More restoration took place in 1785.

Bavarian-born Johannes Kirchmayer executed the intricate wood carving, notable in particular on the rood screen. The stained glass windows (including a large window at the back of the sanctuary above the baptismal font) were created by the noted firm of C.E. Kempe in London. The high altar also features monmunental stone figures and a carved Caen stone reredos inspired by examples in Winchester Cathedral and St. Alban's in England. The church's Solemn High Mass (11:00am Sundays) is locally notable for its fine choral music and beautiful liturgy.

This notable medieval Grade I listed building contains a fine carved rood screen, dating from about 1520 – considered to be among the finest in Wales. It has been suggested this may come from Cymer Abbey. It also contains a 12th-century font and a surviving medieval window on the north wall of the nave, although the church underwent substantial restoration during the 19th century. The village's Methodist chapel was built in 1811, enlarged in 1848 and rebuilt 30 years later in the simple Gothic style with gable entry.

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 effects of the Fire belatedly became evident in its structure, as it was taken down and rebuilt in 1684. It was plain, with round headed windows and a balustrade. The request sent by the Church Commissioners to Wren that "the Tower of All Hallows-the-Great be forthwith finished with a cupola or spire as you shall best approve of, by reason it stands conspicuous to the Thames" was never acted upon. The carved rood screen and the sounding board which were later moved to St Margaret Lothbury.

The church was rich in furnishings, many of which survive in other churches. It was one of two Wren churches to have a rood screen, commissioned by the parish after seeing that erected for St Peter upon Cornhill (the tradition that it was a gift from a member of the German merchant community is without foundation). Installed in the church at the time it was completed, it can now be seen in St Margaret Lothbury. At its completion, it was the only Wren church to have contemporary non-memorial statues.

The first shrine of St Amphibalus stood before the Great Rood Screen in the Norman Abbey of St Alban's, near the high altar on the north side of the shrine of St Alban. In 1323, a portion of the abbey roof collapsed, damaging the shrine. The shrine was then moved to the north aisle of the chancel. Eventually, around 1350, the shrine was given a position in the centre of the retrochoir, east of St Alban's own shrine in the 'Saint's Chapel', complete with a stone tomb, paintings, and a silver gilt plate.

The present cathedral was begun in 1181 and completed not long after. Problems beset the new building and the community in its infancy, the collapse of the new tower in 1220 and earthquake damage in 1247/48. Bishops Palace as it appears today Under Bishop Gower (1328–1347) the cathedral was modified further, with the rood screen and the Bishops Palace intended as permanent reminders of his episcopacy. (The palace is now a picturesque ruin.) In 1365, Bishop Adam Houghton and John of Gaunt began to build St Mary's College and a chantry.

The church of the 12th century was cruciform in structure, consisting of a chancel, a nave (built in two periods) and two transepts—the latter forming the two arms. At a later date, perhaps a century later, the chancel aisle was built, and after that the nave aisle. The tower is of later date than the chancel. Once a rood screen adorned the church; the corbels on which it rested are still in place and a closed-up doorway, through which the rood was approached, is still in existence.

There is a good font dated to around 1400, some notable carved bench-ends, roof-bosses and rood-screen; and several memorials, most notably to Aaron Baker, who rebuilt the chancel aisle in 1669, and Stringer Lawrence. The theological writer Bourchier Wrey Savile was rector of Dunchideock with Shillingford St. George from 1872 to his death in 1888. Within the parish was the former Haldon House which was the home of Sir Robert Palk, 1st Baronet. Mostly demolished in the 1920s, the remaining wing is now the Best Western "Lord Haldon Hotel".

The nave roof is original medieval timber, and features rows of beams carved into angels, but with heads cut off during the Civil War by Puritan iconoclasts led by William Dowsing. The east end has three stained glass lancet windows, and between chancel and nave a small door and features in the walls indicate the position of a pre-Reformation rood screen. A large royal arms, painted on a diamond- shape timber board, and a 16th-century helmet, are among contents which were stolen – or removed because of the risk of theft – in the 1970s.

The Reredos is a scaled-down model of a larger more elaborate medieval gothic Rood Screen. The bronze relief at the center sits in what would have been the passageway from the Apex to the Sanctuary (through which the communicants would have witnessed the consecration of the Host). Above, a crossbridge (see the miniature passageway and small windows running laterally below the gables) connects what would have been the cathedral's north and south transepts. Such crossbridges allowed non-celebrating clergy to move about the cathedral on business, unseen, while Mass was said below.

So while the Reredos is a reredos, it is also a model of a Rood Screen. Separating the Reredos from the High Altar is a Sanctus ribbon from the 1559 B.C.P., drawing on Isaiah 6:3 but lacking the Benedictus found in the 1549 B.C.P. Sanctus, derived from Matthew 21:9. The Sanctus is followed by Psalm 50:5, the call to be judged for the acts of one's life, before the Throne of God. The High Altar's base features a triptych of two Old Testament events laying foundations for Christ's priesthood.

The church was shared for worship by the monks and the parishioners, however this led to several conflicts between them. One outcome was the carved rood screen which divided the church in two with the parish using the west chancel and the monks the east. The priory church is now in parochial use as the Priory Church of St George which still contains 12th and 13th century work, although most of the current building is from the 15th century. It has been designated as a Grade I listed building.

Probably after a fire, the Romanesque choir was replaced in the first half of the 14th century by a Gothic architecture construction. At the same time, the two easternmost arcades in the nave were replaced by a bigger pair of bow, to make room for a rood screen, and a wooden vault instead of the flat ceiling covering the nave. The towering Gothic choir shows that the "mendicant" had abandoned all restraint in relation to the architecture of their churches. The construction of the choir begun soon after 1325.

By 1827 there remained only 12 bays of the great cloister. The altars and the rood screen disappeared, windows were bricked up and new ones broken through the walls as required. Rubble was tipped down the wells, and broken stones from the crypts and the graveyard used to block the church windows.Ludwig Arntz, as below The significance of the charterhouse not only in religious terms but also in terms of architecture and art history was totally lost to public awareness until the very end of the 19th century.

Afterwards there was a meal, with toasts and speeches. From 1895 the parish priest was Fr Francis John Gillow and in 1895-6 a number of alterations were made by him to the interior of the church.Pugin Foundation: English buildings, Lancashire retrieved 1 July 2014 The floor was lowered by about and the steps at the west entrance were removed. At the same time Pugin's altar was moved to a side chapel and the rood screen was relocated to the west end of the church and altered to fit.

Minor structural alterations took place, such as the construction of a porch, a rood screen and an accompanying altar, but the fabric of the church gradually disintegrated. It worsened during the 17th century, and the original (1130s) nave collapsed in storms in about 1700, reducing the length of the church by about half. The rubble was cleared in the early 18th century, although part of one of the bays survived and has been incorporated into a porch. The quire was altered to form a new nave and chancel.

All Saints has the Bradley aisle which was built by Richard Yarde of Bradley Manor in the 15th century, and it also had a rood screen that was said to be "beautiful" until it was mutilated in 1786 and later removed completely. Today, the church is a Church of England place of worship in the Diocese of Exeter, known as Highweek Parish. All Saints shares parishioners in rotating services with the other church in the parish, St Mary the Virgin, Abbotsbury, Church. It is a Grade I listed building.

There are some notable brasses. The church underwent two major restorations overseen by the architect Robert Jewell Withers in 1867 and 1875. In the first restoration, box pews were replaced with pine benches, a gallery was removed from the west, the rood screen was painted, and a large wall painting was added to the nave wall by the Arts and Crafts artist Daniel Bell, depicting Christ enthroned in Majesty. The 1875 restoration of the chancel was funded by a donation from Adelbert Brownlow-Cust, 3rd Earl Brownlow of Ashridge.

The church has a nave with four broad rib-vaulted bays separated from the chancel by a rood-screen surmounted by a carving depicting the Crucifixion of Jesus. The east window, depicting Christ, flanked by the archangels Michael and Gabriel, was the first stained-glass window by Frank O. Salisbury. The west window was given in 1962, by Hector Young an ex- Mayor of Southampton, in memory of his wife Ethel who was killed in the Blitz in September 1940. The window, showing the Archangel Michael defeating Satan, was designed by Francis Skeat.

Long ignored, the life of Antoine Salvanh came out of anonymity thanks to research done in the 19th century by local archivists. We know nothing about his formative years. His first work is known by a sales quote dating from May 1508 giving the provisions of the rood-screen of the Aubrac hospital church at Saint-Chély-d'Aubrac. This one disappeared in the XIXth century, but what remained of this rood was drawn in 1833 in Les voyages pittoresques et romantiques ans l'ancienne France, Languedoc, after J. Taylor, Ch. Nodier and A. Cailleux, in 1834.

This event led to the eventual founding of Rivington Unitarian Chapel. The church remains primarily as rebuilt in 1666 with alterations and restoration in the late-19th century. The restoration in 1861 cost £500 and involved building an "inward-jutting porch" to the west entrance, laying Minton tiles in centre aisle, raising the altar and adding railings, restoring the rood screen, panelling the walls to a height of five feet, replacing the box pews and installing a small organ. Rivington was created a parish out of the ancient ecclesiastical parish of Bolton le Moors.

The interior includes a large wall painting of the early fifteenth century depicting St George slaying the dragon. The Royal Commission on the Ancient and Historical Monuments of Wales describes a possible interpretation of the painting as being a reference to the defeat of Owain Glyndŵr by the English at the battles of Campston Hill (1404) and Grosmont (1405), which were fought near to Llangattock Lingoed. There also remain some sixteenth century pews, which John Newman, the architectural historian, describes as "a rare survival." A timber beam with carved vine leaves and grapes is the remaining part of a late C15th rood screen.

The whole church appears to have been richly provided with stained glass of the medieval period. The chapel, which may be a little older than the aisle, is enclosed by wooden screens which are decorated with the leopard's head badge of Frowyk. There was formerly a late medieval rood screen. The chancel was out of repair in 1685, when it was ordered that the communion table be railed in. By the 18th century all the medieval glass, except the lower part of four panels in the north aisle, had gone and the chancel, nave, and aisle had flat plaster ceilings.

Among the perpendicular additions to the church last named may be noted a very beautiful oaken rood screen. To illustrate Decorated and Perpendicular the churches of Clifton and of Marston Moretaine, with its massive detached bell tower, may be mentioned; and Cople church is a good specimen of fine Perpendicular work. The church of Cockayne Hatley, near Potton, is fitted with rich Flemish carved wood, mostly from the abbey of Alne near Charleroi, and dating from 1689, but brought here by a former rector early in the 19th century. In medieval domestic architecture the county is not rich.

The body of the church is constructed in local gritstone, the porch is in shale, and the roof is of slate with a tile ridge. Its plan consists of a nave and chancel without any external distinction, a south porch, and a short north transept that was initially the stairway leading to the loft of the rood screen, and used later as a chimney. At the west end is a bellcote with a weathervane. On the gables to the north and east are crosses acting as finials, and supporting the west wall is a large buttress.

Interior seen through the late Gothic rood screen The current gothic church dates from the end of the 13th century, but was expanded in the 14th and 15th centuries.Church website In 1576-1577 a cannon was installed in the church tower, aimed at Vredenburg (castle) where the Spanish soldiers there were under siege by the Utrecht schutters. Around 1580 the church endured the protestant reformation and in 1586 it was formally handed over to the protestants, who whitewashed the wall decorations and removed the altarpieces. The tower bell was made by S. Butendiic in 1479, with a diameter of 182 cm.

