^{page 43 note 1} A Survey of the Cathedrals of Lincoln, Ely, Oxford, and Peterborough (London, 1730)Google Scholar.

^{page 43 note 2} Bentham, James, The History and Antiquities of the Conventual and Cathedral Church of Ely, 2nd edition (Norwich, 1812), Addenda, 3Google Scholar.

^{page 43 note 3} Stewart, D. J., On the Architectural History of Ely Cathedral (London, 1868), 43Google Scholar.

^{page 43 note 4} Add. MS. 6768, pp. 122-4.

^{page 43 note 6} Add. MS. 6772, p. 196.

^{page 45 note 1} I must plead entire ignorance of the churches of Germany.

^{page 45 note 2} Fifth edition (1850), i, 23.

^{page 45 note 3} Another fine gospel ambon and paschal candlestick, both of the twelfth century and covered with mosaic, stand in the beautiful chapel of the Palazzo Reale at Palermo. The ambon is on the south of the quire with an eagle desk facing north.

^{page 48 note 1} At Hereford for ordinary days the mass-book has this direction: ‘Deinde legatur Epistola super lectrinum a Subdiacono ad gradum Chori, et Evangelium a Diacono super superiorem gradum converso ad partem Borealem; et Gradale et Alleluya cum suis Versibus super lectrinum in medio Chori.’

^{page 48 note 2} Wordsworth, C., Salisbury Ceremonies and Processions, 173Google Scholar.

^{page 49 note 1} York Fabric Rolls (Surtees Soc. 35), 267, 268Google Scholar.

^{page 49 note 2} Ibid. III.

^{page 49 note 3} Compotus predicti domini Johannis Maior Clerici Operis hoc anno pro diversis Rebus emptis et expensis factis, ut patet per unum quaternum Inde factum et super hunc Compotum ostensum pro Novis Organis in pulpito.

In Expensis [as per lost schedule] xlii. li. iiij. s. vj. d. ob. qa.; Empcio Stagni, xxxiv. li. x. s. v. d.; Ferramenta, iiij. li. vij.d. ob.; Liberacio denariorum (to Laurence Playssher) lxxj. li. Summa, clj. li. xv. s. vij. d. q^a.

[Added:] M^d de x li. datis Lawrencio Playssher per decretum Capituli ex Rewardo citra hunc compotum … … summa x. li.

M^d de l plankis emptis de Johanne Grynewaye et Resolut. Domine de Devonshere … … iiij. li.

Expense Organorum cum Regardo … clxiiij. li. xv.s. vij.d. q^a. [sic]

^{page 49 note 4} Fabric Roll 1408-9:

Item et in porcione meremii emp. de Will. Wryth pro j fundo in le purpytyl et pro hostio ibidem ad magnas organas, 18 d.

Fabric Roll 1453-5:

Et de 20 s. solutis Will. Organmaker pro emendacione de organicis cum les belousse earundem.

Et de 4s. 3d. solutis Rob. Wright operanti le Purpetill diet, organicarum.

Memorials of Ripon (Surtees Soc. 81), iii, 137, 161, 162.

^{page 49 note 5} Archaeologia, lii, 638.

^{page 49 note 6} York Fabric Rolls, 243.

^{page 50 note 1} Leach, , Visitations, etc., 87Google Scholar.

^{page 50 note 2} The collegiate church of Fotheringhay in 1548 had two pair of organs, but where they stood is uncertain. The description of them is, however, worth quoting on account of its unusual fullness:

Item ij faire pair of organs thone of iiij stops very good & lyg [sic] thother of iiij stops lesser & wors w^t ij deskes & chairs for y^e players at y^e same. Item ij pratie desks or lectornes of framed tymber. Item ij organ cases. (P. R. O. Aug. Off. Misc. Bk. 145, f. 96.)

The same church had also an eagle desk, variously described as a ‘lattern lectorne w’ the Egle’, or ‘w^t an egle of laton in the topp’.

