The cross is covered with open tracery, and crocketed; each crocket is an expanding flower, from which the bust of a prophet issues, bearing a scroll with a prophecy relative to our Lord's passion. The same images are carved at the extremities of the four great quatrefoils, containing the emblems of the Evangelists. The images of the Blessed Virgin, St. John, St. Mary Magdalen, and the bishop at whose cost the work was set up, are placed on the beam: the two latter are kneeling. Between these, the dead are seen arising from their graves; and in either angle, on a corbel, an angel of justice and mercy. Beyond these, on the piers of the church, are two images of Adam and Eve; and a host of smaller angels and images complete the personages of this most extraordinary work. Some of the images are rather barbarous, but the foliage and details are exquisitely wrought, and the whole design is most striking and original. There are rood beams at Nuremberg, but the originality of that in St. Lawrence's Church is rather doubtful,—though the antiquity of the rood itself is certain. Each arm of the cross ramifies into three branches, at the extremities of which are angels, with chalices, and on the top branch a pelican. Gervase, the monk of Canterbury, in his description of that cathedral, makes the following statement: Under the great tower was erected the altar of the holy cross, and a screen which separated the tower from the nave: a _beam_ was laid across, and upon the middle of this beam a great cross, with images of the Blessed Virgin and St. John, and two cherubim. There is a rood beam of some antiquity at the church of Séran, near Gisors. It is placed across the westernmost arch of the central tower. And the same may be remarked in several of the Normandy churches; but in some cases they stand considerably above the top of the screen; while in others the screens have been removed at a very recent period, probably that of the great revolution. _From the Instructiones Fabricæ of S. Charles Borromeo._ Under the vaulted arch of the chancel in every church, especially parochial churches, let a cross, having thereon the image of Christ, devoutly and becomingly made of wood, or any other material, be exposed, and conveniently placed. But if, on account of the great depression of the arch or vaulting, it cannot be placed so well there, then let it be put up against the wall, over the arch, under the ceiling; or let it be placed over the chancel door. [5] The custom of using brass for the material of choir screens is to be traced to a very late period, as at St. Gatier, at Tours; Cathedral, Rouen; and in many of the Flemish cathedrals. [6] The only instance I have found in England of circular staircases to a rood loft, inside the church, is at Ely, before the old alterations of the choir. ON SCREENS IN ITALY AND SPAIN.