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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..82ac2ab --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51875 (https://www.gutenberg.org/ebooks/51875) diff --git a/old/51875-0.txt b/old/51875-0.txt deleted file mode 100644 index a18d8df..0000000 --- a/old/51875-0.txt +++ /dev/null @@ -1,4907 +0,0 @@ -The Project Gutenberg EBook of A Treatise on Chancel Screens and Rood Lofts, by -A. Welby Pugin - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: A Treatise on Chancel Screens and Rood Lofts - Their Antiquity, Use, and Symbolic Signification - -Author: A. Welby Pugin - -Release Date: April 27, 2016 [EBook #51875] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK TREATISE ON CHANCEL SCREENS *** - - - - -Produced by Deaurider, Chris Pinfield and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - -Transcriber's Note. - -Apparent typographical errors, including inconsistent use of hyphens, -have been corrected. The author's use of accents has been retained. - -Italics are indicated by _underscores_ and the use of blackletter font -by +signs+. Small capitals have been replaced by full capitals. - -Any period below a superscript, or that is superscripted itself, has -been removed. - -The plates illustrate many of the screens and rood lofts that are -described in the text. They have been moved to the end of appropriate -chapters. They each bear the inscription "London Published by C Dolman -61 New Bond Street." - -There may be some confusion between the cathedrals of Sens and of -Senlis, both near Paris. There is an illustration of the screen of the -former, but no text; and a paragraph on the latter that mentions an -illustration, which is absent. - - - [Frontispiece: - A CATHEDRAL SCREEN. - A PAROCHIAL SCREEN.] - - - - -A TREATISE ON - -CHANCEL SCREENS AND - -ROOD LOFTS, - -Their Antiquity, Use, and Symbolic Signification. - -BY A. WELBY PUGIN, ARCHITECT. - - - ILLUSTRATED WITH FIGURES COPIED ON STONE FROM DRAWINGS - BY THE AUTHOR. - - -NE TRANSGREDIARIS TERMINOS QUOS POSUERUNT PATRES TUI. - - - LONDON: - CHARLES DOLMAN, 61, NEW BOND STREET, - AND 48A, PATERNOSTER ROW. - -1851. - - - PRINTED BY - COX (BROTHERS) AND WYMAN, GREAT QUEEN STREET, - LINCOLN'S-INN FIELDS. - - - - -CONTENTS. - - - +Introduction+ 1 - - +Of the Enclosure of Choirs+ 14 - Of the Choir 16 - High Altar 16 - Jubé or Rood Loft 17 - Furniture of the Rood Lofts 18 - - +On Screens in Italy and Spain+ 22 - The Sistine Chapel Screen 24 - Quirinal Chapel 25 - San Clemente 25 - Basilica of St. Nerei and Achille, Rome 26 - Santa Croce 27 - San Michele 27 - San Petronio, Bologna 28 - Padua 28 - Venice 29 - - +On Screens in Germany and Flanders+: - Screens at Lubeck 31 - Munster 33 - Brunswick 34 - Hildesheim 35 - Bremen 35 - Basle 36 - Friedberg and Glenhausen 36 - Marburg, Halberstadt, and Ulm 36 - S. Lawrence, Nuremberg 37 - Great Church at Oberwesel 37 - Haarlem 38 - Dixmude 39 - Aerscot 39 - Louvain 39 - Tournai 40 - Bruges 40 - Church of Hal, near Brussels 40 - Antwerp 41 - Ghent 42 - - +On Screens in France+: - Cathedral of Amiens 44 - Abbaye de S. Bertin, S. Omers 45 - S. Quentin 45 - Cathedral of Lyons 46 - Cathedral of Orleans 46 - Abbey of S. Denis, near Paris 46 - Notre Dame de Mantes 47 - Abbaye de Fontenelle, or S. Wandrille 47 - Conventual Church of the Grand Augustins, Paris 48 - Church of the Mathurins, Paris 48 - Rheims 48 - S. Nicaise, Rheims 49 - S. Gatien, Tours 49 - Church of Souvigny, in the Bourbonnais 49 - Abbaye de S. Ouen, Rouen 49 - Rouen Cathedral 51 - Cathedral of Auxerre 52 - Cathedral of Chartres 52 - Cathédrale d'Albi 53 - Cathédrale d'Autun 54 - Cathédrale de Senlis 54 - Cathedral of Toulouse 54 - Church of S. Sernin, Toulouse 54 - Cathedral of Auch 55 - Cathedral of Rodez, Languedoc 55 - Cathedral of Troyes 55 - Account of the Jubés formerly standing in the Churches of Troyes 57 - Villemaur 58 - S. Germain de l'Auxerrois, Paris 59 - S. Etienne du Mont, Paris 59 - Bourges 59 - Notre Dame, Paris 60 - Abbey of Fecamp 61 - Cathedral Church of Bayeux 61 - S. Riquier, near Abbeville 62 - S. Wulfran, near Abbeville 62 - - +On Screens in Brittany+: - S. Fiacre le Faouet 63 - Lambader 63 - Folgoet 64 - - +On Screens in England+ 65 - Accounts of S. Margaret's, Westminster 70 - S. Lawrence, Reading 71 - Churchwardens' Accompts of S. Mary Hill 72 - Churchwardens' Accompts of S. Helen's, Abingdon 72 - Extracts from the Churchwardens' Accompts of Heybridge 73 - Extracts from the Churchwardens' Accompts of Walberswick 73 - Extracts from the Churchwardens' Accompts of Woodbridge 73 - Account of the Screen in the Church of S. Giles-in-the-Fields 74 - - +Of the four classes of Ambonoclasts+: - The Calvinist Ambonoclast 76 - The Pagan Ambonoclast 81 - The Revolutionary Ambonoclast 91 - The Modern Ambonoclast 98 - - +Conclusion+ 100 - - - - -LIST OF PLATES. - - - I. FRONTISPIECE. { A Cathedral Screen. - { A Parochial Screen. - - II. { Elevation of Screen of Old S. Peter's Church, at Rome. - { Plan of the Chancel of Ditto. - - { Marble Screen in the Basilica of SS. Nerei and Achille. - III. { Iron Screen from an ancient painting at Sienna, representing - { the Life of Pius II., by Pinturicchio. - - IV. { Marble Screen in the Church of the Frairi, Venice. - { Detached Altar of S. Michele, Florence, with its Brass Screen. - - V. { Rood Screen of the Marienkirche, Lubeck. - { Rood Loft, Cathedral, Munster. - - VI. { Screen in the Dom-Kirche, Lubeck. - { Screen and Rood Loft, Hospital, Lubeck. - - VII. { Rood Loft, S. Katherine's Church, Lubeck. - { Screen and Rood Loft, Dom, Hildesheim. - - VIII. { Screen at Glenhausen. - { S. Elisabeth's Church, Marburg. - - { Screen at Oberwesel. - IX. { Plan of the Jubé, Cathedral, Metz. - { Plan of the Jubé, Cathedral, Toul. - { Screen of S. Nicholas's Church, Lorraine. - - { Rood Screen, Cathedral, Antwerp: seventeenth century. - X. { One of the Altars erected against the Nave Pillars, with its - { Brass Screen-work. - - XI. { Iron Screen, Choir of S. Sernin, Toulouse. - { Iron Screen at Toledo. - - XII. { Screen in the Cathédrale de Sens. - { Screen in S. Agnes, Picardy. - - { Screen in S. Fiacre le Faouet. - XIII. { Screen in S. Folgoet. - { Screen in S. Germain, in Ribermont. - { Plan of Jubé, Notre Dame de l'Epine. - - { Lambader, Brittany. - XIV. { Iron Screen at S. Riquier: eighteenth century. - { Wooden Screen in the Church of Urnes, near Bergen. - - - - - A - TREATISE ON ROOD SCREENS, - _&c._ - - - - -INTRODUCTION - - -The subject on which I am about to treat is one of far more importance -than the generality of men may be willing to admit; it is not a mere -question of architectural detail, respecting a few mullions and a -transverse beam, but it involves great principles connected with -discipline, and even faith, and it is a question in which all those who -either wish for the revival of ancient solemnity and reverence, or even -the preservation of what yet remains, are most deeply interested. The -contest that has been raised by the restoration of screens in England is -not altogether new; it occurred in France during the latter part of the -last century, when a vile spirit of modern innovation appears to have -arisen among a portion of the French clergy, chiefly in the capitular -bodies, and more injury was then inflicted on the great churches of that -country than was caused by the outrages of the Calvinists and Huguenots -in the civil wars of the sixteenth century. The traditions of the -church, as regards the _disposition_ and _arrangement_ of ecclesiastical -buildings in the northern countries, do not appear to have been much -affected by the revived paganism of the sixteenth century; the details -were debased and incongruous, but the _things_ remained unaltered _in -principle_,—rood lofts were erected, choirs were stalled, cruciform -churches, with aisles and lateral and lady chapels, and transepts, were -the general type followed,[1] and screens for choirs, side chapels, and -altars were universal. But gradually, from the adoption of the details -of classic antiquity, the buildings themselves became objects of -imitation, till revived paganism displayed its full absurdity in the -substitution of a temple of Jupiter for a church of the crucified -Redeemer in the huge _room_ called the Madeleine. Designed by infidels, -built by infidels, and suited only for infidel purposes, and then turned -over, for want of another use, to become a church! - -The very decorations are an insult to Christianity; an ambitious -conqueror, set up as a deity, occupying the place of our divine Redeemer -himself, a mockery and a terrible blasphemy against that God to whose -service the place has been unfortunately devoted; moreover, this -monument of absurd impiety has been raised at a greater cost than what -would have produced one of the fairest churches of mediæval -construction, and it is so practically unsuited for even the ordinary -requirements of a church, that there are no means for hanging bells, but -a vain attempt was made of suspending them in the roof, where they -stunned all _within_ the building, and were inaudible to those -_without_, for whose benefit they were intended, and, after a short -trial, they were finally removed. - -I have been induced to speak particularly of this edifice, as it is the -beau ideal of a modern church in the minds of those who are opposed to -screens; for the principles of these men, worked out to their legitimate -ends, are subversive of every tradition and the whole system of -ecclesiastical architecture. Screens are, in truth, the very least part -of the cause of their animosity to the churches of their Fathers, for if -any man says he loves pointed architecture, and hates screens, I do not -hesitate to denounce him as a liar, for one is inseparable from the -other, and _more_, inseparable from _Catholic arrangement in any style_, -Byzantine, Norman, Pointed, or debased. We have now to contend for the -great principles of Catholic antiquity,—tradition and reverence against -modern development and display. It is not a struggle for taste or -ornament, but a contention for _vital principles_. There is a most -intimate connection between the externals of religion and the faith -itself; and it is scarcely possible to preserve the interior faith in -the doctrine of the holy eucharist if all exterior reverence and respect -is to be abolished. - -"There is no higher act in the Christian religion," says Father Le Brun, -"than the Sacrifice of the Mass; the greater portion of the other -sacraments, and nearly all the offices and ceremonies of the church, are -only the means or the preparation to celebrate or participate in it -worthily." Such being the case, it is but natural that the place where -this most holy sacrifice is to be offered up, should be set apart and -railed off from less sacred portions of the church, and we find this to -have been the case in all ages, in all styles, and in all countries -professing the Catholic faith down to a comparatively very recent -period, when in many places all feelings of sanctity, tradition, and -reverence, seemed to have been superseded by ignorant innovation and -love of change. - -It will be shown in this work that the idea of room-worship, and the -all-seeing principles, is a perfect novelty. Those indeed who would make -the mass _a sight_, are only to be compared to the innovators of the -16th century, who made it essential to be _heard_; those who compiled -the Book of Common Prayer converted the mass into all-hearing service; -this was the great object of the vernacular change, that people might -_hear_ the priest; they were to be edified by what he _said_, more than -what he _did_; the sacrificial act was merged into the audible -recitation of prayers and exhortations; for this reason the altars, in -the reign of Edward the Sixth, were to be moved down from their eastern -position to the entrance of the chancel, to enable the people to hear; -this led to the demolition of stone altars and the substitution of -tables. For this reason the whole congregation crowd into the choirs of -the cathedrals, leaving the rest of the church deserted. For this -reason, in large parochial churches, the chancel has been often entirely -cut off, and a portion of the nave glazed in and reduced to such a size -that the people could hear the clergyman; these were all natural -consequences of the change of principle consequent on the translation of -the mass, and the altered nature of its celebration. That churches are -now built after the old tradition for the service of the separated -portion of the English Church, is purely owing to an internal revival of -Catholic feelings and traditions in that body: the cause is a return to -Catholic truth and reverence; the effect is the erection of churches in -accordance with those feelings. It has been a charge and reproach made -by Catholics against their separated countrymen, that the old fabrics -were unsuited to their service, and unquestionably, on the principle -that it was essential for _every one to hear_, they were so. But I will -ask these new-fashioned men if it is indispensable for _every one to -see_, how much better are they adapted for modern Catholic rites? They -become as unfit for one as the other, for it is unquestionable, that -comparatively very few persons in these cruciform churches could obtain -a view of the altar, and this _independent of any screen-work_, the -disposition of the pillars intersecting and shutting out all those who -are stationed in the aisles and transepts. - -I have always imagined that one great distinction between the Protestant -and Catholic services was this, that the former was essentially a -_hearing_ service, at which only a comparatively few persons could -assist, while at the latter many thousands, or, indeed, hundreds of -thousands could unite in one great act of adoration and praise, -concentrating their thoughts and intentions with the priest