Misplaced Pages

#752247

70-675: The Pastonian interglacial , now called the Pastonian Stage (from Paston, Norfolk ), is the name for an early or middle Pleistocene stage of geological history in the British Isles . It precedes the Beestonian Stage and follows the Pre-Pastonian Stage . Unfortunately the precise age of this stage cannot yet be defined in terms of absolute dating or MIS stages. The Pre-Pastonian Stage is equivalent to

140-519: A Virgin and Saint John often flanked the cross, and cherubim and other figures are sometimes seen. For most of the medieval period, there would have been no fixed screen or barrier separating the congregational space from the altar space in parish churches in the Latin West; although as noted above, a curtain might be drawn across the altar at specific points in the Mass . Following the exposition of

210-663: A greatly increased scale. In Italy, massive rood screens incorporating an ambo or pulpit facing the nave appear to have been universal in the churches of friars ; but not in parish churches, there being no equivalent in the Roman Missal for the ritual elaborations of the Use of Sarum. The decrees of the Council of Trent (1545–1563) enjoined that the celebration of the Mass should be made much more accessible to lay worshippers; and this

280-598: A lawyer and he later become a judge. The family went on to acquire lands throughout the county of Norfolk and became wealthy and part of the county gentry. Indeed, there is an old saying in Norfolk that "There was never a Paston poor, a Heydon a coward or a Cornwallis a fool". The Paston family are remembered today mostly for the Paston Letters , a rare surviving collection of fifteenth-century private and business letters. In 1597, Sir William Paston (1528–1610) moved

350-945: A plain beam across the arch, and high up, typically at the level of the capitals of the columns (if there are any), or near the point where the arch begins to lean inwards. Numerous near life-size crucifixes survive from the Romanesque period or earlier, with the Gero Cross in Cologne Cathedral (965–970) and the Volto Santo of Lucca the best known. Such crosses are commonly referred to in German as Triumphkreuz or triumphal cross . The prototype may have been one known to have been set up in Charlemagne 's Palatine Chapel at Aachen , apparently in gold foil worked over

420-502: A plain urn on a bare base in an aedicule of black Doric columns. Pevsner commented: "the contrast between the severity of the one and the ebullience of the other is startling". The chancel also contains three chest tombs , the one at the eastern end probably of John Paston (d.1466) who was originally buried in Bromholm Priory following a magnificent funeral at which were consumed forty barrels of ale. Surviving monuments to

490-562: A rood loft facing the congregation, a range of local ritual practices developed which incorporated the rood and loft into the performance of the liturgy ; especially in the Use of Sarum , the form of the missal that was most common in England. For example, during the 40 days of "Lent" the rood in England was obscured by the Lenten Veil , a large hanging suspended by stays from hooks set into

560-628: A screen platform used for readings from scripture, and there is plentiful documentary evidence for this practice in major churches in Europe in the 16th century. From this it was concluded by Victorian liturgists that the specification ad pulpitum for the location for Gospel lections in the rubrics of the Use of Sarum referred both to the cathedral pulpitum screen and the parish rood loft. However, rood stairs in English parish churches are rarely, if ever, found to have been built wide enough to accommodate

630-1037: A single mediaeval Rood survives in Britain. They were removed as a result of the 1547 Injunctions of Edward VI (some to be restored when Mary came to the throne and removed again under Elizabeth ). Of original rood lofts, also considered suspect due to their association with superstitious veneration, very few are left; surviving examples in Wales being at the ancient churches in Llanelieu , Llanengan and Llanegryn . The rood screens themselves were sometimes demolished or cut down in height, but more commonly remained with their painted figures whitewashed and painted over with religious texts. Tympanums too were whitewashed. English cathedral churches maintained their choirs, and consequently their choir stalls and pulpitum screens; but generally demolished their rood screens entirely, although those of Peterborough and Canterbury survived into

