Part 5

[11] I have been informed, from good authority, that one of the churches in Amsterdam has preserved its brass screen-work, but I am not able to supply the name.

[12] The screen across the Bootmakers' Chapel, in the north transept of this church, is of a great antiquity, probably of the middle of the fourteenth century. It is executed entirely in oak, most beautifully carved; and skilfully framed in the rails of the doors are bas-reliefs of angels bearing the cognizance of the confraternity of bootmakers, at whose cost this chapel was erected and founded. There are other oak screens in the south transept of a later date,—fifteenth century, and the choir and lateral chapels are all arched, with marble screens, filled with perforated brass-work.

[Plate V: _Rood Screen of the Marienkirche, Lubeck._ _Rood Loft, Cathedral, Munster._]

[Plate VI: _Screen in the Dom Kirke, Lubeck._ _Screen & Rood Loft, Hospital, Lubeck._]

[Plate VII: _Screen & rood Loft Dom, Hildesheim._ _Rood Loft Sᵗ Katherine's church, Lubeck._]

[Plate VIII: _Choir; Gelnhausen._ _Choir; Sᵗ Elisabeth's Church at Marburg._]

[Plate IX: _Screen at Oberwesel._ _Plan of the Jubé. Cathedral, Metz._ _Plan of the Jubé. Cathedral, Toul._ _Screen of Sᵗ Nicholas church, Lorraine._]

[Plate X: _From an Old Picture by Peter Neefs._ _The Rood Screen, Cathedral, Antwerp. 17 Century._ _One of the Altars, erected against the nave Pillars, with its Brass Screen work._]

ON SCREENS IN FRANCE.

CATHEDRAL OF AMIENS.

Previous to the year 1755, the choir of Amiens cathedral had retained its ancient and magnificent fittings,—altar, sedilia, jubé, all were perfect; but at that fatal period, Mons. de la Mothe, a pious and well-intentioned bishop, but a man of execrable taste, and devoid of all feeling for true ecclesiastical architecture, conceived the unfortunate project of modernizing this glorious choir: and, at an enormous expense, the ancient works were demolished, to be replaced by the incongruous masses of marble clouding and meretricious decorations that so wofully disfigure this noble church. Then was it, and _not till then_, that the great jubé was removed, that most wonderful book of stone, as Mons. Duval most aptly terms it, in which the people had, for so many centuries, beheld a lively representation of the life and sufferings of our Lord. At the same time, eight of the unrivalled stalls were hewn down to widen the choir gates; and the remainder of this matchless work of Arnould Boulen were only suffered to remain on account of the immense cost of replacing them by modern work.

These barbarous innovations were strongly opposed by many members of the chapter, but the influence of M. de la Mothe prevailed, to the irreparable loss of this mighty fabric.

It is worthy of remark that a pastoral letter of M. de Sebatier, the predecessor of M. de la Mothe in the see of Amiens, is still preserved, in which that prelate actually recommends the destruction and removal of ancient imagery and furniture from the churches in his diocese, as incompatible with _simplicity_ and _cleanliness_! Such were the ideas of the men under whom the great churches of France were mutilated and disfigured.

"Nous avons été surpris de voir que dans les églises où l'on avait fait des dépenses considérables et de nouvelles décorations, on y eut étalé les mauvais restes des tabernacles, des figures mutilées, et des autres vieux ornements, dans d'autres endroits de l'église, où ils ne sont pas moins difformes que dans l'endroit dont on les a tirés, et qui bien loin de servir d'ornement, ne servent qu'à amasser de la poussière, et y faire un nouvel embarras. Nous aurions donc souhaité que les figures mutilées eussent été enterrées secrètement dans la cimetière, et les vieux ornements, ou de bois ou de pierre, vendus, s'ils en valaient la peine, au profit de la fabrique, plutôt que de rester dans cet état. C'est aussi ce que nous espérons qu'on fera dans la suite pour éviter la confusion qu'un amas inutile de ces vieux restes a coutume de causer dans les églises dont la propreté et la simplicité doivent faire le principal ornement."

ABBAYE DE S. BERTIN, S. OMERS.

The Abbé de Condite is mentioned in the cartulary of S. Berlin as having erected in 1402 a jubé or doxale of wood, decorated with many images in copper, gilt. This jubé was replaced by one of black and white marble, commenced in the year 1621, and completed in 1626.