Many of the windows in the north aisle seem to date to the late 15th century, implying another rebuilding in that area at that time, whilst wall paintings found in the nave during 19th century restorations probably also date to the 15th century. Around 1547 the churchwardens sold some of the church's communion plate and a property in Stratford to fund a rebuilding of the north chapel in brick, without the parish' permission - this included a turret for a stairwell into a rood screen on its north side. The Protestant Thomas Rose was made its vicar in 1552.

It was founded in 1721 by Lord Mihai Racovita Cehan, on the land of a church of the landowners Palade from the 17th century (a.1693). It suffered some transformations in the 19th century. Between 1850 and 1851it was boarded with Cararra marble, covered in board (initially in shingle), it was remade the interior painting and it was replaced the rood screen by the hegumen Chiril Strichide. As a result of the earthquake from 1940, the plat bands by stone of the doors and of the windows was replaced with the wood cadres, and the verandah has been closed between 1957 and 1959.

It is thought that this form of screen originated in monastic practice, providing a raised stage from which members of a religious communities could address pilgrims attending to venerate the church's relics, while still maintaining their monastic seclusion from lay contact. 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 closer was the pulpitum screen (which was attached to the choir stalls); the further was the rood screen, which had the altar of the Holy Cross attached to its western face.

She was buried here in 1965. The parish church of SS. Peter and Paul The old church, although structurally sound, was in poor condition when Marcon, with the help of architect John Dando Sedding, decided to move the church. The new church was a reproduction of the old one, apart from the tower, using much of the masonry and fittings (such as the font, rood screen, pillars and windows) from the original, which stood a mile west. Consecration took place in 1885 and the tower was built in 1907-09, with a clock added in 1921.

The current building is medieval, with the western end possibly dating back to the 13th century. However, the presence of 6th century inscribed stones, and the dedication to St Tanwg, suggest much earlier use of the site as a church, possibly dating to around 453 AD as part of Saint Patrick's work to establish links between Ireland and Britain. St Tanwg's was extended to the east, including a tall east window and the addition of a rood screen, in the 15th century. The church was restored in the 17th century when windows were rebuilt and changed.

Church of St Thomas of Canterbury The Church of England parish church of Saint Thomas of Canterbury is Norman, built early in the 12th century.Sherwood & Pevsner, 1974, p. 614. The bell-stage of St Thomas's bell tower was added in the 15th century and has a ring of eight bells,The Oxford Diocesan Guild of Church Bell Ringers, Reading Branch: Goring-on-Thames one of which dates from 1290. The rood screen is carved from wood taken from HMS Thunderer (1783), one of Nelson's fleet at Trafalgar.Christopher Winn: I Never Knew That about the Thames (London: Ebury Press, 2010), p. 77.

The tower is buttressed at each corner and has windows with decorative tracery, clock faces, a pinnacled upper stage and a stair turret in one corner. The architectural style is largely Perpendicular Gothic Revival, which was out of fashion by the 1850s, although there are some Decorated Gothic Revival elements. The architect Arthur Ashpitel, who worked extensively in Kent, was associated with Anglican evangelicalism; this may have led him to use the Perpendicular style, which was popular with that movement. Inside, the fittings date mostly from the late 19th century and include a rood screen and reredos by H.S. Rogers.

The canons made significant enhancements in the 14th century. The chancel was extended to the east; the choir, which was originally housed in the crossing, moved into the west end of the chancel and the rood screen, originally at the foot of the present chancel steps, was moved into the western arch of the tower. A north aisle was constructed and the two doors at the west end of the north aisle and the aisle windows were elaborately decorated. The height of the chancel was increased and decorated windows were added to the chancel and the aisle.

The octagonal font is made from local sandstone. It has been dated to around 1280. It was placed on a circular plinth during the 1894–95 restoration. The altar is made from wood taken from the rood screen which was taken down at the Reformation. The screen under the tower arch dates from the 17th century. A pew behind the pulpit is dated 1607. In the church are seven hatchments on the walls of the nave relating to the Bold family, dating from 1762 to 1840. The lectern and pulpit date from the 1894–95 restoration.

The church of St Mary and St Andrew The present day church dates back to the 13th century and has undergone many changes. Much of the building was restored in 1873 with a £1400 donation from the Twinings tea family. Of interest inside the church is the rood screen, dated 1528 and adorned with 12 panels depicting saints, and the elaborate Jacobean font cover.Norfolk churches Retrieved 18 March 2010 The reredos was erected in 1929 by John and Violet Spurrell in memory of their only son, John Francis Brabazon Spurrell, who was killed by buffalo at Kibaya, Tanganyika, in 1927.

The rood screen also dates from that time. The church only had modest wealth — its internal fittings were valued at £6.13s.4d. (£ as of ) in 1561 — and unusual fundraising activities were popular. Church ales — drinking sessions held in the church, at which the churchwardens sold beer to raise funds for its upkeep — were popular throughout the 16th century, and often proved to be uproarious occasions at which large quantities of luxurious food were eaten and various entertainers performed. An organ was installed in the late 16th century. Bells were hung in the tower by 1518, and there were five in 1533.

Towards the end of this period the employment of figures became less common as a means of decoration, and the panels were sometimes filled- entirely with carved foliage (Swimbridge, Devon). The upper part of the rood screen consisted of open arches with the heads filled in with pierced tracery, often enriched with crockets (Seaming, Norfolk), embattled transoms (Hedingham Castle, Essex), or floriated cusps (Eye, Suffolk). The mullions were constantly carved with foliage (Cheddar, Somerset), pinnacles (Causton, Norfolk), angels (Pilton, Devon), or decorated with canopy work in gesso (Southwold). But the feature of these beautiful screens was the loft with its gallery and vaulting.

Most of the new windows were square-headed, with Perpendicular tracery, and five have canopied image brackets in each reveal. A recess with a three-light window was built leading from the south-west corner of the chancel into an archway to the south aisle. The 15th-century south doorway, with moulded arch and head stops, retains part of its early door. In 1548 Somerset, the Lord Protector, acting on behalf of the boy king Edward VI, ordered that all imagery should be removed from churches, and by 1650 St Leonards had lost its rood screen and window statues.

He also points to the 13th-century chancel arch containing "most oddly, two plain Norman imposts", these too possibly previously placed elsewhere, a view supported by Cox. Above the arch are indications of the earlier chancel roof line, and on the chancel arch wall, above the pulpit on which is carved figure of John the Evangelist, is a small doorway to a former rood screen upper level loft. Within the chancel is a further arcade leading to the late Perpendicular north chapel. The Perpendicular west tower arch relates in style to the arcades and is edged with a quatrefoil frieze.

The church has been without permanent clergy since the early 1980s and has relied upon Non- Stipendiary ministry ever since. It is currently in interregnum, the last Priest In Charge, Rev David Hunter, a New Zealander having resigned the post in 2006. It is believed that the body of Napoleon Bonaparte's valet from his exile on St Helena is buried in the churchyard, however, parish records are incomplete and the brick vault is too weathered for identification. The interior of the church boasts some particularly intricate Tudor carved pew ends as well as a fine rood screen now moved to the tower.

In the tower arch is a 15th-century rood screen. The nave contains the Scrope family pew with a 17th-century front and, at the back is a carved parclose screen from the early 16th century, that was moved from Easby Abbey at the Dissolution. The nave also contains 17th-century benches and box pews from the 18th century, an 18th-century double-decker pulpit, and an octagonal font dated 1662 with a cover wooden cover surmounted by a pineapple finial. On the walls are memorials, and on the north wall are fragments of (14th Century) medieval wall paintings discovered during 1927-1928.

The writer Simon Jenkins describes it as "exquisitely wrought". In addition to the rood screen, the church has a significant collection of wall paintings. They comprise four groups: a Stuart Coat of Arms which the Royal Commission on the Ancient and Historical Monuments of Wales considers are those of James I; two groups of Biblical texts, including the Lord's Prayer, the Decalogue and the Apostles' Creed; and a "Doom Figure" of Death as a skeleton with an hourglass in his left hand and a knife in his right, which dates from the 17th century. The church is a Grade I listed building.

The stained glass in the clerestory was designed by Frederic Shields and made by Heaton Butler & Bayne, the rest of the stained glass was to Waterhouses's design and was executed by F.T. Odell. Internal decoration was executed by Watts & Co.. The polished granite for the monolithic nave columns was provided by G & J Jenning. The stone carving was by Thomas Earp that included the marble and alabaster rood screen that supports four marble statues of the Four Evangelists, reredos and sedilia. The sanctuary walls are clad in pale green and grey marbles, this and the other marble work was provided by W.H. Burke.

The chancel was entirely rebuilt, the tower was made higher and the porch was built. The aisles were widened, given new windows, and extended westwards to flank either side of the tower. A rood screen was installed between the chancel and nave. The chancel and high altar were dedicated in 1326, which may therefore have been the year that the remodelling was completed. The high- pitched 13th century nave roof was replaced, probably later in the 14th century, with a Perpendicular Gothic clerestory and low-pitched roof. The architect Richard Pace designed St Andrew's Rectory, which was built in 1813.

Salhouse All Saints church, which is thatched and believed to date mainly from the 14th century (little remaining of an older chapel on the site), stands on a hill beside the Salhouse-Wroxham Road (B1140). The church contains among other features an oak rood screen, a unique sacring bell which hangs in the chancel and dates from the reign of Queen Mary, and two coffin lids discovered under the nave floor in 1839 and dated to the 13th century. There is also a red brick Baptist church in Chapel Loke, off Lower Street, which dates from 1802.

Among the buildings of the town is the Sainte Cécile cathedral, a masterpiece of the Southern Gothic style, built between the 13th and 15th centuries. It is characterised by a strong contrast between its austere, defensive exterior and its sumptuous interior decoration. Built as a statement of the Christian faith after the upheavals of the Cathar heresy, this gigantic brick structure was embellished over the centuries: the Dominique de Florence Doorway, the 78 m high bell tower, the Baldaquin over the entrance (1515–1540). The rood screen is a filigree work in stone in the Flamboyant Gothic style.

Two fragments of a carved wooden crucified Christ, a head and a foot, were found in 1915 concealed in a wall of the village church. The crucifix was probably hidden at the time of the Reformation but mostly disintegrated due to the damp. Part of a crucifix that dates from the 12th century, it is one of very few early-medieval wooden sculptures of Christ extant in England, and would have been part of the 'rood' that stood above the rood screen that separated the nave of the church from the chancel. The original carvings were purchased by the British Museum in 1994.

In recent years, due to pressure on the school administration, it is usually impossible to hold the May Garland Service on May Day so it is held either in late April or later in May. In 1846 the Gothic Revival architect GE Street re-roofed the church and restored the north wall. In 1889 the rood screen and loft were restored. St Mary's has never been over-restored, and its Decorated and Perpendicular mediaeval character has survived almost intact. By 1553 the bell tower had five bells plus a Sanctus bell, but all have since been recast or replaced.

The Baroque high altar contains a painting representing Christ on the cross attributed to the Antwerp painter Erasmus Quellinus II.Calvarie met Maria-Magdalena toegeschreven aan Erasmus Quellinus II The side altars are portico altars and contain the Baroque paintings Assumption and Coronation of Mary and the Finding of the Cross, both by Anton Goubau.Piet Lauwers De Sint-Pieters-Bandenkerk van Beringen een schrijn vol kostbaarheden in : Kiosk, december 1996, jaargang 2, 4de nummer, pg. 6 The rood screen is neogothic. The organ was manufactured in 1853 by Henri Vermeersch from Duffel and is the largest organ built by Vermeersch in Belgium.