700-515: A thatched roof. The porch is on the south side and opens into a plain nave and chancel which is divided by a 15th-century rood screen . The church has been restored three times, in 1601, 1843 and 1869. In 1922 medieval wall paintings were uncovered, one depicting Saint Christopher carrying the Christ child, another depicting the legend of the three kings who, when hunting merrily in the forest, suddenly encountered three hanging skeletons. There

770-579: A wooden core in the manner of the Golden Madonna of Essen . The original location and support for the surviving figures is often not clear;  many are now hung on walls - but a number of northern European churches, especially in Germany and Scandinavia, preserve the original setting in full – they are known as a "Triumphkreutz" in German, from the "triumphal arch" (chancel arch in later terms) of Early Christian architecture. As in later examples

SECTION 10

#1732798384753

840-450: Is a stub . You can help Misplaced Pages by expanding it . Paston, Norfolk Paston is a village and civil parish in the English county of Norfolk . The village is 4 miles (6.4 km) north-east of North Walsham and 9.1 miles (14.6 km) south-east of Cromer . It is 19.2 miles (30.9 km) north-east of the city of Norwich . The village sits astride the coast road between Mundesley and Bacton . The nearest railway station

910-601: Is a visually similar barrier, but is now generally considered to have a different origin, deriving from the ancient altar screen or templon . The word rood is derived from the Saxon word rood or rode , meaning "cross". The rood screen is so called because it was surmounted by the Rood itself, a large figure of the crucified Christ . Commonly, to either side of the Rood, there stood supporting statues of saints , normally Mary and St John , in an arrangement comparable to

980-408: Is also a small figure from a ' weighing of souls ' and the remains of some post- Reformation texts. The Paston family monuments are situated at the eastern end of the building. That of Katherine Knevet/Knyvett (d.1628) (the wife of Sir Edmund Paston (d.1632)) stands on the north side of the chancel. This was created by Nicholas Stone , master-mason to King Charles I , who was frequently employed by

1050-698: Is at North Walsham for the Bittern Line which runs between Sheringham , Cromer and Norwich. The nearest airport is Norwich International . The village gives its name to the Pastonian Stage , a British regional subdivision of the Pleistocene Epoch . The village was served by Paston & Knapton railway station on the North Walsham to Cromer section of the Norfolk and Suffolk Joint Railway from 1881 until 1964. The manor of Paston

1120-399: Is consistent with the ritual uses of rood lofts being substantially a late medieval development. Until the 6th century the altar of Christian churches would have been in full view of the congregation, separated only by a low altar rail around it. Large churches had a ciborium , or canopy on four columns, over the altar, from which hung altar curtains which were closed at certain points in

1190-568: Is listed in the Domesday Book of 1086 as Pastuna from the Roman name Terra Pastorini ("Shepherds' Land"), one of the many English holdings of William de Warenne, 1st Earl of Surrey . The listing mentions the church and a mill. From about 1400, it was dominated by the de Paston family (later Paston ), who had taken their surname from their seat. Clement Paston was sufficiently wealthy to have his son William Paston (1378–1444) educated as

1260-636: The British Library , but a few are in the Bodleian Library , Oxford, at Magdalen College, Oxford , and at Pembroke College, Cambridge . In a letter dated 4 February 1445, Agnes Paston, the widow of William Paston, advised her son Edmond Paston (1425–49) 'to think once of the day of your father's advice to learn the law; for he said many times that whosoever should dwell at Paston should have need to con defend himself'. The letter goes on to list several disputes with neighbours. One of these

1330-674: The Counter-Reformation , when the retention of any visual barrier between the laity and the high altar was widely seen as inconsistent with the decrees of the Council of Trent . Accordingly, rood screens now survive in much greater numbers in Anglican and Lutheran churches; with the greatest number of survivals complete with screen and rood figures in Scandinavia . The iconostasis in Eastern Christian churches