^{page 50 note 3} 1382-3 ‘In iij tabulis emptis pro altari in pulpito x. di. s. In ij bendes ferreis pro dicto altari vj d.’ (Precentor's Acct. xv, 56. 6).

In the precentor's account for 1400-1 (xv, 56. 16) is a payment to a carpenter ‘pro lectrino in pulpito’, and mending the stalls. Hope, , Windsor Castle: an Architectural History (London, 1913), part ii, 396, nn. 23, 21Google Scholar.

^{page 50 note 4} Willis, and Clark, , The Architectural History of the University of Cambridge and of the Colleges of Cambridge and Eton (Cambridge, 1886), i, 535, note 2Google Scholar.

^{page 50 note 5} Yorkshire Chantry Surveys (Surtees Soc. 91, 92), i, 10 and ii, 431. See also York Fabric Rolls, 300, 301.

^{page 50 note 6} Inventories of Church Goods for the Counties of York, Durham, and Northumberland (Surtees Soc. 97), 115Google Scholar.

^{page 51 note 1} A mid-thirteenth century list of the relics belonging to York Minster shows that the great rood there was itself a huge reliquary:

‘Scilicet in magna cruce, quae stat ultra pulpitum in introitu chori, quam Rogerus Archiepiscopus fecit parari et postmodum dedicavit, continentur in corpore imaginis crucifixi reliquiae sanctorum Apostolorum Petri et Pauli et Mathei et sanctorum martirum Mauricij sociorumque eius, Sebastiani, et Calixti papae, Cipriani episcopi, Justinae matris Felicis Treverensis episcopi, sancti Rustici Treverensis episcopi et Sanctae Fellicitatis.’ York Fabric Rolls, 150.

^{page 51 note 2} ‘Supra ostium chori pulpitum opere incomparabili, aere, auro, argentoque fabricari fecit, et ex utraque parte pulpiti arcus, et in medio supra pulpitum arcum eminentiorem crucem in summitate gestantem, similiter ex aere, auro, et argento, opere Theutonico fabrefactos erexit.’ Chronica ponti ficum Ecclesiae Eboracensis, Digby MS. 140. Printed in Historians of the Church of York, ed. Raine (R.S. 71), ii, 354.

^{page 53 note 1} Church, C. M., Chapters in the Early History of the Church of Wells (London, 1894), 322–8Google Scholar.

^{page 53 note 2} ‘The quire abutted against a screen (now gone) under the west arch of the crossing, and was flanked by an altar on each side against the respond of each arcade. Above the site of the screen are the ends of the rood-beam in the wall about 40 ft. up.’ Note made on the spot in 1802 bv W. H. St. J. H.

^{page 54 note 1} As the screen had been destroyed down to the floor-level it was impossible to make out its internal arrangements, but since there is ample space for stairs to the loft, it is quite likely that the west front contained recesses for the altars that flanked the quire entry.

^{page 54 note 2} Hereford is the only cathedral church in which the pulpitum had retained, until modern times, its original position under the western arch of the crossing: (i) on account of the extreme shortness of the presbytery, and (ii) because the later extensions were all east of the presbytery itself, which was left unaltered. The pulpitum and quire stalls were, however, taken down about 1840, on account of the dangerous condition of the tower above them. When the church was eventually refurnished in 1863 by Sir Gilbert Scott, the pulpitum was replaced by an open screen of metal-work under the eastern arch of the crossing and the stalls jammed into the old presbytery. Scott's own comment on this proceeding is that he was carried away by the theory then current of ‘fitting the arrangements of our cathedrals to modern necessities, and at the same time to true church arrangement, making their choirs purely ecclesiastical, and opening out their naves to the uses of the congregation’. But he has the grace to conclude: ‘I am not sure that I should do so were my time to come over again, but I do believe that the uses of the cathedral have gained by it.’ The Archaeological Journal, xxxiv, 348.

^{page 55 note 1} De crucifixo et tabula aurea in introitu chori.

Introitumque chori maiestas aurea pingit

Et proprie propria crucifixus imagine Christi

Exprimitur vitaeque suae progressus ad unguem

Insinuatur ibi. Nee solum crux vel imago,

Immo columnarum sex lignorumque duorum

Ampla superficies, obrizo fulgurat auro.

