There is no country in Christendom where so many screens are still preserved and standing, as in England. Till within a very recent period, every cathedral church had retained its ancient separation between the nave and choir; but sad to relate, one of the most venerable of our churches is now denuded of this most essential and ancient portion of the fittings of a cathedral. I refer to Durham: where choir and nave are thrown into one great vacant space, and all the dignity and reverence of choir worship, suited to a capitular body, destroyed. Although the screen was of most debased design, and erected by a Pagan architect (Inigo Jones), at a Pagan period; yet, being placed in the old and proper position, and having attained a respectable colour, through age, it did its work, and was ten times preferable to the modern vacuum caused by its removal. Indeed, all the alterations at Durham are so many enormities. For centuries the western doors of the cathedral were closed, a chapel built outside them, termed the Galilee, and an altar, dedicated in honour of the Blessed Virgin, stood in the recess of the centre door, but lately, without any reason, for, as I have before said, no entrance can be obtained to the church from that end, have these doors been opened, and the remains of the altar removed, thus destroying one of the most curious traditions belonging to this venerable cathedral. Even the old Cromwellian Puritans did not injure the church so much as its present restorers, and it is greatly to be regretted that there are no means to compel these authorities to desist from their insane innovations. In the eyes of all true ecclesiologists Durham has lost half its apparent length, half its grandeur, since it has lost its screen, and it has got somewhat of the conventicle. But to return—York, Lincoln, Southwell, Wells, Exeter, Bristol, Chichester, Canterbury, Rochester, Chester, Norwich,[18] have all their old screens and rood-lofts standing. These are too well known amongst persons interested in this subject to need detailed description, but I may observe that they nearly all are ascended by staircases in the thickness of the eastern walls, rising up on each side, and that lateral altars in the screens were not so common as on the continent. The roods, in all cases, have been replaced by organs, which are badly placed both as regards the chanters and the effect of the building. The only instance I have ever met with the remains of a rood is at Columpton, near Exeter, where a large block of oak, carved like rock-work, with a skull and bones, evidently intended to represent Calvary, is still left, and in its upper part a deep mortice to receive the end of the rood.

Our parochial churches are yet rich in screens; of wooden rood-lofts we may particularize Sleaford, Newark, Bury St. Edmunds, Fairford, Tong, Lanryst, Sefton, Ranworth, and Southwold as some amongst the most remarkable. The countries most abounding in screens, are Norfolk, Suffolk, Lincolnshire, Cambridgeshire, and Devonshire, but each county presents many interesting examples, and it must be distinctly understood that every church, small or great, was originally provided with a screen.

In Norfolk, the churches of Cawston, Sall, N. Walsham, Worsted, Walcot, Trunch, Happisburgh, Bacton, Paston, Lynn, Ranworth, Cley, Castle Acre, Cressingham, Snetisham, and Ackle, &c., have all fine screens. Many of them are richly painted, and the lower panels filled with images of saints on gold and diapered grounds. The best preserved are those at Ranworth and Cawston. About five different painters were employed in the decoration of these, as the various styles may be distinctly traced over various parts of the country. Some of them exhibit far greater skill than others, but all have a deal of quaint character, and the images fill up the spaces in which they are placed, by the adjustment of drapery, &c.

There is a great deal of fine screen-work in Suffolk, at Woolpitt, Elmswell, Thurston, Lavenham, Long Melford, Brandon, Southwold, Blythburgh, Hawsted, and many other churches.

In Lincolnshire there are splendid screens at Winthorpe, Ingoldmills, Orby, Burgh, Croft, Boston, Hackington, Swineshead, Tattershall, Ewerby, Newark, Grantham.