1400-569: The Deesis always found in the centre of an Orthodox iconostasis (which uses John the Baptist instead of the Apostle, and a Pantokrator instead of a Crucifixion). Latterly in England and Wales the Rood tended to rise above a narrow loft (called the "rood loft"), which could occasionally be substantial enough to be used as a singing gallery (and might even contain an altar); but whose main purpose

1470-540: The Tiglian C5-6 Stage of Europe and the Pre-Illinoian I glaciation of the early Pre-Illinoian Stage of North America. Deciduous woodland increased, including species such as Hornbeam ( Carpinus ), Elm ( Ulmus ), Hazel ( Corylus ), and Spruce ( Picea ). Towards the end of the period, there is evidence for a fall in sea levels and an increase in grassland species. This glaciology article

SECTION 20

#1732798384753

1540-536: The "Jesus altar", erected for the worship of the Holy Name , a popular devotion in mediaeval times) which thus became the backdrop to the celebration of the Mass. The Rood itself provided a focus for worship according to the medieval Use of Sarum , most especially in Holy Week , when worship was highly elaborate. During Lent the Rood was veiled; on Palm Sunday it was revealed before the procession of palms and

1610-514: The 15th century, such as those at Trull in Somerset and Attleborough in Norfolk . In many East Anglian and Devonian parish churches, original painted decoration survives on wooden screen panels, having been whitewashed over at the Reformation ; although almost all have lost their rood beams and lofts, and many have been sawn off at the top of the panelled lower section. The quality of

1680-642: The 15th century. However, some early screens, now lost, may be presumed to have had a loft surmounted by the Great Rood, as the churches of Colsterworth and Thurlby in Lincolnshire preserve rood stairs which can be dated stylistically to the beginning of the 13th century, and these represent the earliest surviving evidence of parochial screens; effectively contemporary with the Lateran Council. The majority of surviving screens are no earlier than

1750-633: The 18th century. In the century following the English Reformation newly built Anglican churches were invariably fitted with chancel screens, which served the purpose of differentiating a separate space in the chancel for communicants at Holy Communion , as was required in the newly adopted Book of Common Prayer . In effect, these chancel screens were rood screens without a surmounting loft or crucifix, and examples survive at St John Leeds and at Foremark . New screens were also erected in many medieval churches where they had been destroyed at

1820-687: The 7th and 8th centuries consciously copied Roman practices; remains indicating early cancelli screens have been found in the monastic churches of Jarrow and Monkwearmouth , while the churches of the monasteries of Brixworth , Reculver and St Pancras Canterbury have been found to have had arcaded colonnades corresponding to the Roman altar screen, and it may be presumed that these too were equipped with curtains. Equivalent arcaded colonnades also survive in 10th-century monastic churches in Spain, such as San Miguel de Escalada . Some 19th-century liturgists supposed that these early altar screens might have represented

1890-477: The Barre/Barrey/Berry family ( Argent, a chevron between three bear's heads couped at the neck sable muzzled and collared or ) could still be seen carved over a doorway, symbolising the 1420 marriage of William Paston of Paston, Judge, son and heir of Clement Paston and Beatrix Somerton, to Agnes Barrey, a daughter and co-heiress of Sir Edmund Barrey. In the eighteenth century Baron Anson acquired

1960-609: The Gospel procession required in the Sarum Use. The specific functions of the late medieval parish rood loft, over and above supporting the rood and its lights, remain an issue of conjecture and debate. In this respect it may be significant that, although there are terms for a rood screen in the vernacular languages of Europe, there is no counterpart specific term in liturgical Latin. Nor does the 13th century liturgical commentator Durandus refer directly to rood screens or rood lofts. This

2030-591: The Mack family include stained glass windows and memorial plaques within the nave. The east window in memory of John Mack (d.1867) of Paston Hall was made by the firm of Clayton and Bell. The south window next to the doorway of the rood loft is dedicated to Lt Cdr Ralph Michael Mack of the Royal Navy who went down with his ship HMS Tornado off the Dutch coast in 1917. The village is best known for its association with