The reredos of 1915, the rood screen and the east windows of the chancel and transepts are by Sir Ninian Comper and Squire Stott. In the north transept are murals of the Annunciation and Purification, fragments of the Medieval screen. Still visible on the south wall is evidence of stone benches for the old and infirm, dating from when most of the congregation would stand during the parts of the service that did not require kneeling. There are Medieval benches at the back of the nave: "their poppy heads ringed with the chains of shepherds' dogs".

Church of St Peter, St Paul and St Thomas of Canterbury Original paintings of apostles and prophets on the wainscot of the rood screen, restored by Anna Hulbert, dated to the early 16th century The town has over a hundred listed buildings. The parish church, at the top of the town, is grade I listed. It has a tower dating from the 14th century, many 15th-century carvings including three misericords, and a screen described by Arthur Mee as "one of the finest in this county of fine screens".Mee, A. The King's England:Devon (Hodder and Stoughton, 1965), p.47.

Most of the new windows were square-headed, with Perpendicular tracery, and five have canopied image brackets in each reveal. A recess with a three- light window was built leading from the south-west corner of the chancel into an archway to the south aisle. The 15th-century south doorway, with moulded arch and head stops, retains part of its early door. In 1548 Somerset, the Lord Protector, acting on behalf of the boy king Edward VI, ordered that all imagery should be removed from churches, and by 1650 St Leonards had lost its rood screen and window statues.

The rood screen dates from the 15th century and was decorated in 1853 when the images of saints were added along the lower panels. The font is 15th century but had a wooden cover made in 1843 by Charles Finch, the parish clerk. In 1853, John Aggett carved the granite pulpit and lectern. He also carved the reredos in 1868 which was originally installed in Chagford church. In 1863 the rector, Arthur Whipham, submitted a petition for divorce from his wife on the grounds of her alleged adultery with Philip Rowe, a farmer’s son from Berrydown farm, Gidleigh.

This is Pugin's only intact and essentially unaltered building in Australia. In its layout and permanent liturgical furnishings: piscina, sedilia, Easter sepulchre recess, provision for a Doom painting (the designed rood screen appears not to have been erected)-it is a comprehensive expression of his ideal for the revival of a small English medieval village church. It is one of only two such intact churches of Pugin's with this typology and these furnishings worldwide, the other being Our Lady and St Wilfrid's Church, Warwick Bridge, Cumbria. It is the only Australian church with an Easter sepulchre recess and provision for a Doom painting.

The rood screen was reconstructed by John Oldrid Scott in 1875 and incorporates parts of the fifteenth-century screen. The twentieth-century additions included four modern stained glass windows, the decoration of the chancel ceiling by Stephen Dykes Bower, rebuilding and re-siting the organ, the shop and visitor centre, and a vestry on the south side of the chancel. In 2013 the main entrance was relocated to the west door and an internal glazed porch was fitted. At the same time, a new stone floor was laid and the steps were removed from the font.

Features of interest include the fine font which is of the St Ives type dating from the 14th-century and the rood screen which has curious carvings at the base. Much of the church was restored in 1881 by the architect J D Sedding and the contractor, Mr Bone of Liskeard. A report in The Cornishman newspaper stated, > There was nothing striking about the old Church except its hoary and > depressing appearance. It contained a few pieces of good carved work, which > doubtless will be utilized in the restoration, but very few other specimens > of art.

Edward Burne-Jones, one of the leading stained glass artists of the late nineteenth century designed the stained glass window which was installed in the east wall using glass manufactured in London. Across the rear of the nave the decorative screen created a baptistery and vestry. By 1910 the rood screen had been erected and the present altar installed and enhanced with a reredos. Some years later the reredos was augmented with panelling across the east wall and the remaining two windows in the side walls filled with stained glass, a memorial to the men from the parish who'd given their lives in World War I. Electricity was connected in 1928.

The interior of the chapel has a remarkable chancel separated from the rest of the church by an oak rood screen ("poutre de gloire") in the Renaissance style and on the top of this screen is a depiction of the crucifixion. The chancel also holds a frieze of panels separated by caryatids representing the twelve Sibyls and the twelve apostles. On either side of the chancel entrance which leads on to the choir are two granite tables on which worshippers could deposit their offerings to Saint Herbot (often tuffs of hair from their cattle). The choir itself has fifteen stalls dating from 1550 to 1570 each with misericords.

These larger panels hold two images, the first of Thomas the Apostle with a set-square and Philip the Apostle with a Latin cross and the second Bartholomew the Apostle with a knife and Matthew the Evangelist with a lance. The last four panels depict James the Lesser with a St Laurent's stick, Simon the Apostle with a saw, Matthew the Evangelist with a book and halberd and Judas Iscariot with an épée. Further panels include images of people playing the harp and viola or holding an anchor and another crossing water. On top of the rood screen is a depiction of the crucifixion.

Recently, the fine carved Medieval rood screen from the old church at Newtown, that had been moved to St David's Church, was moved again to Llanllwchaiarn. Further restoration work, which included the eastern extension of the chancel and vestry and the insertion of the bench seating, was completed by R.J.Withers in 1865 at a cost of £460. The original east wall of the church was cut through and the plain yellow sandstone chancel arch erected; the stonework was designed and executed by Edward Jones of Newtown. The round headed windows were also altered to the Gothic style and stained glass windows have been inserted, including one by Morris & Co.

In church architecture the rood, or rood cross, is a life-sized crucifix displayed on the central axis of a church, normally at the chancel arch. The earliest roods hung from the top of the chancel arch (rood arch), or rested on a plain "rood beam" across it, usually at the level of the capitals of the columns. This original arrangement is still found in many churches in Germany and Scandinavia, although many other surviving crosses now hang on walls. If the choir is separated from the church interior by a rood screen, the rood cross is placed on, or more rarely in front of, the screen.E.g.

Beyond this, the nave has an arch-braced roof, aisles on both sides and a three-part arcade—a layout favoured by George Fellowes Prynne. The side arches lead to a Lady chapel (attached to the south side of the chancel) and a vestry. The gable end of the chancel roof has a bellcote. Fittings include a wrought iron rood screen attributed to Fellowes Prynne, a stained glass east window of the early 20th century, small stained glass windows in the Lady chapel inserted in 1949–50, and a version of the Madonna of the Magnificat painted by the architect's brother Edward A. Fellowes Prynne.

Apart from the hammerbeam roof, there is little original wood work in the nave; a few benches in the aisles, the fleur-de-lis-decorated beam supporting the rood, and two panels of the rood screen. The chancel retains four of its original choir stalls with their misericords, which are decorated with head and leaf motifs on the arms. St Nicholas benefited from sympathetic restoration in the late 19th and early 20th century. The new stalls and misericords match the style of the old, and the 1886 pulpit echoes the font, with the Instruments of the Passion on the stone stand, and the twelve Apostles carved on the woodwork.

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.

Wagner's mother, father and aunt are all commemorated in the designs, along with some important members of Brighton's Anglican community and other figures. Alterations in 1861 included the construction of a narthex at the western end, additions to the rood screen between the chancel and the nave, and a reredos designed by Edward Burne-Jones, whose career as an artist was just beginning at this time. The reredos was designed as a triptych; in its central panel, depicting the Adoration of the Magi scene, one of the Magi is a representation of William Morris, the artist, writer and socialist activist: Morris and Burne-Jones were friends and artistic collaborators.

On the right is the standing figure of Christ in memory of Robert Foster, who died in 1899 and his wife Margaret Haldane who died in 1904. The last of the important windows is in the east transept and was donated by the congregation in memory of those who fought and fell in the First World War. This window is referred to at the Regimental Window and the various armed services are represented in this remarkable piece of workmanship. There used to be a rood screen to separate the nave from the choir, but it was eventually removed to provide ceiling decorations towards the top of the centre aisle.

The village is well known for its large and hugely successful annual summer fete - held either at Great Wratting Hall (sometimes also referred to as The Hall) or Rook Tree Farm on the first Saturday in June. A local silver band plays all afternoon and people attend from miles around. The village also has a well attended carol service and festival of readings on the Friday before Christmas. The flint walled church is Saxon in origin, its interior Victorian but with a wooden rood screen which was possibly put in by W H Smith of book-selling fame (once a resident of Little Thurlow Hall).

The village church, dedicated to St Leonard, is built of granite and dates from the 15th century, though a chapelry was first documented here in 1240. The church contains a fine rood screen which was reconstructed in 1914 by the then vicar Hugh Breton from drawings made of the original that had been removed in a 19th century restoration. Buried in the churchyard are James Brooke, Charles Brooke and Charles Vyner Brooke, the three White Rajahs of Sarawak, as well as Bertram Willes Dayrell Brooke, another member of the family. The graves of the Rajahs have been designated Grade II listed monuments by English Heritage.

The only written record of the interior is from 1746 in which the wives of justices and vestrymen were assigned a box pew in the northern corner of the chancel and young women of the parish were assigned their former pews. There is one original baluster (the second from the left end on the altar rail).Upton 242: He asserts that the baluster and the reproductions are placed upside down throughout the building. The rood screen is based on footings discovered in the 1950s while the sounding board, that is 17th- century in origin, was found in 1894 in a barn at Macclesfield, a nearby plantation.

One of these bells bears the Latin inscription EGO ME PRECO SE CLAMANDO CONTERIMUS AUDITE VENITE (i.e. Ego me, praeco se clamando conterimus; audite, venite − "I wear myself out, as the town-crier wears himself out, by clamouring; give ear [and] come".[Anon.] Guide to the Parish Church of St. Mylor (no date) (leaflet available in the church), Features of interest include 13th-century carving of the Crucifixion outside the north transept, a 15th-century pillar piscina and the Elizabethan pulpit. The well preserved rood screen has the painted inscription in Cornish: "IARYS IONAI JESW CREST" (explained as a corrupt repainting of "MARYA JOHANNES JESUS CHRIST", i.e.

The cathedral has retained little of the old furnishings as in 1742 the cathedral chapter decided to get rid of all the old bishop's tombs and relaid the choir paving and in 1793 the rood screen which had separated the choir from the nave was demolished and was replaced by an iron grill on the orders of the zealots of the revolution. Samson was born in Wales at the end of the 5th century. He became a monk and was the superior of a monastery in Caldey. He moved to Ireland and in around 548 made the journey to Armorica with several colleagues and founded a monastery there.

Operation Icarus was launched in 2013 by West Mercia Police (WMP) following the recovery by the Metropolitan Police Service (MPS) of several stolen religious artefacts. The MPS had received information from HM Revenue and Customs relating to the illegal importation of a gorilla's head by an art collector in South London. When police confronted the collector they also found two 15th century decorative oak panels and a 13th-century stone memorial. The oak panels, depicting St Victor of Marseille and St Margaret of Antioch, were identified as priceless parts of a medieval rood screen from Holy Trinity Church, Torbryan, Devon, and had been stolen in August 2013.

The crucifixion of William depicted on a rood screen in Holy Trinity church, Loddon, Norfolk Thomas of Monmouth arrived in Norwich around 1150. He decided to investigate the murder by interviewing surviving witnesses. He also spoke to people identified as "converted Jews" who provided him with inside information about events within the Jewish community. He wrote up his account of the crime in the book The Life and Miracles of St William of Norwich. In Thomas of Monmouth's account, of the murder he writes that “having shaved his head, they stabbed it with countless thornpoints, and made the blood come horribly from the wounds they made. . .

It also incorporates elements from other Christian periods including chancel mosaics, a baptistry, and the Siena-marble altar each in the Byzantine style, and a Spanish-baroque rood screen. The Norman-style bell tower has 119 steps, and a carillon with 49 bells–one of the largest in the country. The entire parish complex is made up of a cemetery, rectory, great hall and parish house, in addition to the Church, and is known to have at least two secret passageways still in use, concealed behind bookcases and in cloisters connecting the various parts of the property. It was consecrated on November 2, 1911, by the Rt. Rev.