In Devonshire the screens have been generally preserved, and on many of them the painted panels with saints and imagery are quite perfect. They are mostly constructed on one principle, with projecting wooden ribbed-work crossing the rood-loft; at Honiton, Feniton, Bradwinch, West Buckland, Columpton, Dartmouth, Kenton, Pinhoe, Plymtree, Tollaton, Tiverton, Atherington, Dawlish, &c., are screens surmounted by rood-lofts; but at Bridford, Burlescombe, Clayhanger, Dartington, Hempston, Plymstock, West Ogwell, &c., there are only screens without lofts, but of exceedingly elaborate design, and for the most part richly painted and gilt, some with saints in the lower panels, like those in Norfolk. A very numerous list, indeed, might be made of churches in this country, where screens of some kind are to be found; they are not always of the same material, for the examples of stone are numerous, as at Totness, Culmstock, Colyton, and Paignton, &c., this latter being monumental, and containing family tombs, introduced in the screen-work. Although the counties above mentioned are those which abound the most in fine examples of screen-work, yet most numerous and interesting specimens may be found in every county.

Sefton church, in Lancashire, has a splendid rood and side screens enclosing the chancel, of a later period, but most elaborate detail.

The parish church at Lancaster contains some very magnificent screen and canopy-work of the time of Edward I. The treatment of the crockets is quite peculiar, as they are joined together, forming a sort of solid enrichment on the gablets.

The priory church of Hexham is rich in carved fittings. The stalls and screen-work of the choir are perfect, and though rude in execution are extremely interesting; this being a conventual church, the screen-work is quite solid. If we proceed further north, we shall find the same system of enclosure of choirs and chancels by screens. The rood-loft at Glasgow is still perfect, and though the Scotch churches have been horribly mutilated, the ancient position of the enclosures is to be traced in most of them.

The churches in Wales were mostly furnished with rood-lofts. The screen and loft at Lanryst are most elaborate in carved enrichments; they were probably erected in the beginning of the fifteenth century, and it is worthy of remark that in this, as well as others, there is a striking similarity between the screens in Wales and Brittany.

Were it not tedious, I could supply a long list of fine screens yet remaining in every part of the country, but there are few of an older date than the thirteenth century, as so many of these churches have been rebuilt or refitted since that period. There can be no doubt that even the Saxon churches were provided with some enclosure across the arch which divided off the chancel. Indeed, so natural and right does it seem to have this separation, that the principles of screens survived the Reformation, as will be mentioned hereafter. But not only do we find the cathedrals and parochial churches to have been furnished with screens, but also chapels in private houses and hospitals for the poor. The archbishop's chapel at Croydon is divided by a plain but very substantial and effective screen, figured in the first volume of Pugin's examples.

Browne's hospital at Stamford, Bishop Bubwith's almshouses at Wells, S. John's hospital at Sherburne, the bede-houses at Northampton and Leicester, the Vicar's chapel at Wells, have all screens in their chapels, and some of them of most elegant design. In the private chapel of an ancient mansion at Cothele, on the banks of the Tamar, is an open screen of perpendicular work. In short, I do not imagine that any building dedicated to divine worship was considered complete, unless furnished with a suitable screen.

In the reign of Edward VI., the roods, with their attendant images, were removed, and it is probable that the lofts were stript at the same time of the candlesticks and basons of latten, wherein the lights were set up. But the screens themselves do not appear to have suffered, and indeed, in accordance with the decree that the chancels were to remain as in time past, the screens were absolutely necessary. Considering the great number of screens yet standing, it is evident that those which have been removed, were demolished, through the ignorance or indifference of the authorities during the repairs that the buildings have undergone, and I am personally acquainted with several instances which corroborate this fact. There are several examples of post-Reformation screens, one at Gedington church, of a simple but good character, and another at Martham church, Norfolk, which is painted and gilt.

The choir of Wimborne Minster, Dorsetshire, was fitted up in the beginning of the seventeenth, or end of the sixteenth century, quite after the old traditions, as regards screen-work and arrangement, though the details were of course debased.

The collegiate chapels of the universities present several remarkable examples of post-Reformation screens, as Wadham, Baliol, Lincoln, the old screen of Magdalene, before the recent alterations, at Oxford; and Peterhouse, Caius college, Clarehall, at Cambridge; even the screen of King's college chapel itself was not erected till after the schism, as the initials of Anna Boleyn occur in its decorations.