2100-473: The Paston family, who resided in an earlier building on the site of the present Paston Hall. The family is most noted for the Paston Letters , a collection of letters and papers, consisting of the correspondence of members of the family, and others connected with them, between 1422 and 1509, and including some state papers and other important documents. Most of the Paston letters and associated documents are now in

2170-490: The Paston family. It includes a verse epitaph written by the famous metaphysical poet John Donne , Dean of St Paul's Cathedral in the City of London . The monument is made of alabaster and pink-veined marble and features a semi-recumbent effigy of Lady Paston sculpted in white marble and surrounded by numerous allegorical figures. Stone also designed the adjoining monument to her husband Sir Edmund Paston (d.1632), comprising

Pastonian Stage - Misplaced Pages Continue

2240-531: The Reformation, as at Cartmel Priory and Abbey Dore . From the early 17th century it became normal for screens or tympanums to carry the royal arms of England , good examples of which survive in two of the London churches of Sir Christopher Wren , and also at Derby Cathedral . However, Wren's design for the church of St James, Piccadilly , of 1684 dispensed with a chancel screen, retaining only rails around

2310-430: The altar itself, and this auditory church plan was widely adopted as a model for new churches from then on. In the 18th and 19th centuries hundreds of surviving medieval screens were removed altogether; today, in many British churches, the rood stair (which gave access to the rood loft) is often the only remaining trace of the former rood loft and screen. In the 19th century, the architect Augustus Pugin campaigned for

2380-680: The area of the nave provided for lay worship (or in monastic churches of the Cistercian order, delineating the distinct church area reserved for the worship of lay brothers). The monastic rood screen invariably had a nave altar set against its western face, which, from at least the late 11th century onwards, was commonly dedicated to the Holy Cross ; as for example in Norwich Cathedral , and in Castle Acre Priory . In

2450-568: The chancel arch; in such a way that it could be dropped abruptly to the ground on Palm Sunday , at the reading of Matthew 27:51 when the Veil of the Temple is torn asunder. The provisions of the Lateran Council had less effect on monastic churches and cathedrals in England; as these would have already been fitted with two transverse screens; a pulpitum screen separating off the ritual choir; and an additional rood screen one bay further west, delineating

2520-409: The churchyard and said that he would have 20 nobles off her for closing the road and would open it again. Agnes warned that he would have to pay for his actions if he did. The row then moved on to whether Agnes had taken too much hay from land she let to Harman at North Walsham. Bidding her to take no more than four acres, he strode off. Life in Paston at this time was dangerous because of raids from

2590-555: The congregation knelt before it. The whole Passion story would then be read from the Rood loft, at the foot of the crucifix by three priests. In the 1400s the rood screen in Dovercourt , UK, became a shrine when it gained a reputation for speaking. At the Reformation , the Reformers sought to destroy abused images , i.e. those statues and paintings which they alleged to have been the focus of superstitious adoration. Thus not

2660-416: The course of 19th-century restorations . For parish churches, the 19th-century Tractarians tended, however, to prefer an arrangement whereby the chancel was distinguished from the nave only by steps and a low-gated screen wall or septum (as at All Saints, Margaret Street ), so as not to obscure the congregation's view of the altar. This arrangement was adopted for almost all new Anglican parish churches of

2730-402: The doctrine of transubstantiation at the fourth Lateran Council of 1215, clergy were required to ensure that the reserved sacrament was to be kept protected from irreverent access or abuse; and accordingly some form of permanent screen came to be seen as essential, as the parish nave was commonly kept open and used for a wide range of secular purposes. Hence the origin of the chancel screen

2800-476: The early Middle Ages were very small which may have served the same function as a rood screen. Contemporary sources suggest that the faithful may have remained outside the church for most of the mass; the priest would go outside for the first part of the mass including the reading of the gospel, and return inside the church, out of sight of the faithful, to consecrate the Eucharist. Churches built in England in