The rood screen that separates the chancel and Raleigh Chapel from the nave and South aisle has lost its coving and cresting while the spandrels have been filled with a variety of remnants from the missing pieces. The panels in the lower section once depicted the Apostles some of which have been restored to something like their original appearance. These images were added to the screen at the expense of Thomas Martyn who, when he died in 1510, left a legacy in his will for this purpose. Sometime later the images were obliterated with lime wash and red and green paint, while in Victorian times they were over-stained in brown.

Somerleyton Hall in 360 degree views with article Panoramas of attractions by county - Suffolk. BBC website. Retrieved 20 January 2013 Its isolated church in a nearby field has seven stained glass windows depicting models of devotion, a fifteenth century tower and twelve low medieval panels which have survived the English Reformation (break from the Catholic Church) to be re-incorporated into an elaborate rood screen -- an ornate pierced framework spanning the building between the chancel and the nave. Its industrial history centres on a former brickworks and the commercial boatyard run by Christopher Cockerell during his invention of the hovercraft commemorated by a round column monument built in 2010.

Perhaps the most remarkable features of the church are the ornate rood screen, misericords and stalls which were transferred to the church from Chirbury Priory in Shropshire after the Dissolution of the Monasteries in the 16th century. The south transept shows evidence of Montgomery's close association with the Herbert family. The centrepiece is the Elizabethan era tomb or church monument to Richard Herbert (died 1596) of Montgomery Castle, father of poet and Anglican divine George Herbert. This association is recalled in a memorial poem to a well-known local man J. D. K. Lloyd, who wrote this poem after the style of George Herbert.

In 1874 Connop Thirlwall, the Bishop of St David's, resigned the see and Jones was appointed as his successor by Prime Minister Benjamin Disraeli. His selection is believed to have been influenced by his scholarly work, his proven history as a clerical administrator, his past association with the Diocese of St David's and his ability, although limited, to speak Welsh. Jones in his earlier life had shown an interest in St David's Cathedral, raising a fund while at Oxford University for the restoration of the rood screen. He had also, along with his friend Edward Augustus Freeman, undertaken in writing an in-depth history of the cathedral.

The façade carving by Maene's shop featured the newspaper's logo: a globe with wings, in high relief over the main entrance. Maene modeled a portrait medallion of Pauline Elizabeth Henry (1907), for the Memorial Church of St. Luke the Beloved Physician in Bustleton, Philadelphia.Journal of the Convention of the Protestant Episcopal Church in the Diocese of Pennsylvania, Volume 123 (Philadelphia: John C. Winston Co., 1907), p. 244. Architect Herbert J. Wetherill altered the interior of Grace Episcopal Church, in the Mount Airy section of Philadelphia, 1908-09. Executing Wetherill's designs, Maene carved the white marble altar, reredos and a 23-foot (7 m) tall rood screen.

Between 1889 and 1890, the chancel arch was given intricate carved decoration by sculptor Thomas Earp, and a craftsman from Ghent provided an ornate rood screen. W. H. Romaine-Walker designed an "exceptional" alabaster and marble pulpit with a double staircase around the same time. He had also been responsible for the vestry and other general refitting in the church. London architect Henry Ward, who moved to Hastings and carried out most of his work in the town, was responsible for an unusual miniature Lady chapel (formed out of the base of the organ chamber) and some work on the doors and windows at the start of the 20th century.

The 13th-century clerestory was given a new roof on stone corbels late in the 15th century. Also in the 15th century, a wooden tympanum was inserted in the 14th-century chancel arch and a Doom was painted on it, spreading over the upper part of the east wall of the nave. A rood screen was added to the chancel arch in the same period. It has since been removed, but stone stairs to it survive on the south side of the arch next to the south chapel. The tower is believed to have been remodelled in the late 15th or early 16th century.

The mainly 15th-century parish Church of St Andrew in Banwell, Somerset, England, is a Grade I listed building. The body of the church has a nave with a clerestory, north and south aisles and a rather short chancel, considering the proportions of the rest of the church. The font dates from the 12th century and there is a carved stone pulpit from the 15th century and a carved rood screen built and set up in 1552, which escaped the Reformation. The 100 ft (30 m) high tower, which dates from around 1417, contains ten bells dates from the 18th to 20th century and the clock is dated 1884.

St Andrew's Church The mainly 15th-century parish church of St Andrew is a Grade I listed building. The body of the church has a nave with a clerestory, north and south aisles and a rather short chancel, considering the proportions of the rest of the church. The font dates from the 12th century and there is a carved stone pulpit from the 15th century and a carved rood screen built and set up in 1552, which escaped the Reformation. The 100 ft (30 m) high tower that contains ten bells dates from the 18th to 20th century and the clock is dated 1884.

The chancel arch dates to about 1340 and is similar in design to the tower arch but is more finely moulded, while the chancel's wagon roof is 19th century.Doubleday, A.H., The Victoria History of the County of Hertford, (1923)Nikolaus Pevsner and Bridget Cherry, The Buildings of England: Hertfordshire, (1977) The chancel arch shows traces of where at one time a rood screen was fixed across the archway, but this was presumably destroyed centuries ago. The large and undecorated baptismal font is 14th or 15th century in date and has shields carved in the recesses on its shaft. The communion rails are 17th century with square tapering balusters.

The church is named after St Wilfrid and is the second church to be built on the site, the earlier being constructed of wood. The church was thought to have been built in 1350; but in the early 21st century, one corner of the building was found to date back to 1289. The tower was rebuilt between 1525 and 1535, and Sir Gilbert Scott led an extensive restoration of the building in 1867. Included within the church are a 14th-century rood screen dividing the chancel from the nave, a Jacobean pulpit, traces of 16th-century glass within the stained glass windows, and a 17th-century tomb within the chancel.

Piazza Santa Maria Novella Giorgio Vasari was the architect, commissioned in 1567 by Grand Duke Cosimo I, for the first remodelling of the church, which included removing its original rood screen and loft, and adding six chapels between the columns. An armillary sphere (on the left) and a gnomon (on the right) were added to the end blind arches of the lower façade by Ignazio Danti, astronomer of Cosimo I, in 1572. The second remodelling was designed by Enrico Romoli, and was carried out between 1858 and 1860. The square in front the church was used by Cosimo I for the yearly chariot race (Palio dei Cocchi).

In 1222, Pope Honorius III authorized the establishment of an autonomous church, which was devoted this time to St Etienne, then the patron saint of the old cathedral of Paris."Historical account" Saint-Etienne-du-Mont The nave, showing the rood screen, pulpit and ceiling details The organ Soon, the new building was overwhelmed by an increasingly dense population: the Sorbonne and many colleges were located on the territory of the parish. It was enlarged in 1328, but a complete reconstruction became necessary from the 15th century. In 1492, the nearby Génovéfain monks donated a portion of their land for the construction of the new church.

Today the church is characterized by its curved axis of the nave to the transept, the rood screen (the sole surviving example in Paris) of finely carved stone by Father Biard (1545), his chair designed by Laurent de La Hyre and sculpted by Claude Lestocart and its organ case (1631) (the oldest in the capital). The church also contains the shrine containing the relics of St. Genevieve until 1793 (when they were thrown in the sewer), the tomb of Blaise de Vigenere, of Blaise Pascal, of Racine, and Mg Sibour. Huysmans described it in the Connecting (1895) as one of the most beautiful churches in Paris.

Several have the remains of the original glass in them at the top; unfortunately they were damaged during the Civil War and the main pictures (probably of saints) were removed. The chancel was built at the east end of the original nave, with a wooden rood screen separating it from the nave. Most of the screen remains in its original form, but the doors have been repaired over the years and new wood incorporated. An unusual feature is a quatrefoil (four leafed clover) hole in the screen, which is believed to have been used for confessionals (in those days, all churches were Roman Catholic).

The church is made of yellow and pink sandstone and was built in the Romanesque and Gothic styles, with Neo-Gothic additions. The oldest part of the building, the transept, dates from the second half of the 11th century; the nave is from the 12th and 13th century and displays both late Romanesque walls and early Gothic side portals; the choir is in late Gothic style. Work on the building both outside and inside continued until 1508; however, the twin-towered façade remained unfinished. A rood screen that had been built around 1300 was demolished in the 18th century and only two lateral staircases remain.

Abbey Church, interior The present-day Romanesque abbey church at the northern foot of the Mönchsberg was erected from about 1130 onwards at the site of a previous Carolingian church building, it was dedicated to Saint Peter in 1147. One of the organs had been built on the rood screen in 1444 by Heinrich Traxdorf of Mainz. While the steeple received its onion dome in 1756, the interior, already re-modelled several times, was refurbished in the Rococo style between 1760 and 1782 under Abbot Beda Seeauer by Franz Xaver König, Lorenz Härmbler, Johann Högler, Benedikt Zöpf and others. The high altar is a work by Martin Johann Schmidt.

The parish church of St Mary originated as part of the Benedictine priory founded by Richard de Clare in the 12th century. The northern aisle of the convent church was added in the 13th century for the use of the town's residents, and after the Dissolution of the nunnery in 1536 the nave was also incorporated as part of the parish church. The original 12th century crossing remains, as does an original font. Most of the structure derives from the 14th century, although the two porches and the notably fine rood screen date from the 15th century and were probably built for William Herbert, Earl of Pembroke, who was constable of the castle.

First built at the end of the 9th century, Giuseppe Maria Capece Zurlo added two marble staircases to the altar and to the crypt. Under the altar are the relics of Castus, first Bishop of Calvi.The whole building was paved with painted maiolica tiles in 1778 and a year later paintings by Angelo Mozzillo were added to the sacristy, showing all the bishops of Calvi surrounded by Pompeii-style floral motifs. Towards the end of the first half of the 18th century, the Romanesque church was modified in the Baroque style, with robust pillars replacing columns, a coffered vault added to the original ceiling and a marble inlay rood screen added to split the choir from the nave.

The Monmouthshire writer and artist Fred Hando describes the church chancel as an example of a "weeping chancel", where the non-alignment of the nave and chancel axes was deliberate and was intended to represent the body of Christ in death, the nave standing for the body and the chancel standing for the head, fallen to the right. The rood screen is a "remarkable work of craftsmanship". The church's windows are 16th century and the communion rails date to the 17th century. A number of 18th and 19th century funeral monuments within the church were constructed by three generations of the Brute family of the distant village of Llanbedr, near Crickhowell, Powys.

1520 and 1540. This included insertion of a carved and painted oak rood screen dividing the Nave from the Chancel and the South Aisle from the Lady Chapel. A parclose screen was provided between this and the Chancel, while a Hagioscope or Squint was cut into the north wall of the Chancel to enable worshippers in the North Transept to view the celebration of mass in the Chancel. In 1553, four bells were recorded, at least two of which had probably been there since the 15th century when the tower was built, with the number being made up to four, probably in the early-mid 16th century when the tower was heightened.

The church holds several "Enfeus", these being fireplace-like structures which indicate the presence of tombs behind the wall where they appear. The church has a fine oratory and, apart from John the Baptist's finger, possesses a silver reliquary dating to the 16th century said to contain the head of Saint Mériadec and another said to contain the arm of Saint Maudet. On 5 November 1955, the church suffered a major fire and several priceless works of Breton art were lost, including the altarpiece on the main altar dating to 1670 and the altarpieces by Lespaignol dedicated to Saint Mériadec and Saint Elizabeth dating to 1723. A rood screen ("poutre de gloire") dating to 1571 was also lost.