Metrical Life of St. Hugh bishop of Lincoln, edited by Rev. Dimock, J. F. (Lincoln 1860), 11. 950–5Google Scholar.

^{page 56 note 1} From a stray note, written between 1397 and 1399, now in a manuscript at Emmanuel College, Cambridge [I. 2. 6. fly-leaf], it is evident that the fourteen principal niches of the pulpitum were filled with images of kings of England. The note is headed: ‘Nomina Regum in ecclesia Sarisburiensi’, and contains a list of seven kings ‘In dextra parte introitus chori Sar.’, from Edgar to William Rufus, and of seven other kings ‘In sinistra parte introitus chori Sar.’, from Henry I to Henry III, in whose reign the screen was set up. Also a further list of images ‘In australi parte chori Sar.’ of the three Edwards and of Richard II and his two queens. Possibly these six were over or about a doorway in the enterclose at the west end of the south aisle of the quire, in line with the pulpitum. The list quoted has twice been printed (see The Wiltshire Magazine, xxxviii, 567), but the important word introitus has been misread as interioris.

^{page 56 note 2} Drawn by James Biddlecombe and engraved by J. S. Muller.

^{page 56 note 3} Owing to the more recent growth of the idea that our minsters should play at being parish churches, Wyatt's screen in turn has gone, and been replaced by an open erection designed by Sir G. G. Scott, who was more responsible than any other modern ‘eminent architect’ for the destruction and obliteration of the traditional medieval arrangements of our great churches.

^{page 57 note 1} It is to be borne in mind that in all cathedral, monastic, and collegiate churches the Epistle a Gospel were read from the puipitum to a congregation in the quire and presbytery, and not to Elay folk who might be in the nave.

^{page 57 note 2} Proceedings, 2nd S. xvii, 97-106.

^{page 59 note 1} Archaeologia, lv, 326.

^{page 59 note 2} That the images, now lost, were those of kings, as in the later screens at Canterbury and York, is proved by proceedings taken about 1513 against one of the annivellars or annuelers, priests who celebrated annual or anniversary masses for the dead, on a charge of adultery. For this offence the sinner was to cause to be painted one of the images before the quire door, quod depinget unum regent ante outturn cltori non pidum incontinenter, and if he were not indicted before Michaelmas in the king's court tune depinget alittm regem adhuc non pidum. Reynolds, H. E., Wells Cathedral: its Foundation, Constitutional History, and Statutes(1881), 237Google Scholar.

^{page 60 note 1} Mr. A. Hamilton Thompson, who has made a special study of our collegiate churches, while agreeing that, from the point of view of internal arrangements, this classification is the easiest and clearest for the purposes of this paper, points out (in a letter to the writer) that ‘constitutionally there is a wide difference, e.g., between Southwell and Fotheringhay or Howden and Ottery. Southwell and Howden, like most collegiate churches before the end of the thirteenth century, were primarily collegiate, and the parochial altars were merely there on sufferance, as at Lincoln in early times; while Fotheringhay and Ottery were parish churches converted into colleges of chantry priests, the cure of souls being vested in a member of the college. Howden was, of course, a parish church till the middle of the thirteenth century; but the college was founded upon the model of the secular cathedrals, and the parochial aspect of the church became a purely secondary matter.’

^{page 63 note 1} There is a full description of th'e Tattershall screen in an article ‘On medieval roodscreens and rood-lofts in Lincolnshire’, by Dr. Sympson, E. Mansel, in Memorials of Old Lincolnshire, 228–30Google Scholar, who has kindly lent his illustration of the eastern face, shown in plate XVII.

^{page 64 note 1} A detailed description of the Howden pulpitum will be found in a paper by Mr. Vallance, Aymer on ‘The History of Roods, Screens, and Lofts in the East Riding’, in The Yorkshire Archaeological Journal, xxiv, 146–8Google Scholar, from which the illustration in fig. 8 has been kindly lent.

