Plate X.plate 10From 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.
Plate X.
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.
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.
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, andnot 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 withsimplicityandcleanliness! Such were the ideas ofthe 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."
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, andtotally demolished under the Restoration!
The choir of this church was enclosed by sculptures representing thelife 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.
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 FUERATD.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.
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.
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 isall 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.
"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.
"The original jubé was destroyed by the fall of the great central tower, on the night of the 21st of December, 1631. A new screenwas 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.
"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.
"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.
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 magnifiquejubé, 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 auGothique, 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.
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.
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.
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.
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 theprogress 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 thesame 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]
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)."
"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.
"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.
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 viewof 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.
The jubé of this cathedral is fortunately still standing, and nearlyin 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.
"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.
The ancient jubé was demolished during the revolution, and the present screen is a miserable erection ofthis century. I have figured it as a specimen of amodern 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.
This screen, which I havefiguredin 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.
The choir of this church is enclosed by iron screens of remarkable design and beautiful execution,figuredin 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 ironplates 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.
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.
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.
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 asimilar loft behind the high altar, and the circular staircases, of beautiful design, have been recovered, and restored to their original destination.
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.
The jubé of the Cordeliers' church was of stone, supported by Doric pillars, and enriched with gilt ornaments. Demolished with the church in 1793.
The jubé of the Jacobins' church was constructed in wood; the front was decorated with bas-relievi and other ornaments, painted and gilt. It was pulled down, by order of the prior, J. B. Pitras, to open the choir.
The jubé of the abbatial church of S. Martin was also of wood, richly painted and gilt. It was pulled down by order of the prior, François Robin, in the year 1760, as he thought it looked too ancient (il le trouvait trop ancien). Thus, of these rood lofts, three were destroyed by the revolutionists, and two by the bad taste of two unworthy priors of theeighteenthcentury.
The jubé of the parochial church of S. Mary Magdalene yet remains perfect; it is of late date and florid design, but exceedingly beautiful in execution.
The subjoined account, as well as the foregoing details, is taken from Monsr. Arnaud's Voyage dans le Département de l'Aube.[15]
A most interesting jubé, constructed of wood, and erected in the sixteenth century, is still remaining in the parish church of Villemaur.The front of the loft is divided into eleven panels, each containing a mystery of our Lord's passion, carved in bas-relief; below these are a series of arches springing from pendants. The screen is open, with mullions richly carved in the arabesque style, and the loft is ascended by a circular staircase on the Epistle side, enclosed with open mullions. The arrangement of this staircase greatly resembles that of the rood loft at Lambader, in Brittany.
"The jubé is admirable.[16]Clagni was the architect, and Jean Goujon the sculptor. It is composed of three arches supported on Corinthian pillars, the centre one forming the entrance of the choir, and the two side ones chapels with altars. Above the parapet are images of the four Evangelists, and under the cross a fine bas-relief of Nicodemus entombing our Lord."—Sauval, Histoire des Antiquités de la Ville de Paris: tom. i. p. 304. Paris, 1724.
This screen was demolished in the great revolution.
"The jubé erected by Biart is a fine work, the staircases by which it is ascended are most skilful in construction, but it is rather overloaded with ornament."—Ibid. tom. i. p. 407.
This screen, erected at the end of the sixteenth century, is still standing.
The choir of this church was formerly enclosed by a screen of wood, extending across the nave, on which were thirty brass candlesticks standing in large basins for wax-lights on great feasts.
This screen was provided with three doors, and the front was enriched with sculptures representing the life and passion of our Lord. The whole was demolished in 1774.
Claude Malingre, in his Histoire de Paris, gives the following description of the enclosure of the choir of this church. "The choir is enclosed by a solid wall, but open with pierced work round the high altar, above which are represented sacred personages gilt and painted. The upper screen represents the history of the New Testament, and below, the Old, with scriptures explaining the subjects.
"The great rood which is over the entrance of the choir, is all of one piece,[17]and a chef-d'œuvre of sculpture.
