“There was also, in the height of the said Wall, from pillar to pillar, the whole story and Passion of our Lord wrought in stone, most curiously and most finely gilt. And also above the said Story and Passion, was all the whole story and the Pictures of the twelve Apostles,” &c. “And on the height above all the foresaid story from Pillar to Pillar, was set up a border very artificially wrought in stone with mervellous fine colours, very curiously and excellent finely gilt, with branches and flowers,” &c. “And also above the height of all, upon the Wall, did stand the goodliest and most famous Rood that was in all this land, with the Picture of _Mary_ on the one side of our Saviour and the Picture of _John_ on the other, with two splendent and glistering Arch-angels, one on the one side of _Mary_ and the other on the other side of _John_,” &c. “Also on the backside of the said Rood before the quire door there was a loft,” &c. (pp. 56-57). This arrangement is scarcely mentioned by writers on foreign rood-screens, though Pugin gives a hint of it in his description of the Domkirche—the Cathedral—of Lübeck, which has a central altar and side doors, whereof he has given a plate, and two bays to the westward of this screen there is a rood-beam supporting the rood. There is an iron screen also, with central altar and side doors, in Freiburg, Switzerland. In England this double screen seems to have been most characteristic of Cistercian churches. Thus, at _Louth Park Abbey_ there was a stone screen, called the pulpitum, at the west end of the choir, extending across the nave, whereon stood the organs, &c. In the middle of the screen was the choir door or lower entrance (_inferior introitus_). The bay west of the pulpitum (which was sometimes of considerable thickness, with an altar on either side the quire door, as at Jervaulx) was open, and formed the retro-quire, where those who were extra-chorum for a time (_e.g._ the _minuti_, _i.e._ those who had been let blood), and such of the infirm as could attend, might hear the services. West of this bay was a second screen pierced with doors at either end, and having an altar in the middle against its western side. On top of this screen was the rood-loft, with the great rood and its attendant images. A bay westward was a low fence screen (the wainscot screen alluded to in the above quotation from The Rites of Durham), and the remainder of the nave was fitted up for the conversi or working brothers. At Fountains, J. T. Micklethwaite noted the same arrangement. At Bolton, in Yorkshire, where the nave is in actual use as the parish church, the altar stands precisely in the position of this Jesus or parish altar; the piscina may be seen close at hand in the south wall, and the Late Perpendicular oak screen, once in front of the altar, is now at the west end.