^{page 65 note 1} The scholars of Peterhouse at Cambridge used at first as their chapel the adjoining parish church of St. Peter outside Trumpington Gate, but about 1350 this was largely rebuilt, and rededicated in 1352 in honour of the Blessed Virgin Mary. The new building, which is still in use, though now (since the consecration of the present college chapel in 1634) only as a parish church, is an aisleless parallelogram, 100 ft. × 27 ft., of six bays. The three easternmost formed the college chapel and were divided from the rest by a pulpitum or rood-loft with two altars against it, which were not hallowed until 1443. Beyond the entercloses of these altars and in the same line, two chantry chapels were built outside between the buttresses, one in 1443, the other about 1515. The rest of the building served as the church of the parishioners. Willis, and Clark, , The Architectural History of the University and Colleges of Cambridge (Cambridge, 1886), i, 50, etcGoogle Scholar.

^{page 65 note 2} For this and other information on college chapels, see Willis and Clark, op. cit., and particularly the chapter on The Chapel in vol. iii, 484-501.

^{page 65 note 3} By an indenture dated 20th June 1516 Thomas Loveday of Sudbury, co. Suffolk, carpenter, covenanted to make twenty-four stalls in the new chapel after the same pattern as those in the quires of Jesus College and Pembroke Hall, ‘and a Rodeloft after and accordyng to the Roodeloft and Candell beame in the said Pembroke Hall in Camb. or better in every poynt, wyth Imagery and howsynge, such as shall be mete and convenient for the same warks’. Willis and Clark, ii, 243.

As in the old chapel of Peterhouse, the two ‘lowe altars’ against the pulpitum had chapels in line with them on either side between the external buttresses: that on the north of Hugh Ashton (ob. 1522); that on the south of Dr. John Keyton, c. 1533.

^{page 66 note 1} See a paper by Mr.Vallance, Aymer in The Archaeological Journal, lxvii, 329Google Scholar.

^{page 66 note 2} Also at Rothley Temple, Dinmore, and Ribston.

^{page 66 note 3} Willis, and Clark, , op. cit., i, 369.Google Scholar

^{page 67 note 1} Willis, and Clark, , op. at., i, 354.Google Scholar

^{page 67 note 2} Ibid, i, 366.

^{page 67 note 3} Ibid, i, 596, 597.

^{page 70 note 1} Willis, R., The Architectural History of Canterbury Cathedral (London, 1845), 26Google Scholar.

^{page 70 note 2} Walcher's church at Durham, which was also cruciform in plan, is definitely stated by the monk Rainald to have had its quire under the crossing.

^{page 71 note 1} A Description or Breife Declaration of all the Ancient Monuments, Rites, and Customes belonginge or beinge within the Monastical Church of Durham before the Suppression. Written in 1593. Surtees Soc. 15, ed. James Raine, 1842; re-edited as vol. 107, by the Rev. Canon Fowler, 1903. The revised text is here followed, but extended where necessary.

^{page 71 note 2} Ibid. 20.

^{page 72 note 1} One of the injunctions of bishop Richard Flemyng at his visitation of the Black Canons’ Priory of Huntingdon, 1421-2, was:

‘Item ostia clausure inter navem ecclesie et chorum tempore incepcionis prime misse aperiantur, et finita missa cotidiana de beata Maria claudantur, et clausa per residuum diem penitus conserventur; et ne nimis sit concursus populorum circa psallentes in choro, prohibemus ingressum secularium omnino per dicta ostia ac transitum, cursum et recursum secularium quorumcunque per loca claustralia dicti prioratus haberi, ne devocio psallencium in choro aut quies residencium in claustro per seculares illo aliqualiter perturbentur.’Thompson, A. Hamilton, Visitations of Religious Houses in the Diocese of Lincoln (Lincoln Record Society. 1914), i. 74–5Google Scholar.

^{page 73 note 1} Rites of Durham (Surtees Soc. 107), 32-4.