"Below this, on the south side, is an image of the Blessed Virgin held in great devotion, and on the altar is another image of our Lady, called Notre Dame de Consolation, and near it the image of an archbishop with this scripture, 'Noble homme Guillaume de Melun, archevesque de Sens, a fait faire ceste histoire entre ces deux pilliers, en l'honneur de Dieu, de Nostre Dame, et de Monseigneur S. Estienne.'
"On the north side, opposite the Porte Rouge, is an image of a man kneeling, with the following inscription on a label:
"'C'est Maistre Jean Ravy qui fut masson de Notre Dame de Paris, pour l'espace de xxvi. ans, et commença ces nouvelles histoires: et Maistre Jean de Bouteillier les a parfaites en l'an MCCCLI.'"
A great portion of these sculptures still remain, but the choir-screen or jubé described by Malingre must have been demolished in the alterations consequent on the ill-judged vow of Louis XIII., as an old view of the interior of this church, published in the seventeenth century, represents a jubé of a Rococo style, similar to the wood-workof the choir. It was composed of four large piers with four engaged pillars to each: between these, the centre space was filled by two open metal-work gates, and two lateral ones were occupied as usual by altars, but in a most degenerate style of decoration. This screen was so similar to some that I have engraved of a corresponding period, as atSens, &c., that I have not thought it necessary to do more than give a description of its arrangement. It was demolished in the great revolution of 1790, and has been replaced since the restoration of religion by a very meagre railing and dwarf marble wall.
It is proper to observe that the tradition of the ambones is still retained in two rostrums on either side of the western extremity of the choir, on which the Epistle and Gospel are sung on all great feasts and Sundays.
"The length of this church appears at first sight out of all proportion to its width, but this is caused by the destruction of the great screen which separated the choir from the nave. This splendid work, commenced in the year 1500 by Robert Chardon, monk of the abbey, and of exquisite lightness of design, and covered with admirable sculptures, was barbarously demolished by the Vandals of 1802."—Essai sur l'Abbaye de Fécamp, par Leroux de Lincy. Rouen, 1840.
"The screen worked in Caen stone was a gift of the late Monsr. de Mesmond. It is supported by six pillars of black marble, given by Canon Baucher; it was commenced in 1698, and completed in 1700. Between the pillars are excellent statues of the Blessed Virgin and S. Joseph, and the whole is surmounted by an image of our Lord crucified, boldly carved. It was erected on the 23rd of December, 1702."—Histoire de la Ville de Bayeux, par M. Beziers. Caen, 1773.
N.B. The original screen was irreparably injured by the Calvinists,who sacked this noble church in 1561. A full account of the sacrilege committed by them, may be seen in the same work, p. 236.
The original screen of this magnificent church was demolished, together with the ancient choir fittings, by an unworthy abbot of the eighteenth century; but even at that period, a screen of some kind was considered indispensable, and one of wrought iron, about eighteen feet high, was set up. I havefiguredthis in the plates as a curious specimen of the period.
There is a rococo iron screen of about the same date as that at S. Riquier, and probably executed by the same smiths. It is divided into three compartments, with the gates in the centre.