who is -offering at God's altar, although he is far shut off from their vision. - -_Real Protestants_ have always built rooms for their worship, or walled -up the old churches, when they have fallen into their possession, into -four or five distinct spaces, as in Scotland. But the separated church -of England, though Protestant in position, in name, and in practice, has -retained so much of the old traditions in her service, and is linked by -so many ties to older and better times, that she naturally turns back to -them with affection and reverence, and seeks, as far as her maimed rites -and fettered position will admit, to restore the departed glory of the -sanctuary. Few persons are aware that the choirs of three of the English -cathedrals were completely restalled, and after the old arrangements, by -the munificence of churchmen in the seventeenth century; moreover, the -completion of some towers and extensive works date from the same period. -It is a consoling fact, that the cathedrals of England retain more of -their old Catholic arrangements and fittings than most of those on the -continent: and as regards the fabricks, they have suffered less injury, -and have preserved their original character most wonderfully. -Architecturally, we must certainly admit that the Anglicans have been -good tenants of the old fabricks; we must not test them by the works of -preceding centuries, but by the corresponding period; and when we -reflect on the debased state of design and art that prevailed, even in -those countries which were nominally exclusively Catholic, we may be -thankful that our great religious edifices have been so well handed down -to our own times, when the recognition of their beauty and grandeur is -daily increasing.[2] I have dilated on this subject, for if the -lingering remains of Catholic traditions which have been so imperfectly -preserved since the separation of England in the sixteenth century, have -yet produced such edifying results, how much more have we reason to -expect from those who should possess them in all their fullness! and how -heart-rending, how deplorable, how scandalous is it to behold (as, sad -to say, we have now fearful examples) even priests of the very temple -combining, by word and deed, to break down the carved work of the -sanctuary, and destroying the barriers erected by ancient reverence and -faith! - -But to return, I cannot too strongly impress on the minds of my readers -that the very _vitals_ of Catholic architecture are assailed by the -opponents of screens. - -Those who complain of not being able to see in a Pointed church should -have assisted at an ancient service in a Roman basilica; the altar -surrounded by pillars sustaining veils and curtains, and covered by a -ciborium, was placed in _front_ of the celebrant, of whom nothing could -be discerned by the congregation except an occasional glimpse of his -head; the space behind the altar was reserved for the bishop and his -presbyters, while in front was the choir for those who sung, walled -round to a considerable height, averaging five feet, and within, or -occasionally outside, this space, were the ambones for the epistle and -gospel, marble rostrums, ascended by steps, and usually of large -dimensions; moreover, the basilicæ were constructed with aisles, like -pointed churches, so that not one-tenth part of the congregation could -have seen either the celebrant or the mensæ of the altar. And although -it does not appear that the Latin church has purposely excluded the -sight of the altar from the people, yet from the beginning the canonical -arrangement of her sacred edifices has had the practical effect of -cutting off its view from a very large portion of the assisting faithful. - -Christians of the present time have but little idea of the solemnity of -the ancient worship of the Catholic church; ordained ministers were -alone permitted to fill the humblest offices about the sanctuary, every -object connected with the sacred rites were considered deserving of the -most loving care; even in the very early ages, the vessels of the altar -were usually of precious metals, and studded with jewels. The books of -the holy gospels were written in golden text on purple vellum, bound in -plates of silver encasing ivory diptychs, and deposited in portable -shrines, like relics. Though all this should fill us with admiration, -there is nothing to excite surprise, when we reflect on the very sacred -nature of the Christian mysteries—no sign typical and prophetic, as -under the Mosaic law, but our blessed Lord truly present and abiding in -the temple in the holy sacrament of the altar,—it is by no means -wonderful that the Christian worship should assume a form of solemnity -formerly unknown, and we are only astounded that with the perpetuation -of the doctrine the practice of external solemnity should have so -lamentably become decayed in the latter times; indeed, so sacred, so -awful, so mysterious is the sacrifice of the mass, that if men were -seriously to reflect on what it really consists, so far from advocating -mere rooms for its celebration, they would hasten to restore the -reverential arrangements of Catholic antiquity, and instead of striving -for front seats and first places, they would hardly feel worthy to -occupy the remotest corner of the temple. The form and arrangement of -the ancient churches originated from the deepest feelings of reverence; -the altar, or place of sacrifice, was accessible only to those who -ministered, it was enclosed by pillars and veils; the sanctuary was -veiled, the choir was enclosed, and the faithful adored at a respectful -distance. All this, and the custom of every succeeding century, is in -utter opposition to the modern all-seeing principle, and which, if it is -carried out, ends in an absurd conclusion; for if it be essential for -every worshipper to see, even a _level room_ would not answer the -purpose, and the floor must be raised like an amphitheatre to elevate -the receding _spectators_, for unless the people be thus raised, they -form a far greater barrier than any screen-work; and even at St. Peter's -itself, when the Pope celebrates, there is a living screen of Swiss -troops and noble guards that effectually shuts out the sight of what is -going on, except to those taking part in the functions, or a favoured -few, who by means of gold or interest are seated in raised loggia. If -religious ceremonies are to be regarded as spectacles they should be -celebrated in regular theatres, which have been expressly invented for -the purpose of accommodating great assemblages of persons to hear and -see well. It has been most justly said, that there is no legitimate -halting-place between Catholic doctrine and positive infidelity, and I -am quite certain that there is none between a church built on Christian -tradition and symbolism and Covent Garden Theatre with its pit, boxes, -and gallery.[3] It is only by putting the question in this forcible -contrast that persons can really understand the danger of these new -notions, or the lengths to which they may eventually lead; and I trust -it may be the means of raising a feeling of the greatest repugnance to -them in the hearts of every true Catholic. - -As regards screens, I believe there are no portions of church -architecture the origin and intention of which are less understood, and -I have seen most absurd and contradictory arguments brought forward in -their defence as well as by their assailants; they have originated from -a natural as well as a symbolical intention,—it is a natural principle -to enclose any portion of a building or space which is set apart from -public use and access, and when such a boundary is erected round the -place of sacrifice in a church, it teaches the faithful to reverence the -seat of the holy mysteries, and to worship in humility. - -From the earliest times the choirs and sanctuaries of the Christian -churches were separated off from the rest of the building by open -metal-work and dwarf marble walls, and at the present day, in those -churches where the old screen-work has been destroyed by debased tastes -or revolutionary violence, it has invariably been replaced by high iron -railings, as indispensably necessary for the order and discipline of the -church; and though these railings are meagre in effect and prison-like -in appearance, they are screens to all intents and purposes, and serve -like their more ornamental prototypes to exclude unauthorized persons -from the sacred enclosures. - -The choirs of the early Christian churches, which were all frequented by -the people, were enclosed by open screens, like trellis-work, usually -made of brass, and this principle has descended through all ages in -churches destined for _parochial worship_ and _the use of the people_, -while in cathedral, collegiate, and conventual churches, which were -intended more especially for the use of ecclesiastics, the solid screens -were invariable, not only across the nave but round the choir, so that -the canons and religious were completely enclosed. The introduction of -these close screens was coeval with the commencement of the long -offices, and were positively necessary for those who were compelled to -remain so many hours in choir, and who would have been unable to resist -the cold if exposed to the free passage of the currents of air which -prevail in these large edifices.