Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

27 August, 2026

“A Treatise On Chancel Screens And Rood Lofts. Their Antiquity, Use, And Symbolic Signification”. By: Augustus Welby Pugin.



Illustration: GOOGLE BOOKS


Text is from:
“A Treatise On Chancel Screens And Rood Lofts.
Their Antiquity, Use, And Symbolic Signification”.
By: Augustus Welby Pugin.

First Published in 1851 by Charles Dolman, London.

This 2005 edition published by Gracewing Publishing, 
who have given permission for this Article.


Illustration: GOOGLE BOOKS

INTRODUCTION.
By: Roderick O’Donnell,
Feast of The English and Welsh Martyrs,
4 May 2005.

“A Treatise On Chancel Screens And Rood Lofts. 
Their Antiquity, Use, And Symbolic Signification” 
is Pugin’s last Book.

Published in the Spring of 1851, it was a considered response 
to the attacks made on him during the so-called “Rood Screen Controversy”, which had broken out in 1848 over the role of the Rood Screen in the new and long-awaited Saint George’s Cathedral in Southwark. These attacks had been orchestrated in the pages of the “Rambler” magazine.

Pugin worked on the Book intermittently from 1848 to 
its printing in December 1850 and subsequent publication, 
by Charles Dolman, a few months later. In it, he returns to 
the methods, first deployed with devastating effect in “Contrasts” (1836), of combining polemic with antiquarian scholarship, the latter ranging from Notes and Sketches of Churches he had seen, to published and drawn records culled mostly from his own remarkable Library.

Although the polemics of “Contrasts” are largely avoided, 
the four vignettes on the “Ambonoclast” and the “Conclusion” show him still relishing controversy.

“Ambonoclasm” — Rood Screen smashing — is a term that Pugin borrowed from the historian Abbé J.-B. Thiers, whose “Dissertations Ecclésiastiques sur les principaux Autels des Eglises, Les Jubés des Eglises, La Clôture du Chœur des Eglises” (1688) had first cited in his “Present State of Ecclesiastical Architecture in England”.

The “Treatise” is a strongly-argued and well-laid-out work, 
far less muddled than the publications of his mid-career, and while some stock themes are repeated, there is no suggestion here of Pugin having reached the end of his tether.

Though it was reviewed by the “Tablet” in May 1851 and in 
the “Ecclesiologist” in June 1851 — as part of a campaign to distance the “Ecclesiologist Society” (formerly the “Cambridge Camden Society”) from Pugin — the Book has never received the attention it deserves.

These Illustrations on Google Books are limited in number. Pages displayed are by permission of Gracewing Publishing.

Gracewing Publishing Books are obtainable from


Illustration: GOOGLE BOOKS


Illustration: GOOGLE BOOKS

26 August, 2026

And . . . For Comparison: “We Will Always Love You”. Dolly Parton (R.I.P.). God Bless You.



“I Will Always Love You”.
Sung By: Dolly Parton.
Available On YouTube

“We Will Always Love You”. Dolly Parton (R.I.P.). God Bless You.


“I Will Always Love You”.
Sung By: Dolly Parton.
Available On YouTube

Psalm 41 “Sicut Cervus”. (Douay - Rheims Version). Composer: Giovanni Pierluigi da Palestrina. Sung By: VOCES8. And Also Sung By: Stile Antico.


“Sicut Cervus”.
From Psalm 41 
(Douay - Rheims Version).
Composer: 
Giovanni Pierluigi da Palestrina.
Sung By: VOCES8.
Available On YouTube


“Sicut Cervus”. 
From Psalm 41 
(Douay - Rheims Version). 
Composer: 
Giovanni Pierluigi da Palestrina. 
Sung By: Stile Antico.
Available On YouTube


Psalm 41.
 Quemadmodum desiderat.
(The fervent desire of the Just after God: 
Hope in afflictions.)
(Douay - Rheims Version).


Sicut cervus desiderat ad fontem aquarum,
ita desiderat anima mea ad te, Deus.

As a Deer longs for Springs of Water,
so my Soul longs for you, O God.


Quemadmodum desiderat cervus ad fontes aquarum, 
ita desiderat anima mea ad te, Deus.
Sitivit anima mea ad Deum fortem vivum: 
quando veniam et parebo ante faciem Dei ?