The entrance to the choir was closed by brass gates of open design, and the whole was surmounted by a great crucifix suspended from the vaulting, with the accompanying images of St. Mary and St. John. This cross was made by Abbot Simon II. in the twelfth century, and was doubtless the same that belonged to the ancient jubé. This grand church was desecrated and ruined in the great revolution, and _totally demolished under the Restoration_!

S. QUENTIN.

The choir of this church was enclosed by sculptures representing the life of the patron saint, under canopies similar to those at Amiens cathedral, with a jubé of the same character. Both destroyed at the revolution in 1790.

CATHEDRAL OF LYONS.[13]

The old jubé was demolished by the Huguenots in 1562, and rebuilt by the canons in 1585, as was proved by the following inscription, cut on a marble slab:—

QUOD . BELL . CIVIL LICENTIA. FOEDE . DISIECTUM FUERAT D.O.M. PROPITIO . CAN . ET COM. LUG REST . CC . AN . MD.LXXXV.

This screen was entirely demolished in the revolution of 1790.—Thiers's Dissertation sur les Jubés.

CATHEDRAL OF ORLEANS.

A jubé of marble, designed by J. Hardouin Mansard, was erected in 1690, and destroyed, as well as the choir stalls, in the great revolution.

ABBEY OF S. DENIS, NEAR PARIS.

Dom Michel Felibien, a Benedictine monk of the Maurist congregation, thus describes a screen erecting at St. Denis in his time: "They are now working at the erection of a screen of iron-work, of the Ionic order, with pilasters terminating in caryatides; the centre door will be surmounted by a cross, covered with plates of gold, enriched with ornaments and precious stones, the workmanship of which is traditionally ascribed to S. Eligius."—Histoire de l'Abbaye Royale de S. Denis; Paris, 1706, p. 533.

From this description it is evident that this screen, with the exception of the cross, must have been of wretched design; still there is all the principle of the olden arrangement; and in the plan of the church figured in the same work, the two staircases leading up to the ambones for the Epistle and Gospel are distinctly marked. This screen, which replaced the ancient jubé, probably erected in the time of Abbot Suger, was entirely demolished in 1792.

NOTRE DAME DE MANTES.

"The jubé, separating the choir from the nave, was of wrought stone, with open arches, supported by pillars. On each side of the entrance were chapels and altars; that on the left hand dedicated to the Blessed Virgin, with a (_retable_) reredos, decorated with small bas-reliefs of our Lord's passion, painted and gilt, similar in style to that behind the high altar of the church. In the gallery of the jubé (rood loft), on an elevation of several steps, was an image of St. John, supporting a desk from whence the Gospel was chanted. Above this jubé was a large cross of wood, gilt and painted, and covered with fleur-de-lis, which extended nearly the width of the church, having an image of our Lord crucified, and on either side two cherubim, with wings of gold, and beyond these, images of the Blessed Virgin and St. John in mantles, covered with fleur-de-lis, with borders of inscriptions. This was demolished in 1788, at the same time that the chapter removed the splendid ancient altar, with its brass pillars and ciborium, and replaced it by a miserable design, described (_à la Romaine_). Within three years after this destruction the church was in the hands of revolutionists, the clergy expelled, and the new-fashioned altar, &c. reduced to a heap of fragments."—See Antiquités Nationales, par Aubin Louis Millin: Paris, l'an second de la liberté, 1791.

ABBAYE DE FONTENELLE, OR S. WANDRILLE.

"The original jubé was destroyed by the fall of the great central tower, on the night of the 21st of December, 1631. A new screen was commenced in 1670, and completed in 1672, by Emmanuel Boynet, architect. It was supported by four marble pillars, with two altars on each side the choir door."—Essai sur l'Abbaye de Fontenelle, par E. Hyacinthe Langlois: Paris, 1827.

CONVENTUAL CHURCH OF THE GRANDS AUGUSTINES, PARIS.

"The jubé, which separates the choir from the nave, is of a very ordinary design, and built in the year 1665. It is supported by ten Corinthian pillars, in Dorian marble, between the clusters of which are two altars, one dedicated to the Blessed Virgin, the other to S. Nicholas of Tolentino."—Antiquités Nationales, par Aubin Louis Millin: Paris, l'an second de la liberté, 1791, page 57, vol. iii.

CHURCH OF THE MATHURINS, PARIS.

