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68-645: Historically, the area was controlled by the monks of Cartmel Priory . Following its dissolution, much of the local land fell into the ownership of the Preston family at Holker Hall . Through marriage Holker became part of the estate of the Cavendish Family , and today is the home of Lord Cavendish . As well as the estate around Holker, the Cavendish family still owns much of the land of the Peninsula. The Cartmel Peninsula

136-613: A prior and twelve canons sent from Bradenstoke Priory in Wiltshire. Between 1327 and 1347 a chapel with four traceried windows was provided by John Harington, 1st Baron Harington in the south choir aisle; his tomb, also containing his second wife, is in the building. The stonework on the tomb contains the Harrington coat of arms with the Harrington knot as well as the Dacre coat of arms with

204-513: A rood loft carrying the Great Rood , a sculptural representation of the Crucifixion . In English, Scottish, and Welsh cathedrals, monastic, and collegiate churches, there were commonly two transverse screens, with a rood screen or rood beam located one bay west of the pulpitum screen, but this double arrangement nowhere survives complete, and accordingly the preserved pulpitum in such churches

272-494: A Guide over Cartmel Sands was transferred to the Duchy of Lancaster . Thomas Hogeson was appointed by the Duchy as the first official guide to the sands on 29 January 1548. The Dissolution commissioners had instructions to "pull down to the ground all the walls of the churches, stepulls, cloysters, fraterys, dorters, chapter howsys" and all the rest. The materials were then to be sold for

340-509: 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

408-522: 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

476-645: 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

544-909: 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

612-493: A plastered ceiling, has been uncovered and restored. The whole of the windows have been reglazed with Hartley’s cathedral glass. A new font, pulpit and reading-desk of stone have been added to the church. The font is square with moulded panels, carved and drapered work, and marble shaft. The pulpit is of octagonal design, supported by marble shafts, on three sides are moulded panels containing carved heads representing our Saviour, St. Peter, and St. Paul. A new organ has been erected in

680-548: 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

748-619: 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

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816-1023: 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

884-567: 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

952-399: 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

1020-563: Is home to L'Enclume , a Michelin two-star restaurant named the best in the UK by the Good Food Guide between 2013 and 2017, and to Cartmel sticky toffee pudding , produced in the village shop and sold globally. The following settlements and sites can be found on the peninsula: 54°13′27″N 2°57′49″W  /  54.22417°N 2.96361°W  / 54.22417; -2.96361 Cartmel Priory Cartmel Priory church serves as

1088-483: Is largely rural dominated by limestone outcrops and the overlooking Cumbrian mountains . There is some agriculture, with saltmarsh lamb raised on the sands of Morecambe Bay that surround the peninsula, but this is limited by the challenging landscape. The modern peninsula is a popular tourist destination, and together with Furness, Cartmel has been marketed as part of the Lake District Peninsulas , though

1156-538: Is sometimes referred to as a rood screen. At Wells Cathedral the medieval arrangement was restored in the 20th century, with the medieval strainer arch supporting a rood, placed in front of the pulpitum and organ. Rood screens can be found in churches in many parts of Europe; however, in Catholic countries they were generally removed during the Counter-Reformation , when the retention of any visual barrier between

1224-555: 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

1292-525: The Lake District National Park only covers the northern portion of the peninsula. Cartmel's only town is Grange-over-Sands , a Victorian seaside resort. Grange's growth was a result of the Furness Railway , which runs along the peninsula's southern edge, with stations at Grange , Cark and Cartmel and Kents Bank . Cartmel's name is known internationally as a ' foodie ' destination. It

1360-578: The parish church of Cartmel , Cumbria , England (formerly in Lancashire ). The priory was founded in 1190 by William Marshal , created 1st Earl of Pembroke , intended for a community of the Augustinian Canons regular and was dedicated to Saint Mary the Virgin and Saint Michael . To support the new house, William granted it the whole fief of the district of Cartmel. It was first colonised by

1428-526: 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

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1496-552: 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

1564-623: 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

1632-624: 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

1700-399: The 2 smaller bells of 1932 by John Taylor and Co. Choir screen The rood screen (also choir screen , chancel screen , or jubé ) is a common feature in late medieval church architecture . It is typically an ornate partition between the chancel and nave , of more or less open tracery constructed of wood, stone, or wrought iron . The rood screen was originally surmounted by

1768-731: 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

1836-735: The Baptist, Flookburgh , St Paul, Grange-over-Sands , Grange Fell Church, Grange-Over-Sands , and St Paul, Lindale, to form the benefice of Cartmel Peninsula . The church is recorded in the National Heritage List for England as a designated Grade I listed building . The pipe organ was installed in 1867 by F. Jardine of Manchester. The inauguration was recorded in the Westmorland Gazette of 28 September 1867: The organ which has been built by Mr. Jardine of Manchester, had its capabilities tested by Mr. Stevens of Holy Trinity Church, Manchester. It had been intended where

