This central position of the altar, with a doorway on either side, was a general arrangement in the Jubés of Germany, of which Pugin’s plates of those in Münster Cathedral, the Domkirche and the Hospital, Lübeck, the Dom at Hildersheim, and that at Gelnhausen may serve as specimens. G. E. Street gave a sketch of a choir-screen with central altar on its western front, and a door in either side, at Zamora Cathedral (_Gothic Architecture in Spain_, p. 92). And a rood-screen at Wechelburg, Saxony, with crucifix, SS. Mary and John, central western altar, and side doors, is figured in Fergusson’s _Handbook of Architecture_, vol. ii. p. 583. [Illustration: CROWLAND ABBEY ROOD-SCREEN, FROM THE EAST.] In all Norman cathedrals, probably, the choir extended westwards across the transepts into the structural nave. Consequently in any later erection of screens to mark the entrance into the choir, this ancient line of demarcation would be followed. The late Professor Willis remarks of the screen already alluded to at Canterbury, as described by Gervase, “that it may have remained, though in an altered form, to the Reformation. One of Winchelsey’s statutes (dated 1298) expressly commands that the two small doors under the great loft between the body of the church and the choir, which are near the altar under the Great Cross, shall remain.” Thus also at Chichester, Bishop Arundel’s Oratory (which was pulled down in 1859) stood across the western arch of the central tower. At Winchester, the rood-screen was in the second bay of the nave. At St. Albans, St. Cuthbert’s altar-screen is three bays down the nave, and at Norwich Bishop Le Hart’s screen (when complete with a vaulted extension westwards, and a screen still farther, whereon the rood-beam would be placed) takes in three bays of the nave. At Westminster four bays, at Gloucester one bay, were included in the choir: at Peterborough the organ-screen enclosed the first bay of the nave, and there was a second screen as at Norwich, one bay farther west. The choir of the monks at Ely extended westwards beyond the central tower, and after that had fallen, beyond the octagon to the second pier of the nave. At Furness Abbey the pulpitum doubtless occupied a bay between the third pair of piers in the nave. At _Crowland_, as has been stated above, the existing stone screen is across the western side of the lantern. All these, except Chichester, belonged to the Benedictine Order. At Kirkstall Abbey, a Cistercian house, the plan, as it existed in the twelfth century, shows the extension of the choir into two bays of the nave, and at Roche Abbey, also Cistercian, there are traces of the rood-screen, three bays down the nave (with central door and two side altars), no other screen being found save a wooden one in the same line across the north aisle.