"The choir is separated from the nave by six Ionic columns of Flemish marble, supporting an entablature of stone, supporting a large image of our Lord crucified, and several images of angels bearing emblems of the passion: the spaces between the pillars are filled with rich iron-work. The whole was completed about 1640."—Ibid. vol. iii. p. 14.

RHEIMS.

The rood loft was constructed in 1420; it was twenty-nine feet in height, forty-two wide, and thirteen deep, ascended by two staircases of open tracery, and provided, as usual, with two altars. This exquisite monument of mediæval art, covered with imagery and sculpture, was demolished in 1747, to be replaced by a heavy and lofty iron railing, in the Rococo style of that debased period.

Mons. de Jolimont, in his notice on Rheims cathedral, writes in the following manner on this destruction: "Le chœur était anciennement entouré d'une clôture en pierre, et l'entrée fermée par un magnifique jubé, monument curieux du quinzième siècle, orné d'autels, de statues, de colonnes, d'escaliers en spirale, et de sculptures les plus délicates; il fut détruit, comme tant d'autres, à une époque où le mauvais goût faisait une guerre à outrance au _Gothique_, ou pour satisfaire la vanité des gens opulens qui croyaient bien mériter de la posterité, en substituant à grands frais, à ces respectables antiquités, de prétendus embellissemens de mode, que les motifs les plus puériles semblaient rendre nécessaires; on doit déplorer, dans l'église de Reims, plus d'un exemple de cette espèce d'attentat officieux."—Chapuy, Cathédrales Françaises.

S. NICAISE, RHEIMS.

The jubé of this church was erected in 1507, and its sculptured front represented the history of the Old Testament from Noah to Daniel. It was utterly destroyed at the great revolution.

S. GATIEN, TOURS.

When De Moleon wrote his Voyage Liturgique, the choir of this church was enclosed with brass screens, seven feet high, and the great rood loft was standing perfect. His book was printed in 1757.

THE CHURCH OF SOUVIGNY, IN THE BOURBONNAIS.

Has still preserved a most elegant choir screen. It is divided by slender stone mullions into compartments, filled with light and elegant tracery, surmounted by crocketed canopy-work, terminated by bratishing. It is a work of the fifteenth century, and greatly resembles the English screens of the same period, both in design and detail.

ABBAYE DE S. OUEN, ROUEN.

The splendid screen and rood loft that once decorated this most glorious church is figured in Dom Pomeraye's history of this famous abbey.

It consisted of three divisions of double arches, supported by clusters of pinnacles and niches; the two centre ones were carried up higher than the others, and were terminated by two images, of St. John and the Blessed Virgin; a crocketed arch, enriched with tracery cusps, was carried up between these pinnacles, and supported the great crucifix; under this arch was an image of our Lady of Pity. The choir gates were of pierced-work in brass, and on either side two altars, surmounted by many images of saints in tabernacles. The loft was ascended by two spiral staircases, of most ingenious construction, and enriched with tracery, panels, and sculpture. Over the engraving of this screen is the following significant inscription, in French:

"Jubé of the church of S. Ouen: Erected in the year of our Lord 1462, by the Cardinal D'Estouteville; ruined by the heretics in 1562; and restored in 1656, by Dom Guillaume Cotterel, grand prior of the abbey."

This screen was finally demolished by the infidel revolutionists of 1790, who turned the church into a smith's workshop, and who found that the screen impeded the _progress of their waggons through the choir_!

The following notice of the screen occurs in the text:

"It was through the liberality of Cardinal D'Estouteville that the jubé was erected, which is one of the most beautiful and delicately-worked screens in existence. It was universally admired, and would still command the same admiration, had it not so severely suffered from the fury of the heretics. It is so skilfully placed, that neither the appearance of the transept or the choir are the least injured. It was formerly covered with admirable images and carvings, but these miserable sectaries, who could not endure the sight of this fine work, which, although almost new, was older than their false religion, attacked it with their accustomed fury, and completely defaced the images of holy personages with which it was covered, together with its exquisite details and ornaments. At the same time the Calvinists pulled down and carried off all the lateral absidal screens of the choir, which were of solid brass, most curiously wrought."—See Histoire de l'Abbaye Royale de S. Ouen, de Rouen, par un religieux Bénédictin de la Congrégation de S. Maur: Rouen, 1662; pp. 192 and 198.[14]

ROUEN CATHEDRAL.

Langlois, Notice sur l'Incendie de la Cathédrale de Rouen:—

"1467. The stalls of the choir erected. The ancient jubé was probably built at the same time.