2870-520: The early-16th-century painted screen at Bridford , Devon, as being notable. The 16th-century screen at Charlton-on-Otmoor , said by Pevsner to be "the finest in Oxfordshire", has an unusual custom associated with it, where the rood cross is garlanded with flowers and foliage twice a year, and until the 1850s the cross (which at that time resembled a large corn dolly ) was carried in a May Day procession. A particularly large example can be found at

Pastonian Stage - Misplaced Pages Continue

2940-539: The estate from the impecunious William Paston, 2nd Earl of Yarmouth, and rebuilt the manor house on the same site. The remnants of the old house were left standing. An account written in 1796 states that the ruins stood at the east side of the courtyard with new domestic rooms on the north and south sides and a turreted gateway on the west. The gateway was described as being built of flint with quoins of freestone, with extensive cellars. An engraving of 1823 shows several polygonal chambers; excavations carried out in 1900 revealed

3010-544: The foundations of a hexagonal chamber. In 1824 John Mack acquired the estate and built the surviving house which incorporates parts of the Anson house and the Tudor cellars. At various times Paston Hall has been surrounded by outhouses, shrubberies, orchards and lawns. To the south east is a small field known as the 'Duffus', which was the site of a medieval dovecote reached by a path along a double hawthorn hedge. The tithe barn

3080-632: The later medieval period many monastic churches erected an additional transverse parclose screen , or fence screen, to the west of the nave altar; an example of which survives as the chancel screen in Dunstable Priory in Bedfordshire . Hence the Rites of Durham , a detailed account of the liturgical arrangements of Durham Cathedral Priory before the Reformation, describes three transverse screens; fence screen, rood screen and pulpitum. and

3150-532: The liturgy. Then, however, following the example of the church of Hagia Sophia in Constantinople , churches began to surround their altars with a colonnade or templon which supported a decorated architrave beam along which a curtain could be drawn to veil the altar at specific points in the consecration of the Eucharist ; and this altar screen, with widely spaced columns, subsequently became standard in

3220-527: The main family seat to Oxnead . The last Paston in the male line was William Paston, 2nd Earl of Yarmouth (d.1732). The Paston estate was then acquired by Baron Anson , passing in the early nineteenth century to the Mack family. Archaeological test pits were dug in 2012. The report was published online. The parish church of Saint Margaret dates from the 14th century and is constructed from flint. English Heritage has given it Grade I listed building status. It has an embattled tower which looks down on

3290-595: The major churches of Rome . In Rome the ritual choir tended to be located west of the altar screen, and this choir area was also surrounded by cancelli , or low chancel screens. These arrangements still survive in the Roman basilicas of San Clemente and Santa Maria in Cosmedin , as well as St Mark's Basilica in Venice . In the Eastern Church, the templon and its associated curtains and decorations evolved into

3360-543: The modern iconostasis . In the Western Church, the cancelli screens of the ritual choir developed into the choir stalls and pulpitum screen of major cathedral and monastic churches; but the colonnaded altar screen was superseded from the 10th century onwards, when the practice developed of raising a canopy or baldacchino , carrying veiling curtains, over the altar itself. Many churches in Ireland and Scotland in

3430-435: The origins of the medieval rood screens; but this view is rejected by most current scholars, who emphasize that these screens were intended to separate the altar from the ritual choir, whereas the medieval rood screen separated the ritual choir from the lay congregation. The Great Rood or Rood cross itself long preceded the development of screen lofts, originally being either just hung from the chancel arch or also supported by

3500-590: The painting and gilding is, some of it, of a very high order, notably those from the East Anglian Ranworth school of painters, of which examples can be found in Southwold and Blythburgh , as well as at Ranworth itself. The magnificent painted screen at St Michael and All Angels Church, Barton Turf in Norfolk is unique in giving an unusually complete view of the heavenly hierarchy, including nine orders of angels. Nikolaus Pevsner also identified

