It is a highly instructive object-lesson, and one not unprofitable eke for our own times, to note what ensued; nor can I, with the facts of the case before me, impugn the logic of the extreme reformers, who were so ill-content with the disappearance of the rood-loft that they never ceased to agitate for the prohibition of church organs as well. This, then, happened. The opponents of instrumental music in divine service were not allowed to have their will; and yet the retention of an organ after the organ-platform, the rood-loft, to wit, had been done away with, was very quickly found to be unworkable, unless some other provision were made for it and for the singers, whose voices the organ was meant to accompany. The removal of the rood-loft at the east end of the nave, therefore, was inevitably followed, sooner or later, by the erection of a gallery at the opposite end of the nave. In some instances, indeed, portions of the old rood-loft were actually re-erected, being incorporated in a new organ-gallery at the west end of the church. Thus, at Parwich, when, in the last quarter of the nineteenth century, the old west gallery came to be taken down, the main beam of it was found to have a carefully chamfered edge and to have been enriched with painting and gilding, thus proving beyond all question that it must have formed one of the timbers of the ancient rood-loft, if not the original rood-beam itself. Scarcely more than fifty years had elapsed since the demolition of rood-lofts had been ordained before a gallery was erected at the west end of All Hallows, Derby, and, what is more remarkable, in 1636 another, upon which the term, not void of significance, “loft” actually occurred in the inscription to commemorate the donor’s name and benefaction. Nor was this the only example on record. Another inscribed “loft” was erected at the west end of Heanor church in 1633, and another at Osmaston in 1747, while several more, though not explicitly so inscribed, were, as contemporary evidence proves, referred to at the time as “lofts.” Of these, the gallery at Ashover (1722), at Bakewell (1751), and at Stanley (1765) are examples. At Marston-on-Dove, in 1712, the parish agreed to erect a “loft,” as the recorded proposal for the scheme shows, “for ye schoolmaster of Hilton and his scholars and ye singers to sitt in.” At Hayfield, as shown in a plan of the seating accommodation and scale of charges for the same, under the date 1741, “every singer upon ye organ loft” paid the modest sum of 4d. a year by way of pew-rent. Again, at Hayfield a new “loft” was set up at the west end of the building in 1746.