[13]De Moleon mentions in his voyage that three silver crosses, each holding three tapers, were suspended in the rood loft, under standing candlesticks; he also describes the jubé as being built of marble, and of what was considered in his time a fine design.[14]Extrait de l'Histoire de S. Ouen, de Rouen.Ce fut par sa magnificence que l'on bastit le jubé, qui étoit une des plus belles et des plus delicates pièces que l'on eust pû voir, et que l'on admireroit encore aujourd'huy, si depuis il n'auoit ressenty les effets de la rage des hérétiques. Il est placé avec tant d'adresse, que n'y la croisée n'y le chœur n'en sont aucunement incommodez. Il étoit enrichy d'excellentes figures et de quantité de rares embellissemens qui étoient sortis de la main d'un très habile ouvrier. Mais ces malheureux, ne pouvant souffrir ce bel ouvrage, qui bien que quasi tout neuf, ne laissoit pas d'estre beaucoup plus ancien que leur fausse religion, et de leur en reprocher la nouveauté, le ruinerent avec leur fureur accoûtumée, et jetterent par terre toutes les saintes images et tous les autres ornemens, qui étoient autant de chefs-d'œuvres de sculpture. Mais ce ne fut pas là la plus grande perte qu'ils causèrent à cette Abbaye, ainsi que nous dirons. Les armes de ce magnifique cardinal qui étoient sous le jubé, c'est à dire, dessus la porte par où l'on entre de la nef dans le chœur, furent abatues et détruites dans ce mesme pillage; et ci celles qui sont au haut d'une vitre du costé de la croisée, par où l'on descend dans le cloistre, n'eussent esté hors de la prise de ces furieux, elles eussent aussi couru la mesme fortune.[15]"Enfin, entre tant de jubés détruits, un seul, le plus riche de tous, celui de l'église paroissiale de la Madeleine, est resté debout. Son existence peut être regardée aujourd'hui comme un problème, si l'on considère les différentes causes qui ont amené la destruction des premiers. Aussi ce n'est pas sans avoir éprouvé quelques mutilations, et sans avoir été menacé plus d'une fois d'une ruine complète, que ce monument a traversé trois siècles, et est parvenu jusqu'à nous. Outre la richesse des détails, sa construction est remarquable; il est absolument plat, et terminé en sous-œuvre par trois culs-de-lampe à jour, et sans aucune apparence de voûte. Chacune des deux faces se compose de trois arcs ou archivoltes, ornées de moulures et de festons à jour, dont les courbes sont réunies par des pommes de pin. La retombée des arcs au milieu reste suspendue en l'air, et se termine par des doubles culs-de-lampe, dont les plus saillants portaient jadis des statues, parmi lesquelles on voyait Saint Longin, tenant la lance, et des anges tenant les autres instruments de la passion. Les clochetons, ornés de fleurons et découpés à jour, que l'on voit dans l'intervalle des archivoltes, abritaient ces statues. Entre les clochetons sur chaque arc, est posé un cadre à plusieurs pans, rempli par des petites figures de saints en bas-relief; autour des cadres le champ est occupé par diverses fleurs et feuilles d'ornement. Au-dessus règne la rampe, ou galerie, qui est entièrement découpée à jour. La forme élégante des fleurs-de-lis couronnées, qu'on y remarque, suffirait pour faire connaître l'âge du monument, si nous ne savions d'ailleurs qu'il fut construit vers 1506, à la même époque où l'on jetait les fondements des tours de la cathédrale. Sur la rampe on voyait autrefois quatre statues qui accompagnaient le Christ; il n'en reste que deux, celle de la Vierge et de Saint Jean. Aux angles il y avait des vases à parfums munis d'un couvercle. A chaque extrémité, le jubé est terminé par une construction, en forme de chapelle, appuyée aux gros piliers du chœur. Ces chapelles sont décorées de chaque côté par un pilastre chargé d'arabesques. Au milieu, il existe un enfoncement considérable, de forme carrée, avec des angles rentrant dans la partie supérieure; cet enfoncement était autrefois rempli par un bas-relief, qui en a été arraché et détruit. Au-dessus on voit trois niches sans statues, dont le haut est terminé par des petits dômes et des pyramides évidés à jour avec beaucoup de délicatesse. L'escalier est habilement disposé à droite sous la première arcade du chœur, de manière à ne pas être aperçu de la nef, et à ne pas gêner le service. Il s'élève sur une base octogone, engagée dans le gros pilier, et autour de laquelle la rampe, formée de petites arcades en ogives, se contourne en formant un encorbellement; le dessous de cette saillie est orné de moulures et de gorges profondes remplies par des feuilles d'ornement et des figures d'animaux fantastiques. Sous ce jubé a été enterré Jean Gualde, ou Gaylde, son auteur; on y voyait autrefois son épitaphe, gravée sur un carreau de marbre. Il s'y désignait lui-même par la qualité de maistre maçon, semblait nous donner une garantie de la solidité de son ouvrage, en ajoutant qu'il attendait dessous la resurrection bienheureuse sans crainte d'être écrasé. Le jubé de la Madeleine a de largeur, compris les deux chapelles qui en font partie, trente-six pieds, et de hauteur, jusqu'au haut de la rampe, dix-neuf pieds dix pouces."[16]This is Sauval's description.[17]This must be a mistake of the historian: a crucifix of these dimensions could not possibly be worked in one piece of timber; but it was a very vulgar error to attach great importance to the idea of tabernacle-work, &c. being worked out of a single block or piece; recent investigation has shown the absurdity of these ideas.