Fuerunt mihi lacrimae meae panis die ac nocte,  
dum dicitur mihi quotidie: 
Ubi est Deus tuus ?

Haec recordatus sum, 
et effudi in me animam meam:  
   Quoniam transibo in loco tabernaculi 
admirabilis, usque ad domum Dei, 
in voce exsultationis et confessionis, 
sonus epulantis.


Quare tristis es, anima mea, 
et quare conturbas me? 
Spera in Deo, quoniam confitebor illi: 
Salutare vultus mei.

Deus meus, ad me ipsum anima mea conturbata est:  Propterea memor ero tui de terra Iordanis 
et Hermoniim, a monte modico.

Abyssus abyssum invocat 
in voce cataractarum tuarum; 
omnia excelsa tua et fluctus 
tui super me transierunt.


In die mandavit Dominus misericordiam suam, 
et nocte canticum eius apud me: 
Oratio Deo vitæ meæ.

Dicam Deo: Susceptor meus es; 
quare oblitus es mei ?
Quare contristatus incedo, 
dum affligit me inimicus ?

Dum confringuntur ossa mea, 
exprobraverunt mihi qui tribulant me; 
dum dicunt mihi per singulos dies: 
Ubi est Deus tuus ?

Quare tristis es, anima mea, 
et quare conturbas me ?
Spera in Deo, quoniam adhuc confitebor illi: 
Salutare vultus mei et Deus meus.


Unto the end, 
understanding to the sons of Core.

Even as the Hart desireth 
after the fountains of waters: 
So doth my Soul desire after thee, O God.

My Soul hath thirsted after God the strong living: 
When shall I come and appear 
before the face of God ?


My tears have been breads unto me day and night: 
Whilst it is said to me daily: 
Where is thy God ?

These things have I remembered, 
and have poured out my Soul in me, 
because I shall pass into the place of a 
marvellous tabernacle, even to the house of God. 
In the voice of exultation, and confession: 
The sound of one feasting.

Why art thou sorrowful my Soul ? 
Why dost thou trouble me ? 
Hope in God, because yet I will confess to him: 
The salvation of my countenance,and my God. 


My Soul is troubled toward myself; 
therefore will I be mindful of thee 
from the land of Jordan, and Hermoniim 
from the little mountain.

Depth calleth on depth, 
in the voice of Thy flood-gates. 
All Thy high things, and Thy ways 
have passed over me.

In the day, 
Our Lord hath commanded His mercy: 
And in the night, a song of Him. 
With me is Prayer to the God of my life:


I will say to God: Thou art my defender. 
Why hast Thou forgotten me ? 
And why go I sorrowful, 
whilst mine enemy afflicteth me ?

Whilst my bones are broken, mine enemies 
that trouble me have upbraided me: 
Whilst they say to me day by day: 
Where is thy God ?

Why art thou heavy, O my Soul ? 
Why dost thou trouble me ? 
Hope in God, because yet I will confess to Him: 
The salvation of my countenance, and my God.

Abbot Guéranger, O.S.B. Writes Upon Saint Zephyrinus. (199 A.D. - 217 A.D.). Pope. Martyr. Feast Day 26 August. Red Vestments.



Pope Saint Zephyrinus
(199 A.D. - 217 A. D.).
Date: 24 March 2006 (original upload date).
Source: Transferred from en.wikipedia
Original uploader was Amberrock at en.wikipedia
transferred to Commons by User:Sreejithk2000
Author: Unknown.
(Wikimedia Commons)


Text from “The Liturgical Year”.
   By: Abbot Guéranger, O.S.B.
   Volume 14.
   Time After Pentecost.
   Book V.



The Catacomb which thus succeeded the Vatican Cemetery in the honour of sheltering the Vicars of Christ, had been opened thirty years before by the Virgin Martyr Cæcilia.

As, when at the point of death, she had Consecrated her Palace into a Church, so now from her tomb she caused her family burial-place to pass into the hands of The Church.

This gift of the Cæcilii was the inauguration, in the very face of the pagan government, of common Church property officially recognised by the State.


Zephyrinus entrusted the administration of the new Cemetery to the person who ranked next to himself in the Roman Church, viz: The Arch-Deacon Callixtus.

