V. { Rood Screen of the Marienkirche, Lubeck. { Rood Loft, Cathedral, Munster. VI. { Screen in the Dom-Kirche, Lubeck. { Screen and Rood Loft, Hospital, Lubeck. VII. { Rood Loft, S. Katherine's Church, Lubeck. { Screen and Rood Loft, Dom, Hildesheim. VIII. { Screen at Glenhausen. { S. Elisabeth's Church, Marburg. { Screen at Oberwesel. IX. { Plan of the Jubé, Cathedral, Metz. { Plan of the Jubé, Cathedral, Toul. { Screen of S. Nicholas's Church, Lorraine. { Rood Screen, Cathedral, Antwerp: seventeenth century. X. { One of the Altars erected against the Nave Pillars, with its { Brass Screen-work. XI. { Iron Screen, Choir of S. Sernin, Toulouse. { Iron Screen at Toledo. XII. { Screen in the Cathédrale de Sens. { Screen in S. Agnes, Picardy. { Screen in S. Fiacre le Faouet. XIII. { Screen in S. Folgoet. { Screen in S. Germain, in Ribermont. { Plan of Jubé, Notre Dame de l'Epine. { Lambader, Brittany. XIV. { Iron Screen at S. Riquier: eighteenth century. { Wooden Screen in the Church of Urnes, near Bergen. A TREATISE ON ROOD SCREENS, _&c._ INTRODUCTION The subject on which I am about to treat is one of far more importance than the generality of men may be willing to admit; it is not a mere question of architectural detail, respecting a few mullions and a transverse beam, but it involves great principles connected with discipline, and even faith, and it is a question in which all those who either wish for the revival of ancient solemnity and reverence, or even the preservation of what yet remains, are most deeply interested. The contest that has been raised by the restoration of screens in England is not altogether new; it occurred in France during the latter part of the last century, when a vile spirit of modern innovation appears to have arisen among a portion of the French clergy, chiefly in the capitular bodies, and more injury was then inflicted on the great churches of that country than was caused by the outrages of the Calvinists and Huguenots in the civil wars of the sixteenth century. The traditions of the church, as regards the _disposition_ and _arrangement_ of ecclesiastical buildings in the northern countries, do not appear to have been much affected by the revived paganism of the sixteenth century; the details were debased and incongruous, but the _things_ remained unaltered _in principle_,—rood lofts were erected, choirs were stalled, cruciform churches, with aisles and lateral and lady chapels, and transepts, were the general type followed,[1] and screens for choirs, side chapels, and altars were universal. But gradually, from the adoption of the details of classic antiquity, the buildings themselves became objects of imitation, till revived paganism displayed its full absurdity in the substitution of a temple of Jupiter for a church of the crucified