165:
869:
923:
1088:
31:
315:
785:
519:. The original location and support for the surviving figures is often not clear many are now hung on walls- but a number of northern European churches, especially in Germany and Scandinavia, preserve the original setting in full – they are known as a "Triumphkreutz" in German, from the "triumphal arch" (chancel arch in later terms) of Early Christian architecture. As in later examples a Virgin and Saint John often flanked the cross, and
1072:
587:
442:
458:
911:. The rood screens themselves were sometimes demolished or cut down in height, but more commonly remained with their painted figures whitewashed and painted over with religious texts. Tympanums too were whitewashed. English cathedral churches maintained their choirs, and consequently their choir stalls and pulpitum screens; but generally demolished their rood screens entirely, although those of
1220:
229:
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. In parish churches, the space between the rood beam and the chancel arch was commonly filled by a boarded or lath and plaster
553:
its sculptures tended to become incorporated into the chancel screen in new or reworked churches. Over the succeeding three centuries, and especially in the latter period when it became standard for the screen to be topped by a rood loft facing the congregation, a range of local ritual practices developed which incorporated the rood and loft into the performance of the
438:. Some 19th-century liturgists supposed that these early altar screens might have represented the origins of the medieval rood screens; but this view is rejected by most current scholars, who emphasize that these screens were intended to separate the altar from the ritual choir, whereas the medieval rood screen separated the ritual choir from the lay congregation.
721:(1545–1563) enjoined that the celebration of the Mass should be made much more accessible to lay worshippers; and this was widely interpreted as requiring the removal of rood screens as physical and visual barriers, even though the council had made no explicit condemnation of screens. Already in 1565, Duke Cosimo de' Medici ordered the removal of the
297:
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
417:
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
228:
instead of a
Crucifixion). 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
552:
was commonly kept open and used for a wide range of secular purposes. Hence the origin of the chancel screen was independent of the Great Rood; indeed most surviving early screens lack lofts, and do not appear ever to have had a rood cross mounted on them. Nevertheless, over time, the rood beam and
1029:
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
1001:
plan was widely adopted as a model for new churches from then on. In the 18th and 19th centuries hundreds of surviving medieval screens were removed altogether; today, in many
British churches, the rood stair (which gave access to the rood loft) is often the only remaining trace of the former rood
296:
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 specific functions of the late medieval parish rood
1131:
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
747:
was built in Rome as a demonstration of the new principles of
Tridentine worship, having an altar rail but conspicuously lacking either a central rood or screen. Almost all medieval churches in Italy were subsequently re-ordered following this model; and most screens that impeded the view of the
478:
itself long preceded the development of screen lofts, originally being either just hung from the chancel arch or also supported by a plain beam across the arch, and high up, typically at the level of the capitals of the columns (if there are any), or near the point where the arch begins to lean
1025:, 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
433:
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. Equivalent arcaded colonnades also survive in 10th-century monastic churches in Spain, such as
264:"; 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 passage through the rood screen was fitted with doors, which were kept locked except during services.
531:
For most of the medieval period, there would have been no fixed screen or barrier separating the congregational space from the altar space in parish churches in the Latin West; although as noted above, a curtain might be drawn across the altar at specific points in the
652:
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
283:
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
1119:. 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
887:, i.e. those statues and paintings which they alleged to have been the focus of superstitious adoration. Thus not a single mediaeval Rood survives in Britain. They were removed as a result of the 1547 Injunctions of
823:
Moreover, while Sunday Masses were very important, there were also weekday services which were celebrated at secondary altars in front of the screen (such as the "Jesus altar", erected for the worship of the
899:). Of original rood lofts, also considered suspect due to their association with superstitious veneration, very few are left; surviving examples in Wales being at the ancient churches in
701:
in France, inserted transverse screens in the later medieval period, or reconstructed existing choir screens on a greatly increased scale. In Italy, massive rood screens incorporating an
410:
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
136:. Accordingly, rood screens now survive in much greater numbers in Anglican and Lutheran churches; with the greatest number of survivals complete with screen and rood figures in
169:
640:
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
164:
597:
689:
Priory before the Reformation, describes three transverse screens; fence screen, rood screen and pulpitum. and the triple same arrangement is also documented in the
113:
screen, but this double arrangement nowhere survives complete, and accordingly the preserved pulpitum in such churches is sometimes referred to as a rood screen. At
1160:; although almost all have lost their rood beams and lofts, and many have been sawn off at the top of the panelled lower section. The quality of the painting and
1177:
421:
Churches built in England in the 7th and 8th centuries consciously copied Roman practices; remains indicating early cancelli screens have been found in the
1046:), so as not to obscure the congregation's view of the altar. This arrangement was adopted for almost all new Anglican parish churches of the period.
