"No; I believe it is only ancient custom which decides upon the chancel screen; it is, too, the most convenient part of the church for this purpose." ...
Why is it that all those young eyes are so bright with love, as from each ready hand falls the gay flowers at the feet of the happy pair? Why is each knee bent during every prayer in that solemn service? And, now, when the hands of Mr. Ambrose rest on the heads of Constance and her husband, as he pronounces over them the last blessing of the Church, why does the deep Amen sound from every lip? Why is there that breathless silence as those happy ones kneel before the altar to bind themselves yet more closely together, and to God, in Holy Communion? And now, as they come forth from God's House, how is it that there is no faltering voice in all that assembly as the glad shout of Christian joy rings up through the air to heaven? I'll tell you. It is because the priest and the Squire have ever recognized their joint duties in that parish; because Constance has been a sister of charity and mercy among the poor; because they have striven with all their might to do the work God gave them to do; and now they have their reward in the hearty affection and respect of all their neighbours.
There were but two exceptions to this general manifestation of good feeling among the villagers, and they were the last evil growth of the old Anabaptist schism in the parish. At the same time that Egbert and Constance were breathing their mutual vows beneath the old chancel screen of St Catherine's, William Strike and Sally Sowerby were being "married" by Mr. Gallio at the new register-office at Townend....
"There is something very touching," said the Squire to Mr. Ambrose, as they walked back together to the Hall, "in that old custom preserved in our village of hanging a white glove on the chancel screen[132]. That was the very glove my dear Mary wore when she promised to be the wife of Edward Markland, and poor Edward himself placed it there. I saw Constance's eyes fill with tears to-day as she ventured to give one look at the sad memento."
"The custom is fast dying out, and only survives in a few rural parishes. Indeed, the very screens themselves have, you know, in most churches been swept away[133]. The finer carving is often to be found worked up into pews, and the large timbers have been used in building galleries. Where these screens were made of stone[134], they have generally been preserved unharmed. In some cases, alas! people have not been contented with demolishing the screen, but have actually in their place built a gallery[135] for a family pew, extending all across the front of the chancel, but I am thankful to say such instances are very rare."
"Will you kindly tell me the origin of the chancel screen?"
"It was formerly called the rood screen, or rood gallery, and where the rood has been restored, it is still properly so called. The Gospel used to be read from this gallery, and sometimes the psalms were sung there by the priests and choristers. The custom of reading the Gospel from this position was evidently intended to express a special respect for this portion of God's Word; and so, for the same reason, now the Gospel is read from the north side of the chancel, whilst the Epistle is read from the south. The rood[136], which consisted of a crucifix with the figure of the Blessed Virgin on one side, and of St. John on the other, was placed at the top of the screen. Over this, and between the chancel arch and the roof, the wall was painted, the subject usually being the Doom, or representation of the Last Judgment. To replace this, it would seem that, at the Reformation, the Commandments were ordered to be painted at the east end of the church."
"You think, then," said the Squire, "that the order in the canons does not refer to the east end of the chancel?"
"It is a disputed point, but I think not. Had the chancel been intended, I think it would have been so stated. Besides, it was ordered that they should be so placed that the 'people could best see and read the same,' and certainly they could not do the latter if they were painted at the east end of the chancel. Indeed, I regard that as the least convenient and appropriate place in the whole church for them. If we have them any where, the east end of the nave or aisles is the best place for them; but, really, the need to have them at all is now passed away, as those who can read, can read the Commandments in their Bibles and Prayer Books; and for those who cannot, it is useless placing them on the walls of the church[137]. However, it is far better to have the Commandments over the chancel arch than the royal arms. It is wonderful how silly people become when they have a superstitious dread of superstition. For instance, I know a church where the congregation were offended by an old painting in the church, the subject of which was at least calculated to inspire solemn thoughts, yet could be contented that the most conspicuous object in the church should be a hideous representation of the royal arms, with this sentence below it in large characters: 'Mrs. Jemima Diggs, widow, gave this painting of the Queen's arms, A.D. 1710[138].' I should like to know what there is in that to remind us that we are in the House of God?"
THE CHANCEL
"In this place is One greater than the temple."
S. Matt. xii. 6.