3570-490: The period. Painted rood screens occur rarely, but some of the best surviving examples are in East Anglia . The earliest known example of a parochial rood screen in Britain, dating to the mid-13th century, is to be found at Stanton Harcourt , Oxfordshire ; and a notable early stone screen (14th century) is found at Ilkeston , Derbyshire . Both these screens lack lofts, as do all surviving English screens earlier than

SECTION 50

#1732798384753

3640-596: The re-introduction of rood screens into Catholic church architecture. His screens survive in Macclesfield and Cheadle, Staffordshire , although others have been removed. In Anglican churches, under the influence of the Cambridge Camden Society , many medieval screens were restored; though until the 20th century, generally without roods or with only a plain cross rather than a crucifix. A nearly complete restoration can be seen at Eye, Suffolk, where

3710-470: The rood figures and painted with a representation of the Last Judgement . The roof panels of the first bay of the nave were commonly richly decorated to form a celure or canopy of honour; or otherwise there might be a separate celure canopy attached to the front of the chancel arch. The carving or construction of the rood screen often included latticework , which makes it possible to see through

3780-453: The rood screen dates from 1480. Its missing rood loft was reconstructed by Sir Ninian Comper in 1925, complete with a rood and figures of saints and angels, and gives a good impression of how a full rood group might have appeared in a mediaeval English church - except that the former tympanum has not been replaced. Indeed, because tympanums, repainted with the royal arms, were erroneously considered post-medieval, they were almost all removed in

3850-673: The roof span does not require hammer beams and that “they are here for show: the Renaissance magnate's love of bravado and expression of wealth”. Just on the Paston side of the boundary with Mundesley stands Stow Mill. This is a tarred brick tower windmill built between 1825 and 1827 by James Gaze. The mill operated as a flour mill between 1828 and 1930. The mill is a Grade II listed building. Rood screen Rood screens can be found in churches in many parts of Europe; however, in Catholic countries they were generally removed during

3920-616: The screen and emphasizing the importance of making the high altar visible to all worshippers; and in 1584 the Church of the Gesù was built in Rome as a demonstration of the new principles of Tridentine worship, having an altar rail but conspicuously lacking either a central rood or screen. Almost all medieval churches in Italy were subsequently re-ordered following this model; and most screens that impeded

3990-482: The screen partially from the nave into the chancel . The term "chancel" itself derives from the Latin word cancelli meaning " lattice "; a term which had long been applied to the low metalwork or stone screens that delineate the choir enclosure in early medieval Italian cathedrals and major churches. The passage through the rood screen was fitted with doors, which were kept locked except during services. The terms pulpitum , Lettner , jubé and doksaal all suggest

4060-402: The sea by French ships. Agnes, in another letter to John Paston dated 11 March 1450 and written at Norwich, reports that Richard Lynsted had been to see her from Paston that day and had let her know that Warren Harman's half-brother had been 'taken with enemies' while walking along the sea side. Two pilgrims, a man and a woman, had also been attacked. The woman was robbed but allowed to go. The man

4130-462: The subject after evensong on the Sunday before St Edmund's Day (i.e. in mid November). She was in the church when a certain Clement Spicer came up to her and demanded to know why she had closed the king's way. Warren Harman, who had been leaning over the parclose screen and listening, then intervened, condemning the 'ruely change' and saying the 'town' was £100 worse off as a result. Agnes told him to mind his own business, but he followed her out into

4200-405: The triple same arrangement is also documented in the collegiate church of Ottery St Mary . In the rest of Europe, this multiple screen arrangement was only found in Cistercian churches, as at Maulbronn Monastery in southern Germany, but many other major churches, such as Albi Cathedral in France, inserted transverse screens in the later medieval period, or reconstructed existing choir screens on