957:
churches were invariably fitted with chancel screens, which served the purpose of differentiating a separate space in the chancel for communicants at
301:
refer directly to rood screens or rood lofts. This is consistent with the ritual uses of rood lofts being substantially a late medieval development.
982:
804:
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
548:
was to be kept protected from irreverent access or abuse; and accordingly some form of permanent screen came to be seen as essential, as the parish
868:
105:. In English, Scottish, and Welsh cathedrals, monastic, and collegiate churches, there were commonly two transverse screens, with a rood screen or
370:
which supported a decorated architrave beam along which a curtain could be drawn to veil the altar at specific points in the consecration of the
1205:
1668:
569:, a large hanging suspended by stays from hooks set into the chancel arch; in such a way that it could be dropped abruptly to the ground on
1766:
1038:
tended, however, to prefer an arrangement whereby the chancel was distinguished from the nave only by steps and a low-gated screen wall or
690:
132:, when the retention of any visual barrier between the laity and the high altar was widely seen as inconsistent with the decrees of the
47:
812:. When kneeling, the congregation could not see the priest, but might do so through the upper part of the screen, when he elevated the
1411:
743:, making no mention of the screen and emphasizing the importance of making the high altar visible to all worshippers; and in 1584 the
1649:
1630:
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Until the 6th century the altar of Christian churches would have been in full view of the congregation, separated only by a low
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900:
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including the reading of the gospel, and return inside the church, out of sight of the faithful, to consecrate the Eucharist.
148:
churches is a visually similar barrier, but is now generally considered to have a different origin, deriving from the ancient
965:. In effect, these chancel screens were rood screens without a surmounting loft or crucifix, and examples survive at St John
709:; but not in parish churches, there being no equivalent in the Roman Missal for the ritual elaborations of the Use of Sarum.
816:
on Sundays. In some churches, 'squints' (holes in the screen) would ensure that everyone could see the elevation, as seeing
922:
430:
1756:
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screen separating off the ritual choir; and an additional rood screen one bay further west, delineating the area of the
1180:
in Norfolk is unique in giving an unusually complete view of the heavenly hierarchy, including nine orders of angels.
1093:
1043:
1406:] (in Latin). Translated by Sharpe, Richard. Harmondsworth, Middlesex, England: Penguin Books. pp. 368–369.
378:. In Rome the ritual choir tended to be located west of the altar screen, and this choir area was also surrounded by
241:
or canopy of honour; or otherwise there might be a separate celure canopy attached to the front of the chancel arch.
1103:
The earliest known example of a parochial rood screen in Britain, dating to the mid-13th century, is to be found at
193:, meaning "cross". The rood screen is so called because it was surmounted by the Rood itself, a large figure of the
1156:
parish churches, original painted decoration survives on wooden screen panels, having been whitewashed over at the
565:
that was most common in England. For example, during the 40 days of "Lent" the rood in England was obscured by the
1570:
973:. New screens were also erected in many medieval churches where they had been destroyed at the Reformation, as at
1761:
757:
508:
205:
1022:
383:
789:
828:, a popular devotion in mediaeval times) which thus became the backdrop to the celebration of the Mass. The
516:
387:
351:
327:
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230:
374:; and this altar screen, with widely spaced columns, subsequently became standard in the major churches of
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912:
896:
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which were closed at certain points in the liturgy. Then, however, following the example of the church of
748:
altar were removed, or their screening effect reduced, in other Catholic countries, with exceptions like
398:. In the Eastern Church, the templon and its associated curtains and decorations evolved into the modern
1771:
1693:
Williams, Michael Aufrère, 'Medieval Devon Roodscreens from the Fourteenth Century to the Present Day',
1087:
1031:
962:
927:
813:
726:
744:
693:. In the rest of Europe, this multiple screen arrangement was only found in Cistercian churches, as at
391:
30:
1192:, said by Pevsner to be "the finest in Oxfordshire", has an unusual custom associated with it, where
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997:, of 1684 dispensed with a chancel screen, retaining only rails around the altar itself, and this
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225:
1707:
Williams, Michael Aufrère, 'Devon Roodscreens after the Reformation: Destruction and Survival',