^{page 73 note 2} In an earlier state of things the cloister doorway was in the west wall of the transept, as was also the case at Ely, and the arch in the south aisle was then probably closed by a trellis-screen like that in the north aisle.

^{page 74 note 1} Rites of Durham (Surtees Soc. 107), 37.

^{page 74 note 2} Those at Ripon and Christchurch Twynham were of the same type.

^{page 75 note 1} The fourteenth-century church of the White Canons' abbey of Leiston in Suffolk apparently had screens of the Durham and Crowland type. According to the Suppression inventory there was the high altar in the quire, a ‘saint Mygelles chapell’ and ‘our Lady Chapell’ in the quire aisles. The pulpitum was under the eastern arch of the crossing, as appears by the description of the transept altars: ‘Item on the Southside of the Quyer dore one lytyll table of alabaster. Item a cloth before the nether parte of the alter of bungey [Bungay] work. Item an other lyke cloth on the northside of the same dore.’ ‘At the Altar of the Crucifyx’, which was that against the rood-screen at the east end of the nave, were ‘ij lytyll tables of alabaster’. P. R. O. Land Revenue Bundle 1393, file 136, No. 1.

^{page 75 note 2} In later times the screen arrangements at Glastonbury seem to have been similar to those at Bardney, but the westward position of the roodscreen was ruled not only by the cloister doorway but by the great flight of steps at the end of the nave that led up to the level of the quire and presbytery.

^{page 75 note 3} See a paper by the author on ‘Castleacre Priory’ in Norfolk Archaeology, xii, 105-157 and especially pp. 111 and 113.

^{page 76 note 1} It is interesting to compare this description with that in Rites of the Rood, etc., at Durham.

^{page 77 note 1} Willis, R., The Architectural History of Canterbury Cathedral (London, 1845), 110Google Scholar, where the Latin text is given in the notes.

^{page 78 note 1} Vol. xxxii, 86-8.

^{page 78 note 2} Transactions of the St. Paul's Ecclesiological Society, vi, 193.Google Scholar

^{page 78 note 3} See Archaeologia, lxii, pl. xliii.Google Scholar

^{page 78 note 4} Hist. MSS Comm. Ninth Report, Part I, Appendix, 126.

^{page 79 note 1} Vol. v, 142-5 and plate opposite p. 73.

^{page 82 note 1} Hodges, C. C., The Abbey Church of Hexhani (1888), 47, 48, and pls. 43-6Google Scholar.

^{page 82 note 2} Vol. vi, 185-200.

^{page 82 note 3} Hodges, , op. cit., 47 and pls. 47, 48.Google Scholar

^{page 84 note 1} See a paper by Mr.Knowles, W. H., F.S.A., on ‘The Priory Church of St. Mary and St Oswin, Tynemouth, Northumberland’, in The Archaeological Journal, lxvii, 1–50Google Scholar.

^{page 84 note 2} 2nd S. xxiii, 154-7.

^{page 84 note 3} See the plan of the church in Archaeologia, xxvi, pl. xxx, opp. p. 292.Google Scholar

^{page 85 note 1} There was however, as at Durham, an earlier cloister entrance into the south transept.

^{page 85 note 2} There are housings for images which were connected with these on the pillars in both aisles.

^{page 87 note 1} Bentham, James, History and Antiquities of the Cathedral Church of Ely, 2nd edition (Norwich, 1812), Addenda, 3Google Scholar.

^{page 87 note 2} In the north aisle of the infirmary hall at Ely is a doorway with similarly joggled lintel and a tympanum filled in with opus reticulatum of somewhat unusual pattern. But apparently it is of some-what later date than the pulpitum and has an outer moulding like that used by the builders of the added stage of the Galilee.

^{page 88 note 1} See the engraving in Britton's Cathedral Antiquities, iii. Winchester, pl. x, and the facsimile of Inigo Jones's original design in The Architectural Review, xxix, 130. It is interesting to note this late survival of the traditional decoration of a pulpitum, with images of kings.

^{page 88 note 2} A similar treatment was meted out to a fine classical organ screen in Beverley Minster by Sir Gilbert Scott. It had upon it leaden images of king Athelstan and St. John of Beverley.