The Holy Pontiff witnessed the growth of Heresy concerning the Unity of God and the Trinity of The Divine Persons; without the help of the special vocabulary, which was later on to fix even the very terms of Theological teaching, he knew how to silence both the Sabellians, to whom the Trinity was but a name, and the precursors of Arius, who revenged themselves by reviling him.

Zephyrinus, a Roman by birth, was chosen to govern The Church during the reign of the Emperor Severus.


He ordained that, according to custom, Holy Orders should be conferred on candidates at a fitting time and in the presence of many, both Clergy and Laity; and also that learned men should be chosen for that dignity.

Moreover, he decreed that when the Bishop was offering the Holy Sacrifice, he should be assisted by all the Priests. He also ordained that neither Patriarch, nor Primate, nor Metropolitan, might condemn a Bishop without the authority of the Apostolic See.


His Pontificate lasted eighteen years and eighteen days. In four Ordinations, which he held in the month of December, he Ordained thirteen Priests, seven Deacons, and thirteen Bishops, for divers places.

He was Crowned by Martyrdom under the Emperor Antoninus and was buried on the Appian Way, near the Cemetery of Callixtus, on the seventh of the Calends of September.

Absurd Victorian Occupations.


Saint Zephyrinus (199 A.D. - 217 A.D.). Pope And Martyr. Feast Day 26 August. Red Vestments.


Text from The Saint Andrew Daily Missal,
unless otherwise stated.

Saint Zephyrinus.
   Pope and Martyr.
   Feast Day 26 August.

Simple.

Red Vestments.


Pope Saint Zephyrinus
(199 A.D. - 217 A. D.).
Date: 24 March 2006 (original upload date).
Source: Transferred from en.wikipedia
Original uploader was Amberrock at en.wikipedia
transferred to Commons by User:Sreejithk2000
Author: Unknown.
(Wikimedia Commons)


Happy Feast
To All Readers Of This Blog.
Today Is The Feast Day Of
Saint Zephyrinus, Pope and Martyr.


Saint of the Day: 26 August.
Pope Saint Zephyrinus.
Available on YouTube

Pope Saint Zephyrinus succeeded Pope Saint Victor on The Pontifical Throne and, like him, was Martyred (Gospel). He abolished the use of Wooden Chalices, in The Celebration of The Holy Sacrifice, and ordered them to be replaced by Glass Chalices. He prescribed that all The Faithful should receive Holy Communion on Easter Day.

He had to defend The Dogma of The Unity of God and The Trinity of Persons against The Sabellians. Besides this strife, he had to suffer persecution. God always supported him in his trials, in order to enable him to support The Flock of Christ (Epistle).

He died in 217 A.D., after a Pontificate of seventeen years.

Mass: Sacerdótes Dei.


Saint Zephyrinus (26 August) and Saint Genesius. 
Different kinds of Martyrdom.
Available on YouTube


English: The Church of Saint Zephyrinus of Stadacona
(Saint-Zéphirin-de-Stadacona) (built in 1890), 
Quebec City, Canada.
Français: Église Saint-Zéphirin-de-Stadacona à Québec en 1986. Construite en 1890 sur les plans de l'architecte
Joseph-Ferdinand Peachy, rénovée en 1918 par
l'architecte Adalbert Trudel.
Date: Photographed in 1986 and
Uploaded on 24 January 2014.
Source: Own work.
(Wikimedia Commons)


The following Text is from Wikipedia.

Pope Zephyrinus ( 20 December 217 A.D.), was Bishop of Rome, or Pope, from 199 A.D., to his death in 217 A.D. He was born in Rome. His predecessor was Pope Victor I. Pope Zephyrinus was succeeded by his principal Advisor, who became Pope Callixtus I.

During the seventeen-year Pontificate of Zephyrinus, the young Church endured severe Persecution under Emperor Severus, until his death in the year 211 A.D. 

To quote Alban Butler: “This holy Pastor was the support and comfort of the distressed flock”.


According to Saint Optatus, Zephyrinus also combated new Heresies and Apostases, chief of which were Marcion, Praxeas, Valentine and the Montanists.

Eusebius insists that Zephyrinus fought vigorously against the blasphemies of the two Theodotuses, who, in response, treated him with contempt, but later called him the greatest defender of The Divinity of Christ.