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it was revealed before the procession of palms and the congregation knelt before it. The whole
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The rood on a rood screen: a crucifix on the elaborate 16th-century jube in the church of
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541:
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234:
114:
39:
1607:
1732:
Open Library of Francis Bond's standard work 'Screens and Galleries in English Churches'
237:. The roof panels of the first bay of the nave were commonly richly decorated to form a
1721:
1010:
1006:
974:
958:
931:
809:
756:; and also in monasteries and convents, where the screen was preserved to maintain the
734:
698:
665:. In the later medieval period many monastic churches erected an additional transverse
480:
363:
355:
125:
1021:, although others have been removed. In Anglican churches, under the influence of the
669:, or fence screen, to the west of the nave altar; an example of which survives as the
441:
1745:
1727:
Norfolkchurches.co.uk/norfolkroods More about the painted rood screens of East Anglia
1619:
1398:
1026:
981:. From the early 17th century it became normal for screens or tympanums to carry the
446:
402:. In the Western Church, the cancelli screens of the ritual choir developed into the
382:, or low chancel screens. These arrangements still survive in the Roman basilicas of
248:, which makes it possible to see through the screen partially from the nave into the
118:
1726:
1581:
760:. In Catholic Europe, parochial rood screens survive in substantial numbers only in
1141:
1128:
1120:
1071:
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833:
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403:
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293:
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90:
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twice a year, and until the 1850s the cross (which at that time resembled a large
1049:
Painted rood screens occur rarely, but some of the best surviving examples are in
1149:
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1050:
1035:
845:
570:
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411:
399:
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screen of columns. The foreground forms the liturgical choir, surrounded by low
261:
245:
217:
194:
141:
137:
573:, at the reading of Matthew 27:51 when the Veil of the Temple is torn asunder.
1393:
1197:
1173:
1116:
978:
857:
649:
484:
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46:
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the medieval arrangement was restored in the 20th century, with the medieval
1700:
Williams, Michael Aufrère, 'The Iconography of Medieval Devon Roodscreens',
1336:
1219:
1169:
908:
904:
837:
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545:
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1736:
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or pulpit facing the nave appear to have been universal in the churches of
457:
124:
Rood screens can be found in churches in many parts of Europe; however, in
1164:
is, some of it, of a very high order, notably those from the East Anglian
200:. Commonly, to either side of the Rood, there stood supporting statues of
1185:
1165:
1137:
1112:
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520:
515:, apparently in gold foil worked over a wooden core in the manner of the
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379:
335:
110:
102:
71:
35:
1030:
considered post-medieval, they were almost all removed in the course of
1201:
1161:
1145:
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331:
249:
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86:
78:
985:, good examples of which survive in two of the London churches of Sir
1039:
706:
702:
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395:
339:
289:
213:
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The rood screen was a physical and symbolic barrier, separating the
1176:, as well as at Ranworth itself. The magnificent painted screen at
495:
the best known. Such crosses are commonly referred to in German as
34:
15th-century rood screen from the chapel of St Fiacre at Le Faouet
1153:
1133:
966:
926:
A 17th-century chancel screen by Christopher Wren originally from
921:
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805:
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Norfolkchurches.co.uk/screens Painted screens in Norfolk churches
1571:
East Anglian rood screens decaying as churches struggle for funds
1193:
943:
860:, UK, became a shrine when it gained a reputation for speaking.
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story would then be read from the Rood loft, at the foot of the
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829:
645:
549:
375:
323:
185:
98:
82:
503:. The prototype may have been one known to have been set up in
1111:; and a notable early stone screen (14th century) is found at
832:
itself provided a focus for worship according to the medieval
740:
Instructionum Fabricae et Sellectilis Ecclesiasticae libri duo
580:
366:, churches began to surround their altars with a colonnade or
244:
The carving or construction of the rood screen often included
121:
supporting a rood, placed in front of the pulpitum and organ.
