“_And I wyth you in hope agre,_ _Though I yet here abyde._ _In full purpose if Goddes will be_ _To ly down by your syde._” I hope now that I have sufficiently proved my point as to the great value and interest of the Lincolnshire brasses. Mr. Macklin in his small work, _Monumental Brasses_, made a kind of tripos for the counties, in which Lincolnshire, though taking honours, only won a third class. In his larger and greatly improved book, _The Brasses of England_, in “The Antiquary’s Library,” this list disappears, and I should be surprised if he would not now raise the county to his second class. At any rate, some twenty brasses of great importance or fine workmanship, together with many rare or even unique instances of particular types, are amply sufficient to establish a claim to considerable distinction. ON MEDIÆVAL ROOD-SCREENS AND ROOD-LOFTS IN LINCOLNSHIRE CHURCHES BY THE EDITOR In many times and in many places religious men have loved to veil or screen off those parts of their House of God which they considered more particularly sacred, from the “profanum vulgus.” The veil of the Jewish Temple, the veil which stretched across the Saxon chancel arch, the chancel-screens from the earliest days of Gothic to our own in the Church of England, the “Jubé” in France, Belgium, and Germany, the “screens and ambones” of Italy, and the “Iconostasis” of the Greek Church (different in position though it be), all testify to the widespread character of this custom. The very word “chancel” itself is derived from the Latin _cancelli_—a lattice-work or screen.