Although he was not physically Martyred for The Faith, his suffering – both mental and Spiritual – during his Pontificate has earned him the Title of Martyr.




During the reign of Emperor Severus (193 A.D. – 211 A.D.), relations with the young Christian Church deteriorated, and, in 202 A.D., or 203 A.D., the edict of persecution appeared, which forbade Conversion to Christianity under the severest penalties.

Zephyrinus’s predecessor, Pope Victor I, had Excommunicated Theodotus the Tanner, for reviving a Heresy that Christ, while a Prophet, was only a mere man.


Theodotus’ followers formed a separate Heretical community at Rome, ruled by another Theodotus, the Money Changer, and Asclepiodotus. Natalis, who was tortured for his Faith during the Persecution, was persuaded by Asclepiodotus to become a Bishop in their sect, in exchange for a monthly stipend of 150 denarii.

Natalis then reportedly experienced several visions warning him to abandon these Heretics. According to an anonymous work, entitled “The Little Labyrinth”, and quoted by Eusebius, Natalis was whipped a whole night by an Angel; the next day, he donned sackcloth and ashes and, weeping bitterly, threw himself at the feet of Zephyrinus.



THE SAINT ANDREW DAILY MISSAL



THE SAINT ANDREW DAILY MISSAL

Available (in U.K.) from

Available (in U.S.A.) from

Available (in Ireland) from

25 August, 2026

Neuschwanstein Castle, Schwangau, Bavaria, Germany. King Ludwig II Of Bavaria’s Creation. (Part Nine).



Photo: 31 July 2013.
Source: Own work.
This File is licensed under the
Attribution:
© Thomas Wolf, www.foto-tw.de
(Wikipedia)



The Throne Hall, Neuschwanstein Castle.
Photograph by Joseph Albert 1886. 
Postcard published 1890 - 1900. 
Detroit Publishing Co. Print No. 17479.
Date: 1886.
Source:
Photochrom from Photoglob AG Zürich (PZ, 17479); Views of Germany in the Photochrom Print Collection. This image is available from the United States Library of Congress's Prints and Photographs division under the digital ID ppmsca.00180.
Author: Josef Albert (1825–1886).
(Wikimedia Commons)


Text is from Wikipedia - the free encyclopædia,
unless stated otherwise.

In April 1945, the SS considered blowing up the Palace to prevent the building and the artwork it contained from falling to the enemy.[46] 

The Plan was not realised by the SS-Gruppenführer who had been assigned the task, and, at the end of the War, the Palace was surrendered undamaged to representatives of the Allied Forces.[46] 



Neuschwanstein Castle.
Photo: 14 May 2005.
This File is licensed under the 
2.0 Generic Licence.
Author: Jeff Wilcox.
(Wikimedia Commons)

The Allied occupation authorities eventually returned the Palace to the reconstituted Bavarian State Government. 

Thereafter, the Bavarian archives used some of the rooms as a provisional store for salvaged archival material, as its premises in Munich had been bombed.[47]

The effect of Neuschwanstein is highly stylistic, both externally and internally. The King’s influence is apparent throughout, and he took a keen personal interest in the design and decoration. 

An example can be seen in his comments, or commands, regarding a mural depicting Lohengrin in the Palace: “His Majesty wishes that . . . the ship be placed further from the shore, that Lohengrin’s neck be less tilted, that the chain from the ship to the swan be of Gold and not of Roses, and, finally, that the style of the Castle shall be kept Mediæval.”[48]



View from location of unrealised Chapel along Upper Courtyard level: Bower (Left, with Balcony of Elsa von Brabant), Palace (Front), and Knights’ House (Right), according to Wagner’s Stage Directions for
Antwerp Castle in the Second Act of Lohengrin.
Schloss Neuschwanstein, Blick auf die östliche Palasfront.
Photo: 16 June 2011.
Source: Own work.
Copyleft: This work of art is free; you can redistribute 
it and/or modify it according to terms of the Free Art License. You will find a specimen of this license on the 
Author: Taxiarchos228.
(Wikimedia Commons)

The suite of rooms within the Palace contain the Throne Room, King Ludwig’s suite, the Singers’ Hall, and the Grotto.