1204:
procession. A particularly large example can be found at the
479:
inwards. Numerous near life-size crucifixes survive from the
354:, or canopy on four columns, over the altar, from which hung
233:, set immediately behind the rood figures and painted with a
1687:
Medieval English Roodscreens with special reference to Devon
697:
in southern Germany, but many other major churches, such as
733:
in accordance with the principles of the council. In 1577
1184:
also identified the early-16th-century painted screen at
648:
provided for lay worship (or in monastic churches of the
1009:
campaigned for the re-introduction of rood screens into
808:. Concealment and revelation were part of the mediaeval
685:, a detailed account of the liturgical arrangements of
605:
1295:
1293:
1188:, Devon, as being notable. The 16th-century screen at
1168:
school of painters, of which examples can be found in
453:
in Sweden, where many exceptional roods have survived.
1341:
Centre National de Ressources Textuelles et Lexicales
1194:
the rood cross is garlanded with flowers and foliage
414:, carrying veiling curtains, over the altar itself.
170:
Church of the Good Shepherd (Rosemont, Pennsylvania)
1663:(English translation from German). Lund Humphries.
1737:Hi-res images of Ranworth rood screen, Norfolk, UK
1618:
856:by three priests. In the 1400s the rood screen in
77:. It is typically an ornate partition between the
1546:
1534:
544:of 1215, clergy were required to ensure that the
128:countries they were generally removed during the
93:. The rood screen was originally surmounted by a
1597:Addleshaw, G. W. O; Etchells, Frederick (1948).
800:, the domain of the clergy, from the nave where
310:Early medieval altar screens and chancel screens
27:Partition found in medieval church architecture
1355:"CATHOLIC ENCYCLOPEDIA: Gospel in the Liturgy"
536:. Following the exposition of the doctrine of
318:East end of the 8th-century Roman basilica of
1599:The Architectural Setting of Anglican Worship
1178:St Michael and All Angels Church, Barton Turf
594:The examples and perspective in this section
423:monastic churches of Jarrow and Monkwearmouth
252:. The term "chancel" itself derives from the
168:Crucifixion atop Rood Screen, Anglo-Catholic
8:
1208:, Devon, which is nearly 70 feet in length.
1013:church architecture. His screens survive in
872:A surviving English monastic rood screen at
840:, when worship was highly elaborate. During
1371:from the invocation "Jube domne benedicere"
993:. However, Wren's design for the church of
895:came to the throne and removed again under
738:
425:, while the churches of the monasteries of
612:, or create a new section, as appropriate.
326:, showing the altar, under a 13th-century
216:always found in the centre of an Orthodox
1609:Screens and Galleries in English Churches
628:Learn how and when to remove this message
445:Rood and beam of 1275, but no screen, at
1642:A Companion to the English Parish Church
1438:
1034:. For parish churches, the 19th-century
752:, Albi Cathedral, the church of Brou in
45:
29:
1241:
961:, as was required in the newly adopted
725:from the Florentine friary churches of
1206:Church of St Mary the Virgin, Uffculme
820:was significant for the congregation.
523:and other figures are sometimes seen.
212:, in an arrangement comparable to the
1558:
1522:
1510:
1498:
1486:
1474:
1323:
1311:
1299:
1284:
1260:
1248:
101:, a sculptural representation of the
7:
1462:
1450:
1426:
1380:
942:separating the south aisle from the
235:representation of the Last Judgement
1005:In the 19th century, the architect
691:collegiate church of Ottery St Mary
338:screens, to which are attached two
1689:. University of Exeter PhD thesis.
1685:Williams, Michael Aufrère (2008).
1077:14th-century painted rood loft in
883:, the Reformers sought to destroy
160:Description and origin of the name
25:
713:The screen and Tridentine worship
1218:
1086:
1070:
919:survived into the 18th century.
585:
350:around it. Large churches had a
1547:Addleshaw & Etchells (1948)
1535:Addleshaw & Etchells (1948)
292:lections in the rubrics of the
89:constructed of wood, stone, or
50:Usual location of a rood screen
1339:[Definition of jubé].
224:instead of the Apostle, and a
70:) is a common feature in late
1:
949:In the century following the
1711:, 87, 2018, pp. 11– 24.