Interior of the church and Rood Screen south wall stations of the cross and lectern Associated with the vigour of St. Cuthbert's was a policy of beautification, which proceeded without a pause from 1887 until 1914 and turned an impressive but unoriginal building into a monument to turn-of-the- century AngloCatholic taste. Several architects and many craftsmen, professional and amateur, were involved in the process. The more elaborate jobs were entrusted to skilled professionals such as Bainbridge Reynolds, the clergyman-designer Ernest Geldart and the architect J. Harold Gibbons. But in addition the church's supporters organized themselves into 'guilds' which took on manifold decorative tasks in the Arts- and-Crafts spirit.

At the lower part is a late 19th-century wooden rood screen of Perpendicular style, of three sections--voided in the centre section and void above with panelling below in the outer, and tracery above in all, the top line with crenellations. The chancel and both side chapels are separated by screens of the same style and date, and include openings to the north and south chapels. Sited at the face of the screens within the chancel, and part of the same design, are choir stalls of mirror repeat. Behind the screens are chapels, north and south, each defined by two Perpendicular chancel bays, the north with heavily moulded arches, the south double-chamfered.

Between 1956 and 1960 St Peter's underwent further restoration in which the tower and nave were re-roofed. St Catherine's Chapel and the nave were refurbished and a large mural of the Ascension by Burrows which covered the wall over the tower arch was painted over. The church was also substantially re-ordered, and the high altar and sanctuary area brought forward under the tower crossing. The wooden 15th-century rood screen which separated the nave from the crossing was painted and gilded in a medieval style, and a set of twelve carved figures which had been added in the early 19th century were also painted and mounted higher up the screen.

In 1560, the rood screen of the nearby St. Martin Vintry was dismantled and fashioned into pews for St. James. At the same time, the choir was provided with song books. Another change introduced under Henry VIII was the order that all parishes in England were to maintain a weekly register of births, deaths and marriages. The oldest surviving registers are those of St. James, the first entry being the baptism of Edward Butler on 18 November 1535. St. James was repaired and expanded several times during the first half of the 17th century – the north aisle being rebuilt in 1624"The City Churches" Tabor, M. p75:London; The Swarthmore Press Ltd; 1917 and a gallery added in 1644.

St Leonard's Church From a distance the village is dominated by the parish church of St Leonard, with its characteristic "Hertfordshire Spike" spire. St Leonard’s (Church of England) is believed to stand on the site of a ninth-century Saxon chapel, though the oldest parts of the present structure date from around 1140. Features of interest include mediaeval wall paintings, the Saunders Memorial of 1670, and a fine fifteenth century rood screen. The village also has a Methodist church, Other notable buildings in Flamstead include the almshouses in the High Street, built in 1669; the Three Blackbirds pub opposite (one of three in the village), partly dating from the sixteenth century; and several attractive cottages of similar age.

Before his death in 1907, he provided seven windows for the church; he also designed a rood screen for the chancel, which was carved in the German village of Oberammergau. (The village, famous for its woodcarving tradition, also supplied an intricately carved reredos to St Martin's Church in Brighton's Round Hill district.) There are other painted and stencilled panels from the 19th century throughout the church, representing various Biblical scenes. The reredos was also designed in the late 19th century, and depicts various figures including St Richard of Chichester. View across the churchyard from the southwest, showing the yew tree by the entrance door A chapel was built on the south side in 1907.

The chancel, the roof of which is a little lower than that of the nave, is 8.4 metres in length and 6.4 metres in breadth. Inside it is spacious and well-maintained with an attractive wrought iron screen dividing the naïve from the chancel and two fine Stained glass windows which admit a flood of variously tinted light. The one at the east end bears a representation of the ascension of Jesus and is dedicated to the memory of Ann Blackburn of Hayton Castle, to whose memory was also erected the rood screen. The west window was inserted by Joseph Hetherington, which he dedicated to the memory of his wife and three children.

It was heavily remodelled in the "Gothick" style in 1834 by Frederick John Monson, 5th Baron Monson, essentially as his private chapel and a showcase for his collections. Its contents include a fine 15th-century rood screen, brought from another unidentified English church. In 1930, stones from the structure were removed by Sir Jeremiah Colman (1st Bart.) and the contemporary rector of Gatton and given to Colorado College of Colorado Springs, Colorado in the United States to be incorporated into the structure of the Eugene Percy Shove Memorial Chapel in honor of the donor's ancestor, Edward Shove, who was rector of Gatton from 1615 to -46. The church is adjacent to the Royal Alexandra and Albert School.

St Denys' remains an active parish church. The church is a Grade I listed building, a national designation given to "buildings of exceptional interest". It is a prime example of Decorated Gothic church architecture in England, with the architectural historians Sir Nikolaus Pevsner and John Harris noting that "it is a prolonged delight to follow the mason's inventiveness".. The church's tracery has attracted special praise, with Simon Jenkins arguing that its Decorated windows are "works of infinite complexity". Built out of Ancaster stone with a lead roof, St Denys' is furnished with a medieval rood screen and a communion rail, possibly by Sir Christopher Wren, and has a peal of eight bells, dating to 1796.

To the west, under the tower, were the monks' choir stalls where they sat during services, and further west was a pulpitum or rood screen, which blocked access to the ritual areas of the church. In the nave, the lay brothers had their own choir stalls and altar for services. The monks of Netley kept up a schedule of services and prayer both day and night following the traditional canonical hours; a staircase in the south transept went up to the monks' dormitory, allowing them to convenient access to the night services. The lay brothers had their own entrance to the church at the west end via a covered gallery from their accommodation.

The first additions to the structure came in the 15th century, when a tall tower was added at the western end, the windows in the nave were enlarged and a rood screen was installed between the chancel and the nave. The nave roof was also rebuilt at this time, and the earliest surviving memorial carvings and stones in the church are also 15th-century. By the 16th century, Crawley's development into a thriving market village meant that its parish was much more important than that of Slaugham, and the connection between their two churches was legally severed. At least 150 people regularly attended the church, but its income was modest and priests frequently moved on to richer parishes.

St Michael the Archangel slaying a dragon. Below are displayed the armorials of the Courtenay family, Earls of Devon, sometime lords of the manor, worn away with only the supporters of a boar (dexter)and dolphin (sinister) still visible Most of the fabric of the parish church of St Michael and All Angels originates from the 15th century, including the rood-screen. The north aisle screen is of a different style and design and possibly comes from another church, whilst the screen at the base of the tower was put together from the remains of the 1625 Jacobean gallery, demolished in 1875. Saint Apollonia was depicted on one of the panels but this has been badly disfigured.

Despite the rotonda and portico being named as historic monuments in 1956, the church was in a poor state due to the two World Wars, storms and the first effects of car air- pollution. An urgent intervention project was launched on the 150th anniversary of the nearby Battle of Waterloo in 1965, with British help and led by the descendants of soldiers who fought there. The architect Albert Degand was put in charge of removing the 19th century additions which spoiled the structure, such as the rood screen, commemorative plaques, and the coatings covering the stone. The renovation was completed in 1972 and consecrated the division between the royal chapel and the body of the church.

The crucifixion of William as described by Thomas, depicted on a rood screen in Holy Trinity church, Loddon, Norfolk Thomas heard from a converted Jew named Theobald of Cambridge that every year there is an international council of Jews at which they choose the country in which a child will be killed during Easter. This is because a Jewish prophecy says that the killing of a Christian child each year will ensure that the Jews will be restored to the Holy Land. Monmouth claimed that in 1144 England was chosen, and the leaders of the Jewish community delegated the Jews of Norwich to perform the killing. They then abducted and crucified William.

The area under the tower has made into the Chapel of the Holy Rood and contains a reredos, an altar and a credence table which were adapted in 1978 from a rood screen of 1890 by Bodley which was taken from Dunstable Priory. The pulpit and the octagonal font were both designed by Bodley, as were the richly painted screens (again with panels by Kempe). The stained glass in the east window and the south window in the chancel is by Morris & Co.; some of the windows elsewhere are by Burne-Jones. In the church is a brass memorial dating from 1926 by Hare which consists of a life-size figure of Rev.

In the 1960s a number of the fittings, including Pugin's screen, were removed and the interior repainted, to the detriment of the original design. The rood screen was rescued by an Anglican priest, who had it re-erected in the Anglican Holy Trinity Church, Reading. Other artefacts were removed to other churches, including the giant rood crucifix, which after its removal to the Church of the Sacred Heart & St Therese, in Coleshill, was reinstated in the cathedral within the Sanctuary on the instructions of Archbishop Maurice Couve de Murville. The Cathedral as it appears today is a result of post-Vatican II renovations and re-orderings, with only some of Pugin's work surviving.

There are some elderly villagers who remember this still happening before the Village Hall was built in the 1920s. When the new glass screen was being installed during the recent refurbishment of the Colte Chapel, it was necessary to knock a hole in the north wall just inside the chapel to take a heavy steel beam. To the surprise of the workmen, the hole did not come through to the exterior, but into a cavity with an ornate carved roof above. The Diocesan Archaeologist was sent for, and he identified the cavity as a rood staircase, which had originally enabled people to go up to a gallery on top of the rood screen.

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.

St Materiana depicted on the church banner at Minster, Cornwall The rood screen of St Materiana's Church, Tintagel (on the left is the banner portraying St Materiana, designed by Sir Ninian Comper) The mother church of Boscastle is Minster, dedicated to St Materiana, located in the valley of the River Valency half-a-mile east of Boscastle at . The original Forrabury / Minster boundary crossed the river so the harbour end of the village was in Forrabury and the upriver area in Minster. The churches were established some time earlier than the settlement at Boscastle (in Norman times when a castle was built there). The Celtic name of Minster was Talkarn but it was renamed Minster in Anglo-Saxon times because of a monastery on the site.

Although this has been the site of a cathedral (a church that is the seat of a bishop) since the fourth century, the present building was begun under Arducius de Faucigny, the prince-bishop of the Diocese of Geneva, around 1160, in Gothic style. The interior of the large, cruciform, late-gothic church was stripped of its rood screen, side chapels, and all decorative works of art, leaving a vast, white-washed interior that contrasts sharply with the interior of surviving medieval churches in countries that continued to be part of the Roman Catholic Church. A Neo-Classical main facade was added in the 18th century. In the 1890s, Genevans redecorated a large, side chapel adjacent to the cathedral's man doors in polychrome, gothic revival style.

The Domesday survey recorded that Durrington had "a church, eight acres of meadow and a wood of ten hogs". The church had existed since Saxon times, no later than the 11th century, but little is known of it: the structure was probably built of plaster, wattle and daub and thatch, in common with other churches of the era. The new design, a simple two-cell building, had a nave and a chancel separated by a rood screen, above which was a crucifix. There was also a wall-mounted stone pulpit, a stone altar, a series of tall, pointed windows high in the walls, an unadorned stone font and a short wooden steeple—little more than an extended belfry—extending from the nave roof.

In 1873 Sedding designed St Clements Church Boscombe, Bournemouth, now a Grade One listed church. The reredos, high altar, candlesticks, church plate, pulpit, lectern, choir stalls, encaustic tiles, statue of St Clement and rood screen were all designed by Sedding. In 1875, he was elected a fellow of the Royal Institute of British Architects and moved from Bristol to set up in practice in London the following year, taking offices on the upper floors of 447 Oxford Street, next door to the premises of Morris & Co.. In 1876 Sedding met Ruskin under whose influence he developed a freer Gothic style, introducing natural ornament into his designs. Sedding encouraged his students to study old buildings at first hand, focusing on the practicalities of craft techniques.