I have been informed of a screen in one of the churches at Leeds, erected in the seventeenth century; and an oak screen of a still later date is standing in the church of St. Peter, upon Cornhill, London. Lady Dudley, a most pious lady, in the time of Charles I. set up a screen in the church of St. Giles-in-the-fields, which was afterwards destroyed by the Puritan faction. The whole transaction is so illustrative of the spirit of those times, and so applicable to the fanatics of our own days, that I have printed it at length at p. 74.

From these instances it will be seen that the principle of screening off chancels has been retained in the church of England since its separation from Catholic unity, and the partial discontinuance in the eighteenth century was purely owing to extreme ignorance of ecclesiastical traditions, which prevailed throughout the members of this communion at that period, remarkable only for debased taste, and a total disregard of the wonderful productions of Catholic antiquity.

To this brief account of screens in England, I have subjoined some interesting extracts from churchwardens' accounts and other documents, printed in Nichol's illustrations, which will illustrate their history and decoration.

ACCOUNTS OF ST. MARGARET'S, WESTMINSTER.

"1510.

"Item. The said wardens, now accomptants, received of Mrs. Elizabeth Morley, widow, towards the new making of a Rood, Mary, and John, in the roodeloft, at the time the parish be of power and substance, to build and make the same rood loft, the sum of £10. 0s. 0d.

"Item. Received of the gift of Watir Gardynar, to the making of the rode-loft in the middle isle within the church, as more plainly appeareth by acquittance made by the said churchwardens to the said N. Watir, dated the ... day of October, the 9e yere of the reign of King Henry VII., £38. 0s. 0d."

The next item occurs in the reign of Edward VI.—

"Paid to Thomas Stockdale, of XXXV ells of cloth for the frunte of the rood-lofte, whereon the commandments be written...." It appears from this, that the commandments were set up originally in the rood lofts, and not over the altars. But in the succeeding reign of Mary, this cloth, on which the commandments were painted, was turned to a different purpose, for in 1557, we find the following item:

"For making iii serplys of the cloth that hung before the rode loft, written with the commandments, 2s.0d."

In 1559, the rood was destroyed, and in a barbarous manner, for we find the following items:

"Paid to John Rial for his iii days' work to take down the roode, Mary, and John, 2s.8d.

"Item. To the same for cleaving and sawing of the rood, Mary, and John, 1s."

In 1561, "Paid to joyners and labourers about the taking down and new reforming of the rood loft, as by a particular book thereof made doth appear, £37. 10s. 2d."

This is the last item which occurs respecting the rood loft of this church.

S. LAWRENCE, READING.

From Coate's History of Reading.

"1499.

"It. Rec. at Alhalow-tyde for the rode light xs. iiiid.

"It. Payed for xliii.-li. of ire wark, on the south end of the rode loft to stay the lyght, the li. iid. Sma. viis. iid.

"It. Payed for xxvi. li. of irewark on the north syde or end of the same rode loft to stay the same lyght, pic le li., ii. Sma. iiiis. iiiid.

"It. Payed for lyne to draw the curtens in the same lofte, iiid.

"It. Payed for scouring of the laten bolls in the said loft, iiiid.

"It. Payed for six laten bolls on the north side of the rode loft, viiis.

"1506.

"It. Paied for settyng up of the said rode, Mary, and John, for the remouing of the organs, and for making ye sete for ye player of ye same organs, xxd.

"It. Paied to Henry Blanksten, paynt for gilding the rode, Mary, and John, in the rode loft, xiiiis."

EXTRACTS FROM THE CHURCHWARDEN'S ACCOMPTS OF ST. MARY HILL, LONDON.

Costs paid for penting of the roodes, with karvying, and oder costs also.

"1497.

"Item. To Sir John Plomer, for makying of the fyugyrrs of the roode, £0. 1s. 8d.

"Item. To the karvers for makyg of iii. dyadems,[19] and of oon of the Evangelists, and for mendyg the roode, the crosse, the Mary and John, the crown of thorn, with all odir fawts, £0. 10s. 0d.

"Item. To Undirwood, for peynting and gyldyng of the roode, the crosse, Mary and John, iiii. Evangelists, and the iii. dyadems, with the nobills that I owe to him in money, £5.