1661:Iconography of Christian Art
1275:; White and Mitchell; page 2
1079:St Ellyw's Church, Llanelieu
864:Post-Reformation, in England
483:period or earlier, with the
463:St. Helen's church, Ranworth
109:located one bay west of the
1767:Christian religious objects
1704:, 84, 2015, pp. 17–34.
1621:The Stripping of the Altars
1094:All Saints, Margaret Street
1044:All Saints, Margaret Street
608:, discuss the issue on the
1788:
1612:. Oxford University Press.
891:(some to be restored when
1697:, 83, 2014, pp. 1–13
1032:19th-century restorations
1023:Cambridge Camden Society
844:the Rood was veiled; on
42:on either side of Christ
1640:Friar, Stephen (1996).
1225:Christianity portal
517:Golden Madonna of Essen
388:Santa Maria in Cosmedin
320:Santa Maria in Cosmedin
85:, of more or less open
1752:Architectural elements
1606:Bond, Francis (1908).
1273:Roman Catholic worship
1019:Cheadle, Staffordshire
946:
876:
793:
739:
527:Parochial rood screens
466:
454:
436:San Miguel de Escalada
343:
172:
51:
43:
1659:Schiller, G. (1972).
1617:Duffy, Eamon (1992).
983:royal arms of England
963:Book of Common Prayer
938:). At right is a low
928:All-Hallows-the-Great
925:
871:
836:, most especially in
790:Saint-Étienne-du-Mont
787:
780:Symbolic significance
577:Monastic rood screens
460:
444:
317:
288:for the location for
167:
49:
33:
1337:"Définition de jubé"
995:St James, Piccadilly
936:St Margaret Lothbury
818:the bread made flesh
657:; as for example in
606:improve this section
596:may not represent a
557:; especially in the
493:Volto Santo of Lucca
179:is derived from the
38:, France, including
1757:Church architecture
1709:The Devon Historian
1702:The Devon Historian
1695:The Devon Historian
1200:) was carried in a
951:English Reformation
764:, such as those at
731:Santa Maria Novella
717:The decrees of the
695:Maulbronn Monastery
130:Counter-Reformation
97:carrying the Great
75:church architecture
1441:, pp. 141–46.
1404:Life of St Columba
1190:Charlton-on-Otmoor
947:
877:
794:
745:Church of the GesĂą
663:Castle Acre Priory
561:, the form of the
546:reserved sacrament
538:transubstantiation
491:(965–970) and the
474:The Great Rood or
467:
455:
392:St Mark's Basilica
344:
173:
52:
44:
1670:978-0-85331-324-3
1644:. Bramley Books.
1359:www.newadvent.org
1002:loft and screen.
930:, Thames Street,
659:Norwich Cathedral
638:
637:
630:
489:Cologne Cathedral
449:on the island of
342:, left and right.
146:Eastern Christian
16:(Redirected from
1779:
1762:Catholic liturgy
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1057:Notable examples
987:Christopher Wren
750:Toledo Cathedral
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719:Council of Trent
687:Durham Cathedral
675:Dunstable Priory
633:
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222:John the Baptist
134:Council of Trent
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1679:Further reading
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999:auditory church
991:Derby Cathedral
940:parclose screen
874:St Albans Abbey
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683:Rites of Durham
667:parclose screen
634:
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509:Palatine Chapel
501:triumphal cross
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115:Wells Cathedral
40:the two thieves
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1716:External links
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1591:Bibliography
1577:
1566:
1559:Friar (1996)
1554:
1542:
1530:
1523:Duffy (1992)
1518:
1511:Duffy (1992)
1506:
1499:Duffy (1992)
1494:
1487:Duffy (1992)
1482:
1475:Duffy (1992)
1470:
1458:
1446:
1434:
1429:, p. 6.
1422:
1403:
1397:
1388:
1383:, p. 3.
1376:
1367:
1358:
1349:
1343:(in French).