Worship of Cornelius spread through Europe during the 7th to 10th century when his relics were taken to Germany, with the main center of worship at Kornelimünster Abbey in Aachen, just over the border from Bocholtz. During the 19th and 20th century worship of Cornelius became popular in the Dutch provinces of North Brabant and Limburg, and the James the Greater parish acquired a statue of Cornelius. The statue is a wooden neo-gothic 132 centimetre high statue of a beardless young man in mass vestment wearing a tiara, with his right hand holding a horn and his left hand a staff. The statue stands against a column in the back of the church, on the right side of the center nave, just below the rood screen.

Belaugh St Peter is a Church of England church located at the top of a steep slope above the village. It was built circa 14th century and contains an ornate rood screen decorated with images of the apostles that appears to have been added in the early 16th century. In the 17th century a soldier loyal to Oliver Cromwell (described in a letter to Sheriff Tofts of Norwich as a 'godly trooper') scraped away the faces of the apostles, such images being regarded as idolatrous by many of Cromwell's followers. According to records displayed in the church, the letter writer also added disapprovingly that, "The Steeple house [of Belaugh St Peter] stands high, perked like one of the idolatrous high places of Israel".

The borough was required to provide two ships for forty days per year. After 1390, no more is heard of lordship rights, and the borough became effectively independent of any lord. St Saviour's Church was constructed in 1335 and consecrated in 1372. It contains a pre-Reformation oak rood screen built in 1480 and several monuments including the tomb of John Hawley (d. 1408) and his two wives, covered with a large brass plate effigy of all three. A large medieval ironwork door is decorated with two leopards of the Plantagenets and is possibly the original portal. Although it is dated "1631", this is thought to be the date of a subsequent refurbishment coincidental with major renovations of the church in the 17th century.

Another explanation is that the statues of St John and Our Lady which, in Christian churches, flank the crucifix on the altar reredos or the rood screen were, during Holy Week, bound with rushes to cover them. (During Holy Week, from Palm Sunday until Easter Day, all statues, crosses, and crucifixes are traditionally covered from view, and all flowers are removed from the Church.) The two figures were portrayed in similar garments, hence "lily-white boys", and wrapped in rushes they were "Clothed all in green". There is also a version: "two, two, the lily white pair, clothen all in green, Ho" which may refer to Adam and Eve. William Winwood Reade implies that the stanza refers to Ovades who performed sacrifices for the Druids.

The tower has a curious turret at its southeast corner that is locally referred to as a Saxon watch tower but is built at least partly from Caen stone; it may be that it dates from the time of the conquest but is built in an antique style sometimes called Saxo-Norman. A doorway in the turret opens out some two metres above the present roof line. The church was used by both the brethren of the second abbey, a dependency of St Augustine's Abbey in Canterbury, and as a parish church. Socket holes in the piers of the crossing suggest that, as well as a rood screen, there was a further screen dividing nave and crossing, such as still exists at Dunster in Somerset.

In churches with less traditional plans, the term may not be useful in either architectural or ecclesiastical terms. The chancel may be a step or two higher than the level of the nave, and the sanctuary is often raised still further. The chancel is very often separated from the nave by altar rails, or a rood screen, a sanctuary bar, or an open space, and its width and roof height is often different from that of the nave; usually the chancel will be narrower and lower. In churches with a traditional Latin cross plan, and a transept and central crossing, the chancel usually begins at the eastern side of the central crossing, often under an extra-large chancel arch supporting the crossing and the roof.

Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the , which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like give an impression of what the interior looked like before the War. The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich.

St Francis Xavier's, Berrima, has the ability to demonstrate the creative brilliance of Pugin, England's greatest and most influential early-Victorian designer and theorist. The building, being intact and with his designed liturgical furnishings (except for its rood screen which may never have been constructed), fully exemplifies his ideal for the re-creation of a small English medieval village church. Its fidelity to the Early English idiom of the middle of the thirteenth century was, at the time of its design in 1842, well beyond the compass of any architect in the Colony of New South Wales. The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.

Rood Screen, St. Luke's, Evanston In 1886, he emigrated to America, working first for J.A. Wood in New York City, and then on the staff of The American Architect in Boston, and in December moved to Birmingham, AL,Proceedings of the 26th Annual Convention of the American Institute of Architects (Oct 1892) where the following year he founded the Alabama Association of Architects. John Sutcliffe is mentioned in a civil lawsuit with which he was connected while working in Alabama, which was heard by the Supreme Court of Alabama in 1895, regarding an unpaid bill for architectural work of $29.05.Woodlawn v. Purvis (1895) Reports of Cases Argued and Determined in the Supreme Court of Alabama, November Term, 1895, Vol.

The whole church seems to have been rebuilt during the 14th century, beginning with the chancel about 1330; about the same time, the south aisle and porch were built. The north aisle with the base of a tower at its west end followed about 10 years later, but the proposed tower was almost immediately abandoned in favour of one at the west end of the nave. Towards the end of the 15th century, a clerestory was added to the nave, a vestry was added at the east end of the north aisle, with a chamber above it, and a narrow slipway communicating with the chancel. At the same time the chancel arch was widened, rood-stairs built on the south side, and a rood- screen and loft erected.

At the west end of the nave is a font, with an elaborately carved wooden cover that originally came from Christ Church in Lancaster Gate, which was demolished in 1977. The focus of the church is its chancel, at the east end of the building, which is raised up above the level of the nave and separated by an intricate metal rood screen. The chancel houses an array of original furniture, including sedilia, a reredos and altar, all intricately carved in Caen stone, also by Dawson & Strachan, and a brass tabernacle, designed to appear mediaeval, by J. W. Singer and Sons, who also made the sanctuary lamp. There is an elaborately decorative tiled floor, by Minton & Co, and a stone pulpit, raised on a column, by D. and A. Davidson of Inverness.

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.

The south porch was also added during the 15th century restoration, this disproportionately tall building was typical of the middle 15th century, the lower diagonal buttresses have a flint design of an L with a crown and a griddle on top and refers to the martyrdom of St Lawrence.Norfolk Coast Gives historical details. Memorial to Edmund and Henrietta Britliffe In 1779 the original chancel was devastated in the great New Year gale of that year, many of the original medieval features were lost, including stained glass windows, wall paintings and rood screen. The chancel was not rebuilt until 1850 when the Reverend James Bulwer directed the restoration and includes the triple lancet east window. Bulwer was St Lawrence’s most famous incumbent and became Rector in 1848, he was a well known antiquarian and artist.

After the building's consecration in 1843 the chancel with its rood screen and striking reredos was added in 1892 by the noted church architect George Frederick Bodley who also decorated St Luke's Chapel, which stands in the place of a Lady Chapel to the south of the sanctuary; the Lady Chapel of St Paul's having been traditionally seen as being the church of St Mary's, Bourne Street. The tiled panels around the walls of the nave, created in the 1870s by Daniel Bell, depict scenes from the life of Jesus Christ. The Stations of the Cross that intersperse the tiled panels, painted in the early 1920s by Gerald Moira, show scenes from the Crucifixion story. The font dates from 1842 and is carved with biblical scenes from both the Old and New Testaments.

Even though it was subordinate to Vale Royal Abbey, the church at Llanbadarn Fawr remained important in its own right. The building was actually substantially extended in 1475, with the construction of a large new sanctuary. There was also a Rood screen and loft, with a carved image of Christ crucified, with the figures of Mary and St John either side, though this is now gone, although the steps to the loft may still be seen to the north side of the chancel. Monuments in chancel, and entrance to roof loft, Llanbadarn Fawr church Whenever it occurred, the long succession of monks and priests living a corporate (not necessarily monastic) life in the clas, priory and finally college of priests was finally at an end, after many hundreds of years.

Tower mill and All Saints' spire, Moulton Moulton's chief landmarks are All Saints' Church, known as "The Queen of the Fens", and Moulton Windmill, the tallest tower mill in the United Kingdom. All Saints' Church was built about 1180, instigated by Prior John of Spalding. It took approximately 60 to 70 years to build, and was heavily restored from 1866 to 1867 by William Smith. The church has a rood screen dating from around 1425. There is a memorial in the floor of the church to Prudence Corby, who apparently died on "Julye the 36th 1793"."...Prudence Corby who died on the 36th of July 1793", Andrew Amesbury personal blog, 30 March 2008 Moulton Windmill, built in 1822, ground wheat and other products until 1995, despite losing its sails in 1895.

St Margaret Lothbury interior The church has exceptionally fine 17th-century woodwork from other now-demolished Wren churches."The Old Churches of London" Cobb,G: London, Batsford, 1942 Among the best are the reredos, communion rails and baptismal font, which are thought to be by Grinling Gibbons"The Visitors Guide to the City of London Churches" Tucker,T: London, Friends of the City Churches, 2006 from St Olave, Old Jewry, the pulpit sounding board and the rood screen from All-Hallows-the-Great."The London Encyclopaedia" Hibbert,C;Weinreb,D;Keay,J: London, Pan Macmillan, 1983 (rev 1993,2008) Two paintings of Moses and Aaron flank the high altar, and came from St Christopher le Stocks when it was demolished in 1781. The organ was built by George Pike England in 1801.

Norfolk 1: Norwich and North-East, By Nikolaus Pevsner and Bill Wilson The church's rood screen has four figures on either side of the entrance to the chancel: St Edmund with his arrow, St Clare with her book and monstrance, St Clement with his anchor and crozier, and St James in his pilgrim's robes. On the south side are St Petronella with her book and keys, St Cecilia with her garland of flowers, St Barbara with her tower, and St Jeron with his hawk. The east window of the church is credited to H Wilkinson and dates from 1925.Norfolk 1: Norwich and North-East, By Nikolaus Pevsner and Bill Wilson the window depicts 'Christ in Majesty' flanked by St Michael and St Gabriel, with the symbols of the four Evangelists surrounding them.

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.

Marble Rood Screen with stations of the cross, in Tournai Cathedral As a sculptor, he is principally known for his work on funeral monuments. In 1549, he received the commission for a funeral monument to be placed in Königsberg Cathedral for Dorothea, the wife of Albert, Duke in Prussia and daughter of the Danish king Frederick I.C. Osiecki, 'Rediscovered Cornelis Floris bust in The Pushkin Museum Moscow' This was the beginning of many commissions for sepulchral monuments for members of the Danish royal family. These included the tomb of Albert, Duke in Prussia in Königsberg Cathedral, the mausoleum of King Christian III of Denmark and the Cenotaph of Frederick I in Schleswig Cathedral. The monuments were typically made in marble with the statue of the deceased executed in alabaster.

Many medieval carvings and furnishings were removed by the Puritans in the sixteenth and early seventeenth centuries, including the lead and timber of the roof of the north aisle, taken to make the roof of the rectory. New furnishings were installed when there was a revival of ceremony during the reign of Charles I. Among the work that has survived is a light rood screen of 1637, separating but not hiding the altar from the worshippers. To this was added Alice Thornton's gift of colourful altar cloths, pulpit cloths and hangings in purple and scarlet with fine embroiderings, none of which has survived. Other woodwork of the time that has survived suggests that there was a tall pulpit with a reading desk below, but only the pulpit remains today.

West elevation of the Cathedral of Notre-Dame de Chartres Strasbourg Cathedral west front Participation in worship, which gave rise to the porch church, began to decline as the church became increasingly clericalized; with the rise of the monasteries church buildings changed as well. The 'two-room' church' became, in Europe, the norm. The first 'room', the nave, was used by the congregation; the second 'room', the sanctuary, was the preserve of the clergy and was where the Mass was celebrated. This could then only be seen from a distance by the congregation through the arch between the rooms (from late mediaeval times closed by a wooden partition, the Rood screen), and the elevation of the host, the bread of the communion, became the focus of the celebration: it was not at that time generally partaken of by the congregation.