1904-455: The Crown forces under Edward Stanley, 3rd Earl of Derby . He was to secure a parochial living to supplement his Crown pension. Others had a different fate. With the failure of the rising, as in other similar cases there came a brutal end for some, the subprior and several of the canons being hanged, along with ten villagers who had supported them. The priory's ancient responsibility for providing

1972-600: 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

2040-521: 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

2108-430: 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

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2176-652: 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

2244-560: 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

2312-544: 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

2380-416: 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

2448-402: 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

2516-471: 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

2584-514: 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

2652-408: The east end of the church, the early lancet windows were replaced by one huge window of stained glass, misericords were installed in the choir, and the tower was extended. Unusually, the extension to the tower sits at a 45-degree angle to the base on which it rests, a feature believed to be unique in England. Work on the building continued intermittently into the 16th century, when the choir screen

2720-580: 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 is a visually similar barrier, but is now generally considered to have

2788-614: 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

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2856-520: 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

2924-579: 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

2992-531: 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

3060-435: 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

3128-626: 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

3196-581: The people of Cartmel were deprived of what would certainly have been, and what they had long been anticipating as a good treat. The organ was rebuilt in 1969 by Rushworth and Dreaper of Liverpool and in 2005 by Principal Pipe Organs. A specification of the organ can be found on the National Pipe Organ Register . The church tower contains a ring of 6 bells. Four are new, dating from 1987 by Eijsbouts, with an old set of 4 bells (2 from 1661 and then 1726 and 1729) making an old 6 when combined with

3264-484: 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

3332-420: The profit of the Crown. These habitual procedures would have meant Cartmel Priory's church being demolished along with the rest of its buildings. However, in this case the founder William Marshal had given an altar within the church to the village, and provided a priest along with it. The villagers petitioned to be allowed to keep the church as it was their only place of worship, and this was granted. Despite

3400-580: 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

3468-463: 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

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3536-453: 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

3604-612: The rubric leaves it optional, whether any part shall be “said or sung” to have our beautiful church service sung by one of the finest choirs of Manchester, and the organ presided at by one of the most accomplished amateur players in the North of England. Arrangements having been made by Mr. Jardine for the attendance of Mr. Joule and his choir of St. Peter’s; but the Bishop has so strong an objection to musical services, and such strong fears of its effects on worshippers, that out of deference to his opinion

3672-401: The scallop shells. The gatehouse, which apart from the church itself is the only surviving structure of the medieval priory , was built between 1330 and 1340. In the 15th century extensive work was undertaken, in part due to damage (believed to be from subsidence) in the southern part of the complex. The original cloister was demolished and a new one built to the north of the priory church. In

3740-412: 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

3808-482: 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

3876-437: The southwest door of the nave. The nave was used after the Dissolution as a prison and later between 1624 and 1790 as a grammar school . By 1830 the church was in need of repair again, and underwent a restoration, which has been described in the Edge Guide as "more enthusiastic than sympathetic". In 1850 a new panelled ceiling was inserted in the central part of the church, forming the belfry floor. A further restoration

3944-498: The town choir. In 1923, the gatehouse became a museum, and was used for exhibitions, and meetings, before being presented in 1946 to the National Trust who continue to operate it as the " Cartmel Priory Gatehouse ". The church is an active Anglican parish church in the deanery of Windermere, the archdeaconry of Westmorland and Furness, and the diocese of Carlisle . Its benefice is united with those of St Mary, Allithwiate , St Peter, Field Broughton , St John

4012-405: 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

4080-403: 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

4148-465: 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

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4216-455: The villagers' being allowed to keep the church, the lead was stripped from the nave, and until 1618 when George Preston, a landowner at nearby Holker Hall , provided considerable finances to allow the roof to be reinstated, the villagers actually worshipped in the choir , rather than the nave of the church. In 1643 some Roundhead troops stayed in the village, stabling their horses in the church. Bullet holes from this time are still visible in

4284-416: 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

4352-478: Was carried out in 1867 by E. G. Paley . The restoration was described in the Westmorland Gazette of 28 September 1867 The old seats and galleries have been removed from the nave and transepts, which have been reseated with new benches of oak. The plaster and whitewash of succeeding centuries has been entirely taken off and cleaned from the walls, pillars, and arches of the church. The ancient massive open timbered roof of oak, which for centuries has been hid behind

4420-528: Was constructed. The 25 misericords date from 1440, and are of an exceptional quality. They include representation of the Green man , which with its three heads sprouting foliage is said to symbolize the devil. The priory was surrendered by its then community of ten canons at the Dissolution of the Monasteries in 1536. An effect of the Pilgrimage of Grace was that the community was reinstated, one of perhaps 16 such cases. The prior, Richard Preston, had not thrown in his lot with resistance, but had fled to

4488-416: 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

4556-450: 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

4624-498: 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

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