1340:
1331:
1324:Friar (1996)
1319:
1312:Friar (1996)
1307:
1300:Friar (1996)
1285:Friar (1996)
1280:
1272:
1268:
1261:Friar (1996)
1256:
1249:Friar (1996)
1244:
1150:East Anglian
1142:Attleborough
1129:Lincolnshire
1121:Colsterworth
1102:
1048:
1015:Macclesfield
1004:
998:
953:newly built
948:
913:Peterborough
884:
878:
834:Use of Sarum
822:
795:
722:
716:
682:
681:. Hence the
679:Bedfordshire
670:
639:
624:
615:
595:
559:Use of Sarum
530:
497:Triumphkreuz
496:
473:
420:
416:
404:choir stalls
384:San Clemente
360:Hagia Sophia
345:
294:Use of Sarum
285:
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276:
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268:
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257:
243:
220:(which uses
190:
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176:
174:
123:
106:
94:
91:wrought iron
67:
63:
60:choir screen
59:
55:
53:
1463:Bond (1908)
1451:Bond (1908)
1427:Bond (1908)
1381:Bond (1908)
1158:Reformation
1109:Oxfordshire
1051:East Anglia
1036:Tractarians
881:Reformation
846:Palm Sunday
727:Santa Croce
618:August 2010
571:Palm Sunday
567:Lenten Veil
505:Charlemagne
412:baldacchino
400:iconostasis
286:ad pulpitum
246:latticework
226:Pantokrator
218:iconostasis
204:, normally
142:iconostasis
138:Scandinavia
103:Crucifixion
56:rood screen
1746:Categories
1231:References
1198:corn dolly
1174:Blythburgh
1148:. In many
1117:Derbyshire
979:Abbey Dore
917:Canterbury
858:Dovercourt
737:published
655:Holy Cross
650:Cistercian
485:Gero Cross
481:Romanesque
476:Rood cross
470:Great Rood
447:Ă–ja Church
348:altar rail
267:The terms
152:screen or
1396:(1995) .
1170:Southwold
1132:those at
909:Llanegryn
905:Llanengan
901:Llanelieu
897:Elizabeth
889:Edward VI
838:Holy Week
826:Holy Name
774:Ploubezre
758:enclosure
661:, and in
610:talk page
465:, Norfolk
427:Brixworth
372:Eucharist
330:behind a
260:meaning "
195:crucified
175:The word
107:rood beam
95:rood loft
1625:. Yale.
1601:. Faber.
1212:See also
1186:Bridford
1166:Ranworth
1154:Devonian
1138:Somerset
1113:Ilkeston
1096:, London
1011:Catholic
971:Foremark
955:Anglican
934:(now in
854:crucifix
770:Morbihan
766:Plouvorn
762:Brittany
723:tramezzi
642:pulpitum
604:You may
521:cherubim
431:Reculver
408:pulpitum
380:cancelli
352:ciborium
336:cancelli
328:ciborium
299:Durandus
269:pulpitum
258:cancelli
231:tympanum
126:Catholic
111:pulpitum
72:medieval
36:Morbihan
1202:May Day
1162:gilding
1146:Norfolk
1125:Thurlby
1081:, Powys
1062:Britain
1042:(as at
969:and at
879:At the
850:Passion
798:chancel
792:, Paris
555:liturgy
451:Gotland
368:templon
332:templon
305:History
281:doksaal
273:Lettner
262:lattice
250:chancel
210:St John
154:templon
87:tracery
79:chancel
1667:
1648:
1629:
1410:
1040:septum
806:angels
707:friars
563:missal
513:Aachen
396:Venice
290:Gospel
239:celure
214:Deesis
202:saints
198:Christ
140:. The
58:(also
1402:[
1236:Notes
1134:Trull
967:Leeds
340:ambos
256:word
254:Latin
183:word
181:Saxon
150:altar
66:, or
1665:ISBN
1646:ISBN
1627:ISBN
1408:ISBN
1172:and
1152:and
1140:and
1123:and
1017:and
977:and
944:nave
915:and
907:and
893:Mary
842:Lent
830:Rood
814:Host
810:Mass
772:and
729:and
703:ambo
646:nave
550:nave
534:Mass
406:and
386:and
376:Rome
324:Rome
279:and
277:jubé
208:and
206:Mary
191:rode
186:rood
177:rood
99:Rood
83:nave
81:and
68:jubé
54:The
1144:in
1136:in
1127:in
802:lay
677:in
673:in
511:at
507:'s
499:or
487:in
394:in
362:in
322:in
189:or
144:in
1748::
1357:.
1292:^
1115:,
1107:,
1053:.
903:,
776:.
768:,
429:,
275:,
271:,
156:.
62:,
1673:.
1654:.
1635:.
1416:.
1361:.
631:)
625:(
620:)
616:(
602:.
20:)
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