"1526. An open screen-work of brass, most artificially wrought, set up round the sides of choir, at the cost of the Cardinal D'Amboise.

"1562. Pillage of the cathedral by the Calvinists, the jubé defaced, and the brass screens carried off and melted.

"1639. A new altar, dedicated to the Blessed Virgin, was erected under the screen, in consequence of a vow made during a pestilence.

"1642. A new altar, dedicated in honour of S. Cecily, erected under the screen.

"1777. The chapter erect a new screen (consisting of eight marble pillars, of the Ionic order, surmounted by an entablature and open balustrade. In the centre a large crucifix, and two marble altars, with images on either side of the choir gates)."

This screen is still standing, and although of execrable design, and most incongruous with the noble church in which it has been erected, it is still a proof that, at the end of the eighteenth century, a screen and rood loft was considered necessary by the clergy of this cathedral, and being entirely of white marble, its cost was far greater than that for which a splendid screen in perfect character with the church could have been constructed.

CATHEDRAL OF AUXERRE.

"The choir is vast, and was formerly enclosed by a jubé, but which was demolished by the Calvinists in the latter part of the sixteenth century."—Vues Pittoresques de la Cathédrale d'Auxerre, par Chapuy: Paris, 1828; p. 9.

The choir is at present enclosed by an iron railing, about fourteen feet high; an arch of scroll-work is carried up over the centre gates, and supports a cross.—A. W. P.

CATHEDRAL OF CHARTRES.

The ancient jubé was sixty-six feet long, and twelve feet nine inches wide. It was divided into seven compartments by slender shafts, and richly decorated with sculpture, foliage, and pinnacles; it was ascended by two staircases, approached from either side of the choir door.

This screen was only demolished in 1772, and then not with a view of throwing open the choir, but of substituting a wretched design of debased Italian, which I have figured in this work. It is worthy of remark, that coeval with this alteration, the following atrocities were perpetrated: the ancient altar, erected in 1520, with its pillars of brass, supporting curtains, and surmounted by angels bearing candlesticks, and the whole terminated by a venerable image of our Blessed Lady in silver, was removed to make room for the Pagan sarcophagus which serves for the present altar. The clustered shafts and foliage capitals of the choir pillars were encased with marble veneers, and converted into heavy square piers and pilasters of Italian design, and the ancient stalls, with their fine canopies, were demolished.

Monsieur Louis, the architect of the Duc d'Orleans, conducted these lamentable alterations, which, as might be expected, were rapidly succeeded by the still more destructive power of the revolution. Vide Vues de la Cathédrale de Chartres, par Chapuy, pp. 22 and 23.

In the summer of 1848, in making some necessary repairs of the pavement in front of the present screen, the underside of what appeared a common slab was found to be richly sculptured with sacred imagery. This led to further investigation, and a very considerable number of fragments of sculpture, in the style of the thirteenth century, and of most surpassing beauty, were discerned. These had formed portions of the ancient jubé, and had been used on its demolition as common materials for flooring the church!

From these remains the design of this magnificent screen can be ascertained with considerable accuracy. The front must have consisted of circular pillars, with richly-foliated caps, supporting arches, surmounted with a succession of subjects carved in alto-relief, and representing the life and passion of our Lord, interspersed with images of prophets, patriarchs, and apostles. The whole was richly painted and gilt.

CATHÉDRALE D'ALBI.

The jubé of this cathedral is fortunately still standing, and nearly in all its original beauty. It is remarkable in its construction, having three doors, beside the two recesses anciently filled with altars, and there is a sort of aisle running round between the main pillars of the choir and the screen of enclosure.

CATHÉDRALE D'AUTUN.

"Before the year 1765, the choir was enclosed by a fine screen of mediæval design, but this was pulled down to make some pretended improvements in the choir, and at the same time a most curious zodiac, illustrating the seasons, &c., executed by a monk named Martin, at the order of Bishop Stephen, which was found in mosaic in the pavement of the choir, was totally destroyed, as well as several other objects of the highest interest."—Chapuy, pp. 9 and 10.

CATHEDRALE DE SENLIS.

The ancient jubé was demolished during the revolution, and the present screen is a miserable erection of _this century_. I have figured it as a specimen of a _modern French screen_, combining every objection that has been raised by the ambonoclasts of our days, without possessing any of the beauties of the ancient works.