^{page 88 note 3} See an article in Country Life for May 22, 1909, on ‘Tampering with Ancient Buildings, IV’ (p. 747), where the successive screens are illustrated.

^{page 89 note 1} C.C.C. Camb. MS. CXI. 355.

^{page 89 note 2} Mr. C. R. Peers thinks that this pulpitum was begun in the time of abbot John of the Cell (1195-1214), as a gift to the altar of the Holy Cross and St. Amphibalus of 1208 is mentioned in Cott. MS. Julius iii. 33 {Victoria Comity Histories, Herts, ii, 485).

^{page 91 note 1} Second Edition, 1857, p. 64.

^{page 92 note 1} ‘In corpore Ecclesie sunt tria altaria coram Sancta Cruce seriatim situata in honorem Beate Virginis Marie omnium Apostolorum Confessorum Sanctique Benedicti Sancti Thome Martyris et Sancti Oswini que altaria amota fuerunt et ibidem prout cernimus reverenter locata per industriam Domini Thome Hougton quondam Sacriste huius ecclesie qui ob devotionem Sancte Crucis Crucifixum Mariam et lohannem curiose depingi fecit.

‘Et ibidem altare coram ymagine Beate Marie Virginis diligentia et sumptibus Fratris Willelmi Wyntershull Eleemosynarii huius monasterii erectum directum et toto suo tempore honorabiliter sustentatum… et consecrata fuere tria altaria sub Cruce prescripta per Horrensem Episcopum regni Hungarie tempore Domini Willelmi Heywurthe Abbatis.’ John Amundesham, Annales Monasterii Sancti Albani (R. S. 68), i, 448.

^{page 93 note 1} ‘Infra chorum

Et in factura unius paris organorum, xvij. li. vi. s. viij. d.

Item in quadam fabrica lignea pro posicione organorum et lectura leccionum preter pecunias a fratribus datas, xliij. li. iij. s. iij. d. ob.’ Arundel MS. 34, f. 68 (old numbering).

^{page 93 note 2} ‘Fieri fecit quoddam par organorum quo aut visu pulchrius, aut auditu suavius, aut curiosum magis in opere, non putatur posse de facili in aliquo Monasterio infra totum istud regnum reperiri.’ Reg. Wheathampstead (R. S. 28. 6), 432.

^{page 94 note 1} Buckler, J. C. and Buckler, C. A., A History of the Architecture of the Abbey Church of St. Alban, with special reference to the Norman Structure (London, 1847), 67, 68Google Scholar.

^{page 94 note 2} Ibid, facing 141.

^{page 94 note 3} Neale, James, The Abbey Church of Saint Alban, Hertfordshire (London, 1877), 25Google Scholar.

^{page 95 note 1} See The Archaeological Journal, lxvi, 292-3.

^{page 96 note 1} Archaeologia Cantiana, xxxi, 44.

^{page 96 note 2} Ibid. 45.

^{page 96 note 3} Customary of the Benedictine Monasteries of Saint Augustine, Canterbury, and Saint Peter, Westminster, edited by Sir E. M. Thompson (Henry Bradshaw Society, 1904).

^{page 96 note 4} The second pair of piers have each a new stone inserted in the sixth course from the top, facing each other, and probably mark the place of the rood-beam. Above this line there is a decided break in the vault, the part to east having but a rudimentary longitudinal rib, while to the west the rib is fully developed. The vaulting corbels are also larger and more elaborate. East of the line, too, the levels of the pillar bases have all been raised.

^{page 98 note 1} H. Brakspear in Archaeologia, lxiv, 422, 424.

^{page 98 note 2} The uppermost is 7 ft. 4½ in. broad, the next 3 ft. 1½ in., and the lowest 7 ft. 7½ in.

^{page 99 note 1} Proceedings S. A., 2nd Ser. xvii, 353-63.