"Item. For makyng clene of standards, candlesticks, braunches, with the bolls of laten upon the beame of the rodeloft, anenst the fest of Est., A.D., 1486."

EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF THE PARISH OF ST. HELEN'S, ABINGDON.

"1555.

"Payde for making the roode and peynting the same, £0. 5s. 4d..

"For making the roode lyghtes, £0. 10s. 6d..

"For the roode lyghtes at Christmase, £1. 3s. 2½d..

"1557.

"Received of the paryshe for the roode lyghts at Christmas. Payde for peynting the roode of Marie and John, and the patron of the churche, £0. 6s. 8d..

"For the roode, Marie, and John, with the patron of the church, £0. 18s. 0d.

"1561.

"To the somner, for bringing the order for the roode loft.

"To the carpenter and others for taking down the roode lofte, and stopping the holes in the wall, where the joices stoode, £0. 15s. 8d.

"To the peynter, for writing the scripture where the roode loft stoode, and overthwarte the same isle, £0. 3s. 4d."

EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF HEYBRIDGE.

"Payde for waxe for the roode-lofte light agenst Chrystemas last paste, pryce the pounde 10d., £0. 4s. 2d.

"A cloth of the Passyon to hang in the roode lofte in Lente."

EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF WALBERSWICK.

"Item. Paide to Robt. Bungyng, for helpyng of oon borde in the roode lofte, £0. 0s. 2d.

"Item. Payd for mendyng and staying ye roodeloft, in hale, £0. 0s. 2d.

"Item. To ye said Stephin, for mendyng ye herne wark in ye rode lofte, £0. 0s. 4d."

WOODBRIDGE.

"Hic jacet Johannes Albred quondam Twelewever, istius ville. Ob. primo die Maii, 1400, et Agnes uxor eijus.

"This Twelewever, with Agnes, his wife, were at the charges (people of all degree being, as then, forward to beautifie the house of God), to cut, gild, and paint a rood loft or partition betwixt the body of the church and the quire, whereon the pictures of the crosse and crucifixe, the Virgin Mary, of angels, archangels, saints and martyrs are figured to the life: which how glorious it was when it was all standing, may be discerned by that which remaineth. This, their work of pietie, was depensild [painted] upon the fabricke, of which so much as is left.

"'Orate.—Johannes Albrede et Agnetis—Soluerunt pro pictura totius hujus operis superne:—videlicet, crucis crucifixi, Marie, archangelorum et totius candeleb.'

"The names of some of the saints pourtraied upon the worke and yet remaining, are these, S. Paul, S. Edward, S. Kenelm, S. Oswald, S. Cuthbert, S. Blaze, S. Quintin, S. Leodegare, S. Barnaby, S. Jerome."—From Weever's Funeral Monuments.

ACCOUNT OF THE SCREEN IN THE CHURCH OF ST. GILES-IN-THE-FIELDS.

"The said church is divided into three parts: the sanctum sanctorum being one of them, is separated by a large skreene in the figure of a beautiful gate in which is carved two large pillars and three large statues: on the one side is Paul with his sword; on the other Barnabas with his book; and over these, Peter with his keys; they are all set above with winged cherubims, and beneath supported by lions.

"This screen, which was erected by the pious munificence of Lady Dudley, about ten years previous, was demolished by the Puritans in 1644. We find a party in the parish in 1640, exhibiting articles to Parliament against the rector, Dr. Heywood. It was stated that, in the parish church were set up crucifixes, and divers images of saints, and likewise organs with other confused musicke, hindering devotion." The screen given by Lady Dudley was also decreed as superstitious, and in 1644 is the following memorandum respecting it: "Also, we, the auditors of this account, doe find that the accomptant, Edward Gerrard, was commanded, by ordinance of Parliament, to take down the screene in the chancell, it being found superstitious, which was accordingly done, and it sold for fortye shillings;

"Also, out of the receipt for church goods, were paid the bricklayer for mending the walls on both sides the chancel, where the screen stood."—From Parton's History of St. Giles-in-the-Fields.

It is remarkable what a similarity of feeling against screens is to be found among Puritans and Paganisers.