In some instances legacies are left to beautify the existing altar, to have paintings made for it, or images carved upon it. In one case a man leaves a notable sum for those days to have two paintings executed abroad to adorn the chancel. A very curious bequest was made to the church of Holy Trinity, Hull, in 1502, by Thomas Golsman, an alderman of the city. “I leave,” he says, “£10 in honour of the Sacrament, to make at the high altar angels to descend and ascend to the roof of the church at the Elevation of the Body and Blood of Christ, as they have at Lynne;” that is, the angels descend until the end of the singing of the _Ne nos inducas in tentationem_ of the _Pater noster_, when they ascend. The chancel was very frequently, if not generally in England, divided from the nave by the rood with its screen. The _rood_, meaning a gallows, or cross or crucifix, probably consisted originally of the crucifix, which stood over the entrance into the choir, while the screen was the developed low walls which shut in the chancel, in or on which on either side were the pulpits or ambos, from which the Epistle and Gospel were chanted in solemn masses. The “rood-beam,” or “rood-screen,” or “rood-loft,” was probably the introduction of the twelfth century. In its simplest form of a “beam,” the rood supported a great crucifix, which was often in the wills of the fifteenth century and other documents called the _Summus Crucifix_; and generally the two figures of the Blessed Virgin and St. John were represented as standing at the foot of the cross, in reference to John xix. 26. Besides this, lights were frequently placed upon the beam, and Ducange, under the word _Trabes_, gives an example of a mediæval writer who mentions fifty candles as placed on the “rood-beam.” In the form of its highest development the rood took the shape of “the Screen” as seen in many of our English cathedrals, or in French churches under the name of _Jubé_. In parish churches in England it was usually called a “rood-loft,” and took the shape of a light screen, generally of wood, supporting a wooden gallery, on which was the great crucifix, etc., and to which access was obtained by a flight of steps, often in one of the piers of the chancel arch and entered by a door generally from within the church, but certainly sometimes from without. [Illustration: OUTSIDE ENTRANCE TO ROOD-LOFT, ST. JOHN’S, WINCHESTER]