^{page 101 note 1} 1250-1. ‘Mandatum est Edwardo de Westmonasterio sicut Rex alias mandavit quod … mangnam [sic] eciam crucem collocari faciat in Navi ecclesie Westmonasterii et emat duos Angelos in modum Cherubyn ex utraque parte illius crucis collocandos. Teste, etc. iiij die Februarii.’ Close Roll, 35 Henry III, m. 19. [I am much indebted to Mr. M. S. Giuseppi, F.S.A., for this extract.]

^{page 101 note 2} Dean Robinson has called attention to a curious passage in the Customs as to the visit of the minuti (or monks who had been let blood) to the altar of the Holy Trinity. This can be explained quite satisfactorily if the retroquire were used by the minuti in the same manner as the Cistercians when extra chorunt. Archaeologia, lxii, 90, 91.

^{page 102 note 1} At Hayles, a late example, the walls were only 6 ft. apart.

^{page 104 note 1} The Suppression inventory of Dieulacresse Abbey in Staffordshire has ‘iiij. alters of alebaster in the bodye of the churche; the crusifyxe; xij candlestyks of latenn before the same; j particion of tymber in the body of the churche’. Archaeologia, xliii, 215.

^{page 104 note 2} See plan in The Yorkshire Archaeological Journal, vol. xv.

^{page 105 note 1} Suffolk Inst. of Archaeology, viii, 9.

^{page 105 note 2} Ibid. 27.

^{page 105 note 3} Legg and Hope, 123, 176, 229.

^{page 105 note 4} Noake, John, The Monastery and Cathedral of Worcester (London, 1866), 167Google Scholar, and Journal of Prior William More (Worcester Historical Society, 1914), 153Google Scholar.

^{page 106 note 1} Rites of Durham (op. cit.), 13, 14.

^{page 106 note 2} Ibid. 16, 207, 208.

^{page 106 note 3} Ibid. 162, 299, 300.

^{page 107 note 1} These have been printed by Mr.Brown, William, F.S.A., in The Yorkshire Archaeological Journal, ix, 197-215, 321–33Google Scholar.

^{page 108 note 1} In 1509 Thomas Pickering of Yorkshire willed to be buried in the Grey Friars within Newgate at London, ‘in the ambulatory before the choer’. North Country Wills (Surtees Soc. 116), i, 82.

The Suppression inventory of the White Friars' church at Newcastle-on-Tyne has: ‘Item the parclosse overwhart the church and also all the parclosse aboutes the roode chapell’, which suggests a double screen ox pulpitum at the quire entry of the Ely type. Archaeologia, li, 71.

^{page 108 note 2} James, M. R., On the Abbey of St. Edmund at Bury (Cambridge, 1895), 153Google Scholar.

^{page 109 note 1} I am indebted to Mr. Harold Brakspear for the following extracts from the Edificiorum Chronologia relating to these works:

‘Anno domini mccclxxvj Hoc anno sacrista qui supra voltam supra chorum sub novo campanili et voltam et fenestras super altare sancti Thome fecit de novo.

‘Anno domini mccclxxix Hoc anno cellerarius supradictus (Wm. Power) domum rasture in infirmaria edificavit. Eodem anno sacrista supradictus (John Lyndsey) nova stalla in choro erexit. Aream chori ac capellarum sanctorum Thome et Magdalene pavimentum ut modo cernitur persternavit.

‘Anno domini mccclxxxj sacrista supradictus clausuram fecit circa capellam beate virginis iuxta rubeum hostium ipsum hostium amovendo, et novum ibi ponendo. Ac novum pulpitum ante chorum apposuit in quo nocte sancti Thome apostoli primitus legebatur. Nam fere per xxv annos lecciones in choro inferius erant lecte.’

^{page 109 note 2} See Archaeologia, lxiv, plate iii and p. 166. Recent discoveries of a small window and a doorway at the triforium level above the line of the existing pulpitum wall seem to show that at one time the pulpitum filled the first and not the second bay.

^{page 110 note 1} Alnwick Visitation MS., f. 7.

^{page 110 note 2} Ibid. f. 97.

^{page 110 note 3} Ibid. f. 98d.