Inside the church the choir is separated from the main body of the church by an oak railing topped by a "poutre de gloire" ("Rood screen") and on each side of the door in this railing is a granite table on which farm workers were able to put tuffs of hair from their cattle as offerings to Saint Herbot (see later note). Near the chapel are the ruins of an 18th-century fountain, there is a small ossuary built in the renaissance style attached to the church and the calvary which dates to 1575 and stands in the middle of a "placître" (an area of grass) just by the chapel. The chapel's south porch is magnificent. The chapel holds statues of the Virgin Mary and Saint Herbot and in various niches Saint Corentin, Saint Sébastien, Saint Roch and a 16th- century Pietà.

The earliest known example of a parochial rood screen in Britain, dating to the mid-13th century, is to be found at Stanton Harcourt, Oxfordshire; and a notable early stone screen (14th century) is found at Ilkeston Derbyshire. Both these screens lack lofts, as do all surviving English screens earlier than the 15th century. However, some early screens, now lost, may be presumed to have had a loft surmounted by the Great Rood, as the churches of Colsterworth and Thurlby in Lincolnshire preserve rood stairs which can be dated stylistically to the beginning of the 13th century, and these represent the earliest surviving evidence of parochial screens; effectively contemporary with the Lateran Council. The majority of surviving screens are no earlier than the 15th century, such as those at Trull in Somerset and Attleborough in Norfolk.

The village is dominated by its twin churches that have served the parish since at least the 12th century – the Church of St Mary, and the Church of St Cyriac and St Julitta (dedicated to Saint Quiricus and Saint Julietta). In 1667 a parliamentary order combined the churches under a single parish. The church of St Mary was first built in Norman times, and over its history has at times been allowed to fall into ruin, only being fully restored at the start of the 20th century and serving as the sole parish church since 1903. It contains a rood screen, and has a series of stained glass windows showing scenes from World War I. The original church of St Cyriac and St Julitta (Cyriac's mother) was built prior to 1200, and may possibly have existed before 1066.

St Francis Xavier's, Berrima, is of state significance as the only intact and essentially unaltered Pugin-designed building in New South Wales, indeed in the whole of Australia. With his complete set of liturgical furnishings (excepting the rood screen which may not have been constructed) and in a scholarly mid thirteenth- century Early English Gothic idiom, beyond the compass of New South Wales architects at the time of its design in 1842, it is his perfect exemplar for the re-creation of a small English medieval village church. Pugin is acknowledged to be England's greatest and most influential early-Victorian designer and theorist. The building is one of only two such Pugin churches of its particular typology and with these liturgical furnishings in the world, the other being Our Lady and St Wilfrid's, Warwick Bridge, Cumbria, England.

The Church of St John the Baptist has a brass screen to the Chancel and a forged metal one to the Lady Chapel. There is a brass lectern and brass candlesticks in the church, but it is uncertain that these are Singer products; he did make such items for the church, but there has been some clearance of excess Victorian items. The Holy Trinity Church has a rood screen installed in 1903-06, now repositioned in a chapel to one side. New gates for the Blue House were provided by the Singer company in 1994 in response to an appeal by the trustees; a plaque is placed on the wall to the left of the entrance. A Singer's Trail has been created: a walk round key sites related to J W Singer and his foundry, in the 200th anniversary year of his birth.

They are used for practices of piety intended for one person (often referred to as a private devotion).They are also found in a minority of Protestant worship place; in Reformed and Anabaptist churches, a table, often called a "Communion table", serves an analogous function. A home altar in a Methodist Christian household, with a cross and candles surrounded by other religious items The area around the altar is seen as endowed with greater holiness, and is usually physically distinguished from the rest of the church, whether by a permanent structure such as an iconostasis, a rood screen, altar rails, a curtain that can be closed at more solemn moments of the liturgy (as in the Armenian Apostolic Church and Armenian Catholic Church), or simply by the general architectural layout. The altar is often on a higher elevation than the rest of the church.

Pupils and teachers at the latter included Karl Friedrich Schinkel and Friedrich Ludwig Jahn, whilst Otto von Bismarck also visited the church. Leonhard Thurneysser ran the printing press and also restored the church between 1583 and 1584. Small modifications were made in the second half of the 17th century, such as demolishing the old staircase tower, building a new timber staircase on the west side and in 1712 demolishing the rood screen separating the nave from the chancel. 1712 also saw a fire in the church's roof and in 1719 the church was restored, raising the floor level by 1 metre and bricking up two northern choir windows. Extensive renovations were carried out in the first half of the 19th century - the gabled tower was demolished in 1826, two new towers were built on the west side in 1842, a new sacristy was built and the floor lowered again.

In parish churches, the space between the rood beam and the chancel arch was commonly filled by a boarded or lath and plaster tympanum, set immediately behind the rood figures and painted with a representation of the Last Judgement. The roof panels of the first bay of the nave were commonly richly decorated to form a celure or canopy of honour; or otherwise there might be a separate celure canopy attached to the front of the chancel arch. The carving or construction of the rood screen often included latticework, which makes it possible to see through the screen partially from the nave into the chancel. The term "chancel" itself derives from the Latin word cancelli meaning "lattice"; a term which had long been applied to the low metalwork or stone screens that delineate the choir enclosure in early medieval Italian cathedrals and major churches.

The crucifixion of William of Norwich depicted on a rood screen in Holy Trinity church, Loddon, Norfolk In England in 1144, the Jews of Norwich were falsely accused of ritual murder after a boy, William of Norwich, was found dead with stab wounds in the woods. William's hagiographer, Thomas of Monmouth, falsely claimed that every year there is an international council of Jews at which they choose the country in which a child will be killed during Easter, because of a Jewish prophecy that states that the killing of a Christian child each year will ensure that the Jews will be restored to the Holy Land. In 1144, England was chosen, and the leaders of the Jewish community delegated the Jews of Norwich to perform the killing. They then abducted and crucified William.; Langmuir, Gavin I (1996), Toward a Definition of Antisemitism, University of California Press, pp. 216ff.

By the early 17th century, there were Jesuit priests serving the Catholic community based at 33 and later 45 Old Elvet, operating a chapel that was later destroyed by a mob celebrating the Glorious Revolution of 1688 which ousted the Catholic King James II. From the 1660s to the late 18th century, Catholic landed gentry, of which there were many in the Durham/Northumberland region, began to buy up property in Old Elvet region in order to be close to the concealed Catholic worship. Votive Masses are still said at St Cuthbert's for the noble Catholic families. One Such family, the Salvins of nearby Croxdale, remain patrons of the congregation and can trace their patronage back to the 16th century. The Salvin coat of arms can be seen among those of other northern Catholic families on the wooden rood-screen behind the high altar.

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.

Mass of St Gregory by Bernt Notke. Nave, view to the west, before the destruction Ruins of the merchants' quarter and St. Mary's church In an air raid on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and . Among the artefacts destroyed was the famous (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck.

The alterations of 1876–1877 removed the gallery above the altar and added a chancel, separated from the nave by an iron rood screen, new pulpit and lectern. The rebuilding of the exterior in 1882–1883 (south elevation) and 1896 (east elevation), prompted by the demolition of buildings adjacent to the south side of the chapel to allow North Street to be widened, involved replacing the stucco with red brick, enlarging the pediment and giving the new south elevation a similar appearance. It is neither as tall nor as long as the east side (facing Prince's Place), and has no pediment, but was otherwise very similar until the alterations of 1995 changed the entrance area and added more glass to make more of the interior visible from the street. The most significant feature of Arthur Blomfield's work on the exterior was the tall, red-brick clock tower.

However, there was a tendency to read back Victorian centralizing tendencies into mediaeval texts, and so a rather rubrical spirit was applied to liturgical discoveries. It was asserted, for instance, that Sarum had a well-developed series of colours of vestments for different feasts. There may have been tendencies to use a particular colour for a particular feast (red, for instance, was used on Sundays, as in the Ambrosian rite), but most churches were simply too poor to have several sets of vestments, and so used what they had. There was considerable variation from diocese to diocese, or even church to church, in the details of the rubrics: the place where the Epistle was sung, for instance, varied enormously; from a lectern at the altar, from a lectern in the quire, to the feature described as the 'pulpitum', a word used ambiguously for the place of reading (a pulpit) or for the rood screen.

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.

Bernini's St. Peter's baldachin (1620s), actually a ciborium, was hugely influential on later ciboria Ciboria are now much rarer in churches in both East and West, as the introduction of other structures that screened the altar, such as the iconostasis in the East and rood screen and pulpitum in the West, meant that they would be little seen, and smaller examples often conflicted with the large altarpieces that came into fashion in the later Middle Ages.Grove, 2 (i) They enjoyed something of a revival after the Renaissance once again opened up the view of the sanctuary, but never again became usual even in large churches. Bernini's enormous ciborium in Saint Peter's, Rome is a famous exception; it is the largest in existence, and always called a baldachin.Krouse, 110 Many other elaborate aedicular Baroque altar surrounds that project from, but remain attached to, the wall behind, and have pairs of columns on each side, may be thought of as hinting at the ciborium without exactly using its form.

The mediaeval cross in the churchyard was demolished by Puritan William Dowsing in 1643 View from the chancel towards the rear of the rood screen and facing the seats of 1442 A church existed in the parish before 1120 but what can be seen today is no earlier than the 13th-century: this includes the South and North nave arcades, the North aisle and the chancel. St Mary's church is built in the Early English style with a square tower (now containing eight bells) from fieldstones and local ironstone. The South aisle and South chapel date to about 1300 while the North porch is also a 14th-century addition. Remodelling of the church in the 15th and 16th-centuries affected the entire building except for the nave arcades. The seats in the chancel date to about 1442 The West tower is 13th-century in origin and was largely rebuilt in the 14th and 15th-centuries.

The nave arcades and chancel > arch are chamfered with moulded capitals on polygonal piers, and the nave > and chancel ceilings have painted wooden panels. The church retains most of > its original decorations and fittings: wooden rood screen and choir stalls > carved in a mixed Arts and Crafts-Perpendicular style by J. E. Knox of > Kennington; chancel floor inlaid with black and white marble; stone side- > chapel arch carved by Robert Bridgeman of Lichfield; octagonal font of > Frosterley marble with elaborate wooden canopy, also carved by Knox; stained > glass by Sir William Richmond in the east window of the chancel and in the > south window of the side chapel; and altar fittings by William Morris. Most > of the early 20th-century memorial windows in the aisles come from the > Whitefriars studio in London. A bell was taken from the 1838 church for use > as a call bell, and a further three bells installed in 1897 were recast as > six in 1960.

The church wakes were traditionally held around St Bartholomew's Day. The living of Prestwich was suspended by the Diocese of Manchester in 2002. A priest-in- charge, The Revd. Bryan Hackett, residing in the rectory, was appointed. The foundation stone of St Margaret's Church was laid near Heaton Park in 1849. Founded as a chapel of ease to the parish church, it became a parish church in its own right in 1885. The church was built as a Commissioners' Church to a design by Travis & Mangnall at a cost of £2,000 and was extended in 1863, 1871, 1884, 1888 and 1899. A feature of the church is the Arts and Crafts Movement oak carved reredos, choir stalls, rood screen, panelling, pulpit, bishop's chair and altar rails by Arthur Simpson of Kendal, widely believed to be the finest collection of his ecclesiastical work. Other Anglican churches in the area include churches dedicated to St Gabriel (built 1933–4, St Hilda (1903–04) and St George (1915).

