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fied Saviour, and the Blessed Virgin, and St. John. In France it was called the “jubé.” The lateral screens were called parcloses. A great deal of controversy has taken place latterly upon the propriety of restoring these screens, as they have fallen into very general disuse since the sixteenth century, and most unwarrantable prejudices have been sought to be raised against them. I think every impartial person will admit that, as we must have some sufficient barrier between the chancel and other parts of a Church, and as all essential features should be rendered as ornamental as propriety allows and means afford, we can have none more beautiful or so full of meaning as a judiciously-designed screen—one of construction so light that it will not prevent the faithful seeing satisfactorily the ceremonies in the chancel, but which will, at the same time, aid in marking the distinction between the sacrifice and the worshippers, and add to the solemnity of religious rites.[1]
Every parochial Church should have a baptistry, in which, as the Church desires, the sacrament of regeneration should be administered to the children of all the faithful of the parish, without any distinction on account of the worldly rank or condition of the parents. I am glad to observe gradual introduction of baptismal fonts into several of our city parochial Churches, and even in some country Churches and Chapels. At the same time I have to regret the unsuitable material and inappropriate character of most of them, and the objectionable and irregular positions they occupy. The ancient position of the baptismal font, near the entrance door, is the most convenient and most significant one that can be given to it, as the
- ↑ In the Churches, plans of which are given in figures 7, 8, and 9, the chancels and chapels are, or will be, enclosed by screens. For full information on this subject, see Mr. Pugin's recent work on “Chancel Screens and Rood Lofts; their Antiquity, Use, and Symbolic Signification.”