[13]De Moleon mentions in his voyage that three silver crosses, each holding three tapers, were suspended in the rood loft, under standing candlesticks; he also describes the jubé as being built of marble, and of what was considered in his time a fine design.
[14]Extrait de l'Histoire de S. Ouen, de Rouen.
Ce fut par sa magnificence que l'on bastit le jubé, qui étoit une des plus belles et des plus delicates pièces que l'on eust pû voir, et que l'on admireroit encore aujourd'huy, si depuis il n'auoit ressenty les effets de la rage des hérétiques. Il est placé avec tant d'adresse, que n'y la croisée n'y le chœur n'en sont aucunement incommodez. Il étoit enrichy d'excellentes figures et de quantité de rares embellissemens qui étoient sortis de la main d'un très habile ouvrier. Mais ces malheureux, ne pouvant souffrir ce bel ouvrage, qui bien que quasi tout neuf, ne laissoit pas d'estre beaucoup plus ancien que leur fausse religion, et de leur en reprocher la nouveauté, le ruinerent avec leur fureur accoûtumée, et jetterent par terre toutes les saintes images et tous les autres ornemens, qui étoient autant de chefs-d'œuvres de sculpture. Mais ce ne fut pas là la plus grande perte qu'ils causèrent à cette Abbaye, ainsi que nous dirons. Les armes de ce magnifique cardinal qui étoient sous le jubé, c'est à dire, dessus la porte par où l'on entre de la nef dans le chœur, furent abatues et détruites dans ce mesme pillage; et ci celles qui sont au haut d'une vitre du costé de la croisée, par où l'on descend dans le cloistre, n'eussent esté hors de la prise de ces furieux, elles eussent aussi couru la mesme fortune.
[15]"Enfin, entre tant de jubés détruits, un seul, le plus riche de tous, celui de l'église paroissiale de la Madeleine, est resté debout. Son existence peut être regardée aujourd'hui comme un problème, si l'on considère les différentes causes qui ont amené la destruction des premiers. Aussi ce n'est pas sans avoir éprouvé quelques mutilations, et sans avoir été menacé plus d'une fois d'une ruine complète, que ce monument a traversé trois siècles, et est parvenu jusqu'à nous. Outre la richesse des détails, sa construction est remarquable; il est absolument plat, et terminé en sous-œuvre par trois culs-de-lampe à jour, et sans aucune apparence de voûte. Chacune des deux faces se compose de trois arcs ou archivoltes, ornées de moulures et de festons à jour, dont les courbes sont réunies par des pommes de pin. La retombée des arcs au milieu reste suspendue en l'air, et se termine par des doubles culs-de-lampe, dont les plus saillants portaient jadis des statues, parmi lesquelles on voyait Saint Longin, tenant la lance, et des anges tenant les autres instruments de la passion. Les clochetons, ornés de fleurons et découpés à jour, que l'on voit dans l'intervalle des archivoltes, abritaient ces statues. Entre les clochetons sur chaque arc, est posé un cadre à plusieurs pans, rempli par des petites figures de saints en bas-relief; autour des cadres le champ est occupé par diverses fleurs et feuilles d'ornement. Au-dessus règne la rampe, ou galerie, qui est entièrement découpée à jour. La forme élégante des fleurs-de-lis couronnées, qu'on y remarque, suffirait pour faire connaître l'âge du monument, si nous ne savions d'ailleurs qu'il fut construit vers 1506, à la même époque où l'on jetait les fondements des tours de la cathédrale. Sur la rampe on voyait autrefois quatre statues qui accompagnaient le Christ; il n'en reste que deux, celle de la Vierge et de Saint Jean. Aux angles il y avait des vases à parfums munis d'un couvercle. A chaque extrémité, le jubé est terminé par une construction, en forme de chapelle, appuyée aux gros piliers du chœur. Ces chapelles sont décorées de chaque côté par un pilastre chargé d'arabesques. Au milieu, il existe un enfoncement considérable, de forme carrée, avec des angles rentrant dans la partie supérieure; cet enfoncement était autrefois rempli par