4270-403: The upper part of the screen, when he elevated the Host on Sundays. In some churches, 'squints' (holes in the screen) would ensure that everyone could see the elevation, as seeing the bread made flesh was significant for the congregation. Moreover, while Sunday Masses were very important, there were also weekday services which were celebrated at secondary altars in front of the screen (such as

SECTION 60

#1732798384753

4340-465: The view of the altar were removed, or their screening effect reduced, in other Catholic countries, with exceptions like Toledo Cathedral , Albi Cathedral, the church of Brou in Bourg-en-Bresse ; and also in monasteries and convents, where the screen was preserved to maintain the enclosure . In Catholic Europe, parochial rood screens survive in substantial numbers only in Brittany , such as those at Plouvorn , Morbihan and Ploubezre . The rood screen

4410-416: Was a physical and symbolic barrier, separating the chancel , the domain of the clergy, from the nave where lay people gathered to worship. It was also a means of seeing; often it was solid only to waist height and richly decorated with pictures of saints and angels . Concealment and revelation were part of the mediaeval Mass . When kneeling, the congregation could not see the priest, but might do so through

4480-442: Was built by Sir William Paston (1528–1610), the founder of the Paston Grammar School in North Walsham , in 1581 and was used to store and thresh corn. The barn is constructed of flint and brick with an alternate tie and hammerbeam roof , which is thatched. The barn is 160 feet (49 m) long and 24 feet (7.3 m) wide; to the apex the height is 60 feet (18 m). It has Grade II* listed building status. Pevsner remarks that

4550-416: Was independent of the Great Rood; indeed most surviving early screens lack lofts, and do not appear ever to have had a rood cross mounted on them. Nevertheless, over time, the rood beam and its sculptures tended to become incorporated into the chancel screen in new or reworked churches. Over the succeeding three centuries, and especially in the latter period when it became standard for the screen to be topped by

4620-429: Was led down to the sea but when he managed to convince the raiders that he was indeed a pilgrim, they gave him money and put him back on land. Agnes also mentions that the pirates 'have thys weke takyn iiij (4) vessellys of Wyntyrton and Happysborough, and Ecles men been sore aferd for takyn of mo, for there ben x (10) grete vessellys of the enemyis' . The original Paston Hall was built by William Paston (1378–1444) and

4690-445: Was partly destroyed by fire during the reign of King Henry VIII (1509-1547) and was replaced by a 'great rose-coloured mansion' that appears in a portrait of Sir William Paston (1528–1610). According to Blomefield's History of Norfolk (1739/75) the new building had two court-yards, the inner one containing a well. Blomefield reported that the great hall was still standing but the chambers and chapel were in ruins. The canting arms of

4760-450: Was to hold candles to light the rood itself. The panels and uprights of the screen did not support the loft, which instead rested on a substantial transverse beam called the "rood beam" or "candle beam". Access was via a narrow rood stair set into the piers supporting the chancel arch. In parish churches, the space between the rood beam and the chancel arch was commonly filled by a boarded or lath and plaster tympanum , set immediately behind

4830-498: Was widely interpreted as requiring the removal of rood screens as physical and visual barriers, even though the council had made no explicit condemnation of screens. Already in 1565, Duke Cosimo de' Medici ordered the removal of the tramezzi from the Florentine friary churches of Santa Croce and Santa Maria Novella in accordance with the principles of the council. In 1577 Carlo Borromeo published Instructionum Fabricae et Sellectilis Ecclesiasticae libri duo , making no mention of

4900-452: Was with the vicar of Paston concerning William's diversion of a highway from the south to the north side of Paston Hall, situated next to the church. This perhaps helps to explain why today the lychgate entrance to the church stands on a small path to Paston Hall rather than on the road to the north. The dispute continued for a few years and in about 1451 Agnes wrote to another son, John Paston (1421–66), to tell him how an argument broke out on

#752247