Shakespeare and his immediate family were conforming members of the established Church of England. When Shakespeare was young, his father, John Shakespeare, was elected to several municipal offices, serving as an alderman and culminating in a term as bailiff, the chief magistrate of the town council, all of which required being a church member in good standing, and he participated in whitewashing over the Catholic images in the Chapel of the Guild of the Holy Cross and taking down the rood screen some time in the 1560s or 1570s. Shakespeare's baptism and those of his siblings were entered into the parish church register, as were the births of his three children and the burials of family members. His brother Edmund, who followed him to London as an actor and died there, was buried in St Saviour's in Southwark "with a forenoone knell of the great bell", most likely paid for by the poet.

Loddon Holy Trinity The town centre of Loddon, a designated conservation area, is dominated by the Holy Trinity Church dates from 1490 by Sir James Hobart who lived at Hales Hall, and was Attorney General to King Henry VII. The outside of the building is faced with flintwork and the interior contains a hammerbeam roof, Jacobean pulpit, early Edwardian pews with carved poppy-head ends, several table-top tombs, an ancient poor-box and a panel on the painted rood screen which shows William of Norwich, a boy martyr who is reputed to have been crucified in the 12th century. There is also a medieval baptismal font set high on three steps, however despite its shaft and bowl were originally carved and painted, they were defaced during periods of iconoclasm. The church is said to have possibly replaced an earlier Norman church and an even older one built by St Felix, Bishop of East Anglia, about 630.

The rood screen viewed from the nave On 18 November 1539 the royal commissioners took possession of the monastery and all its possessions, and for nearly two years its future hung in the balance as Henry VIII and his advisers considered what role, if any, Cathedrals might play in the emerging Protestant church. On 10 September 1541 a new charter was granted to Ely, at which point Robert Steward, the last prior, was re- appointed as the first dean, who, with eight prebendaries formed the dean and chapter, the new governing body of the cathedral. Under Bishop Thomas Goodrich's orders, first the shrines to the Anglo-Saxon saints were destroyed, and as iconoclasm increased, nearly all the stained glass and much of the sculpture in the cathedral was destroyed or defaced during the 1540s. In the Lady Chapel the free-standing statues were destroyed and all 147 carved figures in the frieze of St Mary were decapitated, as were the numerous sculptures on West's chapel.

Immediately after the Coronation, the Archbishop recited the prayer Deus perpetuitatis: "God of eternity, the Commander of all powers, etc." The Archbishop then says a number of blessings (all of them also found in other coronation rites). After this, the king was lifted up into his throne on the rood screen by the lay peers, as the Archbishop said the words "Stand fast and hold firm the place, etc." and as the choir sings the antiphon: > Let thy hand be strengthened and your right hand exalted. Let justice and > judgment be the preparation of thy Seat and mercy and truth go before thy > face The Archbishop says the prayer "God, who gave to Moses victory, etc." and kisses the king with the words "May the king live forever" and his cry is taken up by the peers and all the people present as they acknowledged him as their duly anointed, crowned and enthroned king.

Following the exposition of the doctrine of transubstantiation at the fourth Lateran Council of 1215, clergy were required to ensure that the blessed sacrament was to be kept protected from irreverent access or abuse; and accordingly the area of the church used by the lay congregation was to be screened off from that used by the clergy. Apart from the congregation, pet dogs were often taken to church, and a dog-proof barrier was needed (more recent rails often fail in this). Barriers demarcating the chancel, such as the rood screen, became increasing elaborate, but were largely swept away after both the Protestant Reformation and then the Counter-Reformation prioritized the congregation having a good view of what was happening in the chancel. Now the low communion rail is generally the only barrier; despite being essentially a Counter-Reformation invention, this has proved useful and accepted in the Protestant churches that dispense communion.

Llanrhydd or Llanrhudd is a parish one and a half miles south-west of Ruthin in Denbighshire, Wales; 'rhudd' being the Welsh name for 'red' – the colour of the local sandstone. In a tiny rural hamlet a mile or so from the town centre, St Meugan's was the original mother-church of the Welsh settlement which became Ruthin. The pretty little 15th century building (dedicated to a hermit- saint from Caerleon in Gwent) contains many notable furnishings – above all the ‘rood screen’ which once supported a ‘rood’ or crucifix (also at Derwen). The church probably dates back to the early 1500s and is a fine example of local carpentry: richly carved with intricate tracery, with an ‘ivy-berry’ trail (which is a Vale of Clwyd speciality) along its upper rail. The Georgian west gallery opposite (for choir and ‘church band’) is an even rarer survival, and is dated 1721, as such galleries were generally removed by the Victorians.

In the 16th century the west tower and nave clerestory were built. In the tower are three bells cast in 1666 by William I Eldridge, who had bell-foundries at Wokingham and Chertsey. Early in the 18th century the fourth stage of the tower was added. On the north side of the chancel are two vestries: the first added in 1705 and the second about 1730. Fittings include 15th-century choir stalls with cusped ogee arches and panelling in the spandrels said to have come from Winchester, a complete set of late medieval pews, restored, and very restored rood screen of circa 1500, fine Flemish altar rails with C-scroll carving on the newels, very deep rich carving depicting the 10 commandments and eagles in chancel of circa 1700, an early Georgian wooden pulpit with arcaded tracery and small narrow high window into the south-east angle between nave and chancel to provide light, an Octagonal stone font with elaborate quatrefoil pierced and crocketed font cover of ogee domed section above, on a square pier, a hatchment on North tower wall.

The next major changes to the church came in the 16th century when the English Reformation occurred and many of the church's ornaments, including a rood screen and a number of smaller items, were removed or destroyed. However it was over this period, between 1530 and 1564, that the current church bells were installed in the spire. The most notable bell is "Catherine" which was installed prior to 1540 and bears the inscription "Principio fine sonans sonus hic sit Caterine" (May this sound of Catherine be sounding in the beginning (and) in the end.) The other two bells, which were installed later, bear the inscriptions "Hope wel have w(e)l" and "CelorumXte placeat tibi rex sonus iste" ("O Christ, King of Heaven, may the sound please Thee") respectively. The Church contains a number of tombs of the Sherard family, who were influential in the area in the past, and also a helmet from a suit of armour thought to have belonged to the occupant of one of the tombs.

Augustine Joseph Schulte, "Altar Curtain" in The Catholic Encyclopedia (New York 1907) From at latest the 4th century, the altar was covered from the view of the congregation at points during Mass by altar curtains hanging from rods supported by a ciborium, riddel posts, or some other arrangement. This practice declined as the introduction of other structures that screened the altar, such as the iconostasis in the East and rood screen and pulpitum in the West, meant that the congregation could barely see the altar anyway. In early times, before the break-up of the Roman Empire exposed such objects to sacking and looting, the consecrated bread of the Eucharist (the reserved sacrament) was kept in a gold or silver dove, sometimes enclosed in a silver tower, suspended by fine chains from the ciborium that sheltered the altar.Mauro Piacenza, "The casing of the Eucharist" in 30DAYS, June 2005 Instead of a four-column ciborium a movable canopy (called a tester) was in some churches suspended from the ceiling above the altar or a fixed canopy attached to the wall was employed.

View of the interior Inside, the Baroque character is strengthened by mouldings, volutes, broken pediments, and pilasters and columns, which create light effects. The floor of the choir has geometric motives and it has been claimed that they represent an ancient Arabic language called Kufic.Sint-Walburgakerk geeft groot geheim prijs The church holds several paintings in the choir, aisles and above the rood screen including: 14 paintings on the Fifteen mysteries of the rosary from the circle of Jan Anton Garemyn (1750), the Glorification of the Holy Sacrament by Jan Anton Garemyn (1740s), the Coronation of Our Lady by Erasmus Quellinus II (17th century), the Lamentation of Christ by Joseph Denis Odevaere (1812), the Resurrection by Joseph-Benoît Suvée (18th century), the Vision of St. Ignatius by P. Cassiers, a triptych of Our Lady of the Dry Tree by Pieter Claeissens the Younger (1620) and an anonymous canvas of St. Domenic healing a child. The church has a monumental marble altar by Jacob Cocx (dedicated in 1643) with a statue of St. Walburga by Houvenaegel (1842).

St Mark's Church, Wootton (1909) Much of Stone's work on the Isle of Wight was done at Church of England churches. He restored the ancient churches at Bonchurch (Old St Boniface Church), in 1923 and again in 1931, and St Lawrence (St Lawrence Old Church) in 1927. At Christ Church in Totland he designed the south aisle (1905–06) and the chancel (1910). Stone's work on church furnishings on the island included a crucifix mounted on a beam in the chancel of St Peter's Church, Shorwell (1904), the west porch at St Paul's Church, Shanklin (1911), restoration of the pulpit at St Edmund's Church, Wootton (1912), a new pulpit at St George's Church, Arreton (1924), the reredos at St John the Baptist's Church, Niton (1930), and the rood screen at the Church of St Michael the Archangel, Shalfleet. Stone designed war memorials in the churchyard of St George's Church, Arreton (1919), on the green outside Holy Trinity Church, Bembridge ( 1920) and in the churchyard of St Mary's Church, Brading (undated).

Church of St Andrew, Chew Magna Chew Magna Incumbents and Patrons 1191-1996 St Andrew's Church dates from the 12th century with a large 15th-century pinnacled sandstone tower, a Norman font and a rood screen that is the full width of the church. In the church are several memorials to the Stracheys of Sutton Court together with a wooden effigy of a Knight cross-legged and leaning on one elbow, in 15th-century armour, thought to be of Sir John de Hauteville or a descendant, and possibly transferred from a church at Norton Hautville before it was demolished. Another effigy in the north chapel is of Sir John St Loe, who was over tall, and his lady. The armoured figure is 7 feet 4 inches (2.24 m) long and his feet rest on a lion, while those of his lady rest on a dog. The tomb of Sir Edward Baber (1530-1578) son of Sir John Baber, is housed within the church alongside his wife Lady Catherine Leigh-Baber daughter to Sir Thomas Leigh. The church was restored in 1860 and has a register commencing in 1562.

In the Western Church, the cancelli screens of the ritual choir developed into the choir stalls and pulpitum screen of major cathedral and monastic churches; but the colonnaded altar screen was superseded from the 10th century onwards, when the practice developed of raising a canopy or baldacchino, carrying veiling curtains, over the altar itself. Many churches in Ireland and Scotland in the early Middle Ages were very small which may have served the same function as a rood screen. Contemporary sources suggest that the faithful may have remained outside the church for most of the mass; the priest would go outside for the first part of the mass including the reading of the gospel, and return inside the church, out of sight of the faithful, to consecrate the Eucharist. Churches built in England in the 7th and 8th centuries consciously copied Roman practices; remains indicating early cancelli screens have been found in the monastic churches of Jarrow and Monkwearmouth, while the churches of the monasteries of Brixworth, Reculver and St Pancras Canterbury have been found to have had arcaded colonnades corresponding to the Roman altar screen, and it may be presumed that these too were equipped with curtains.

Sir Robert Chichester has life size figures The elaborate painted rood screen Wall monument to Christopher Lethbridge (d.1713) The pulpit with its iron arm dates to c1550 font also dates to c1550 The North aisle has plain glass in its windows but some fragments of Medieval coloured glass can be seen in the tracery at the top..A Brief Guide to the Ancient Parish Church of St Mary the Virgin, Pilton (N.D.) pg 1 The nave and chancel were added to the North aisle section of the church in about 1320 to 1330, which is confirmed by an extract from the Register of Walter de Stapledon, Bishop of Exeter, who in 1311 made a contribution to Pilton Priory towards the cost of building the chancel. The parclose screen into the South East chapel (the Raleigh Chapel) is of three bays and is well carved with a mixture of Gothic and Renaissance detail and is inscribed with an R for Raleigh and is presumably post-1533. It may have been brought to the church from the private chapel at Raleigh Manor when it was demolished in the 18th-century.

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.

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.