un bas-relief, qui en a été arraché et détruit. Au-dessus on voit trois niches sans statues, dont le haut est terminé par des petits dômes et des pyramides évidés à jour avec beaucoup de délicatesse. L'escalier est habilement disposé à droite sous la première arcade du chœur, de manière à ne pas être aperçu de la nef, et à ne pas gêner le service. Il s'élève sur une base octogone, engagée dans le gros pilier, et autour de laquelle la rampe, formée de petites arcades en ogives, se contourne en formant un encorbellement; le dessous de cette saillie est orné de moulures et de gorges profondes remplies par des feuilles d'ornement et des figures d'animaux fantastiques. Sous ce jubé a été enterré Jean Gualde, ou Gaylde, son auteur; on y voyait autrefois son épitaphe, gravée sur un carreau de marbre. Il s'y désignait lui-même par la qualité de maistre maçon, semblait nous donner une garantie de la solidité de son ouvrage, en ajoutant qu'il attendait dessous la resurrection bienheureuse sans crainte d'être écrasé. Le jubé de la Madeleine a de largeur, compris les deux chapelles qui en font partie, trente-six pieds, et de hauteur, jusqu'au haut de la rampe, dix-neuf pieds dix pouces."
[16]This is Sauval's description.
[17]This must be a mistake of the historian: a crucifix of these dimensions could not possibly be worked in one piece of timber; but it was a very vulgar error to attach great importance to the idea of tabernacle-work, &c. being worked out of a single block or piece; recent investigation has shown the absurdity of these ideas.
This remarkable rood loft, which I havefiguredin the plates, is worked in oak, and has been richly painted. The arrangement of the crucifix, and images of our Blessed Lady and St. John, is very singular, as they are placed in front of the loft, instead of being elevated above it. The two thieves are also represented, as is usual in the Crucifixions and Calvaries in Brittany. The crosses to which they are attached are composed of branches of trees.
On the Epistle side the Fall of Man caused by the first Eve, and on the opposite angle the Redemption of Man, through the second Eve, the Blessed Virgin, to whom the angel is announcing the mystery of the incarnation.
There are several very curious carvings in the frieze, among which the popular subject of the mass of S. Martin is easily distinguished.
The church which contains this very curious rood loft is situated in a remote locality, and almost deserted; but a few years since, this venerable relic of ancient piety and art was actually on the point of being sold, had not a neighbouring innkeeper, who derived no small profit from the lovers of antiquity, whom this screen brought to his house, so resolutely opposed its removal, that it was at length suffered to remain.
Thisscreen, which is beautifully preserved, with flamboyant tracery, is remarkable for the spiral staircase by which it is ascended, supported by slender shafts, and most ingeniously constructed; the wood groining under the rood loft is bad in principle, as savouring too much ofstone construction; but the front of the loft is elaborately carved with tabernacle-work and imagery.
Thisscreen, equally remarkable for the elegance of the design as the beauty of its sculptured enrichments, is divided into three compartments, consisting of open cusped arches, supported by pillars, with images, under tabernacle-work, which run up above the arches, and terminate in niches and pinnacle-work. The spaces between this and the canopy-work over arches is filled with quatrefoil-work.
There are two altars on either side of the entrance door, and the space between this and the arch is filled with open tracery-work, like windows.
There are numerous screens yet remaining in many of the churches of Brittany, and originally they were to be found in all. Many others of great interest might be described, but those selected are sufficient to illustrate the argument.