CATHEDRAL OF TOULOUSE.

This screen, which I have figured in the plates, was erected in the seventeenth century, and though of debased Italian, is constructed with a rood loft, or jubé, and surmounted by a large crucifix. This jubé is still standing.

CHURCH OF S. SERNIN, TOULOUSE.

The choir of this church is enclosed by iron screens of remarkable design and beautiful execution, figured in the plates.

They are evidently a work of the middle or latter part of the fifteenth century. The lilies and leaves bent up out of the iron plates are produced with wonderful skill. Some of the lateral chapels in the same church have corresponding screen-work, and as Toulouse is a city partaking much of the Spanish character in its buildings, streets, &c., I am inclined to think that it has also borrowed the design of this screen-work from Spain; as Seville, Toledo, and other great churches, have curious iron screens, reaching forty or fifty feet in height, and of a very similar description of work. In the same plate with the Toulouse iron-work, I have figured a screen from the cathedral of Toledo, from which the great similarity of style may be readily perceived.

CATHEDRAL OF AUCH.

The jubé was constructed during the early part of the sixteenth century, in the style of the Renaissance, enriched with most elaborate arabesques and details of the period, and provided with lateral altars. It is still standing, although some attempts have been made by innovators to remove it; but hitherto the canons have resolutely resisted all propositions for ruining the ancient choir.

CATHEDRAL OF RODEZ, LANGUEDOC.

This jubé, which is still standing, was erected in the early part of the sixteenth century. It is divided into three open arches, by clustered pinnacles, with tabernacle-work and imagery. The centre doorway into choir is surmounted by richly flamboyant tracery; on either side are two altars.

CATHEDRAL OF TROYES.

The jubé was supported by eight pillars; on either side of the choir entrance an altar; it was ascended by a staircase on the Gospel side.

The following notice respecting the jubé occurs in the records of the cathedral:—

"En 1382, le chapitre fit marché pour la construction du jubé avec Henri Nardau et Henri de Bruxelles, moyennant cinq sous par jour, ou un mouton d'or par semaine. La première pierre fut posée et bénie par l'Evêque Pierre d'Arcys, le 22 Avril, 1383; il donna la somme de cinq livres pour présent; l'ouvrage ne fut cependant commencé qu'en 1385, et achevé entièrement qu'en 1400. L'image de S. Pierre, qui était au côté de la porte, fut faite par Maître Drouin de Mantes, moyennant cinq livres, et celle de S. Paul, par Maître Gérard, qui eut six livres; quatre chanoines firent les frais de ces statues.

"On lit dans les comptes de l'œuvre de 1383, l'article suivant, qui prouverait qu'un concours avait été ouvert pour le projet du jubé:—

"'Primo pour ung pourtrait fait en parchemin pour ledit jubé, par Henry de Bruisselles, maçon, don commend. de Messigneurs pour monstrer aux bourgois, et aux ouvriers de la ville encontre ung aultre pourtrait, fait par Michelin le maçon, auquel pourtrait, fait par ledit Henry, lesdiz bourgois et ouvriers se sont tenus pour être le meilleur pour ce paie audit Henry don commend. de Messigneurs, xx s.'"

This screen remained perfect till 1793, when it was destroyed by the revolutionists.

It is worthy of remark that the ancient altar, erected by Bishop Odard Henequin, surrounded with curtains, supported by rods attached to brass pillars surmounted by angels, was demolished by the chapter in 1780, to substitute one of modern design; and within twelve years from that time the clergy were dispersed, and the church in the hands of the infidels.

Behind this high altar was a raised loft of carved wood-work, richly painted and gilt, in which the shrines of S. Helene and S. Savinien were placed. The access to this loft was by a circular staircase on the Gospel side, and a corresponding one to descend on the Epistle, to prevent confusion when great numbers of the faithful visited the relics or the feasts.

The great relics of the Sainte Chapelle, at Paris, were reserved in a similar loft behind the high altar, and the circular staircases, of beautiful design, have been recovered, and restored to their original destination.

_Account of the Jubés formerly standing in the Churches of Troyes._

That of the cathedral already described.

The jubé of the collegiate church of S. Stephen was constructed in 1549, by Dominic Rocour, a Florentine, and Gabriel Fabro, masons of Troyes. It was composed of three arches, or porticos, of the Corinthian order, surmounted by an attic, decorated with bas-relievi and images. Demolished in 1792.