The Interior, and especially the Throne Room Byzantine-Arab construction, recall the Chapels and Churches of the Royal Sicilian Norman-Swabian period in Palermo, Sicily, related to the Kings of Germany House of Hohenstaufen.

PART TEN FOLLOWS.

Westminster. Rouen. Chinon. Poitiers. The Four Centres Of Power For Henry II Plantagenet. Mediæval King Of England 1154 – 1189. Friend And Foe Of Thomas à Becket. (Part Eight).





Soundtrack from Simon Schama’s
“A History of Britain”,
which included King Henry II’s reign.
Sung by Emma Kirkby and Lucie Skeaping.
Music by John Harle.
Available on YouTube


Text from Wikipedia - the free encyclopædia,
unless stated otherwise.

Thomas Becket, also known as Saint Thomas of Canterbury, Thomas of London, and, later, Thomas à Becket, 21 December circa 1119 – 29 December 1170, was Archbishop of Canterbury from 1162 until his murder in 1170. He is Venerated as a Saint and Martyr by both The Catholic Church and the Anglican Communion.

He engaged in conflict with Henry II, King of England, over the rights and privileges of The Catholic Church and was murdered by followers of the King in Canterbury Cathedral. Soon after his death, he was Canonised by Pope Alexander III.



The Cloisters at Canterbury Cathedral.
Archbishop of Canterbury, Thomas à Becket,
would have often walked these Cloisters.
Photo: 28 July 2014.
Source: Own work.
Author: Diliff.
Attribution:
“Photo by DAVID ILIFF.
Licence: CC-BY-SA 3.0”
(Wikimedia Commons)

In June 1170, Roger de Pont L'Évêque, the Archbishop of York, along with Gilbert Foliot, the Bishop of London, and Josceline de Bohon, the Bishop of Salisbury, Crowned the Heir Apparent, Henry the Young King, at York.

This was a breach of Canterbury’s Privilege of Coronation, and, in November 1170, Becket Excommunicated all three.


While the three Clergymen fled to King Henry II in Normandy, France, Becket continued to excommunicate his opponents in The Church, the news of which also reached Henry.

Upon hearing reports of Becket’s actions, Henry is said to have uttered words that were interpreted by his men as wishing Becket killed.

The King’s exact words are in doubt and several versions have been reported.

PART NINE FOLLOWS.

Albi Cathedral, France.



English:
Choir and Rood Screen, Albi Cathedral.
Français: Chœur et jubé
Magyar: Kórus és szentélyrekesztő,
Szent Cecília-katedrális, Albi.
Polski: Chór kapłański oraz łuk tęczowy
(katedra Św. Cecylii w Albi we Francji).
Photo: 2 July 2008.
Source: Own work.
Author: Pom²
(Wikimedia Commons)


English: Albi Cathedral’s Great Organ.
Français: Buffet d’orgues
(Cathédrale Sainte-Cécile, Albi).
Photo: 2 July 2008.
Source: Own work.
Author: Pom²
(Wikimedia Commons)


Albi Cathedral.
Available on YouTube


English: Ceiling Vaults, Albi Cathedral.
Français: Voûtes peintes de la cathédrale 
(Cathédrale Sainte-Cécile, Albi).
Photo: 2 July 2008.
Source: Own work.
Author: Pom²
(Wikimedia Commons)


Albi Cathedral.
A Quadripartite Cross-Ribbed Vault, located thirty metres (100 feet) above the ground; painted between 1509 and 1512.
Deutsch: Teilansicht eines vierteiligen Kreuzrippengewölbes, 30 m über Bodenniveau, in den Jahren 1509 bis 1512 ausgemalt, Kathedrale Sainte-Cécile, Albi, Frankreich.
Français: Détail d'une voûte sur croisée d'ogives quadripartite située à 30m du sol, peintes entre 1509 et 1512 
(Cathédrale Sainte-Cécile, Albi).
Photo: 2 July 2008.
Source: Own work.
Author: Pom²
(Wikimedia Commons)


English: Gothic Rood Screen, Albi Catheral.
Français: Jubé gothique vu depuis la nef. 
Abside en arrière plan 
(Cathédrale Sainte-Cécile, Albi).
Photo: 2 July 2008.
Source: Own work.
Author: Pom²
(Wikimedia Commons)


Organ recital at Albi Cathedral.
13 July 2022.
Available on YouTube
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