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The high social status of the majority of patrons has further underscored the chapels’ apparent elitism.

Historiographically, knowledge of chantries has been built upon those chapels with architectural form, thus favoring the perpetual foundations of the rich and privileged over the cheaper, often temporary soul-masses established at pre-existing altars.

Albans’ stone-cage chapel, constructed almost one hundred years later.[20] Much though this methodology has to recommend it, it treats the choice of micro-architectural features, thus the design of stone-cages, as a mixture of aesthetic and biographical choice.

However, I have come to believe that they signified much more than that.

The history of screens in medieval religious architecture has yet to be fully investigated.