[4] - -But, like every object generated in necessity, the church soon turned -them to a most edifying account, and while the great screen was adorned -with the principal events of our Lord's life and passion, surmounted by -the great rood, the lateral walls were carved with edifying sculptures -and sacred histories, many of which still remain, as at Notre Dame, -Paris, Amiens, Chartres, Auch, &c. I do not think that the theory, which -some writers have advanced, of these _close_ screens being erected to -increase the mystery of the celebration, and to procure greater respect -for the sacrifice, is tenable; the mass is not more holy in one church -or one altar than another, and it is most certain that no parochial -churches, built as such, ever had close screens, but always open ones; -and, indeed, we very often find altars erected outside these close -screens of cathedral and conventual churches, for the benefit of the -people, as will be seen by the plates given in this work, which would -involve a complete contradiction in principle, supposing the high altar -to be hid on symbolical grounds. The _close_ screens belong properly to -the choir rather than the altar, as in many Italian churches served by -religious, the clergy sat behind the screen, while the altar is partly -without, so that the celebration served for both the religious and the -people. - -At Durham Abbey, the Jesus altar was outside of the great screen; and at -St. Alban's Abbey, in the screen which traverses the nave, there are the -evident marks of an altar which doubtless served for the parochial mass. - -It will be seen from these remarks that close screens, as a principle, -are only suitable for churches intended for cathedral chapters or -conventual and collegiate bodies; and they are certainly most unsuitable -for any churches to be erected in this country under existing -circumstances, where the limited extent of means and number of the -clergy render it necessary for all services to be available for the -faithful in general, and the bishops' churches, like the original -basilicæ, to be in a manner parochial. - -But as regards open screens the case is widely different; they existed -under the form of trellis (opere reticulato) in the oldest churches, -and, in succeeding centuries not only was every chancel and choir -enclosed by them, but each chapel, and even altar; they were to be found -in every parochial church, either of metal, stone, or wood; in Germany, -Flanders, and the North, metal was the usual material, but in England -and France stone and wood, while in Italy and the South they were -usually composed partly of marble and partly of metal. But their use was -universal, they commenced many centuries _before the introduction of -pointed architecture_, and _they have survived its decline_; in fact, -they belong to the first principles of Catholic _reverence and order_, -and _not to any particular style_, though, like everything else -connected with the church, they attained their greatest beauty in the -mediæval period. - -The church of San Michele, at Florence, contains an altar erected in the -fourteenth century, in honour of a venerated picture of the Blessed -Virgin; it is a most interesting example of a detached altar surrounded -by a screen. Like all the Italian mediæval works, it is exquisitely -beautiful in detail, and admirable in the sculptured enrichments; it is -entirely surrounded by a screen, partly composed of bronze and partly of -marble, divided in open panels of pointed tracery; this supports a -cresting, with prickets for tapers, and at the four angles are images of -angels bearing metal candlesticks of elegant design. In order to convey -a more perfect idea of this beautiful and decorated altar, I have -figured it among the illustrations. In Ciampini's great work, "Vetera -Monimenta," are plates of some of the altars which stood in old St. -Peter's Church, at Rome, enclosed by brass screens, surrounded by -standards for lights; and as a proof of the extent of this traditional -enclosure of altars, when Antwerp Cathedral was restored to Catholic -worship, after its pillage by the Calvinists in the sixteenth century, -there not only was a great marble screen and rood loft restored across -the choir, but a new range of altars having been set up against the -pillars of the nave, each altar was enclosed by an open brass screen -about six feet high, supported on a marble base, as may be most -distinctly seen in a view of the church painted at the time by Peter -Neefs, still preserved at Bicton House, near Sidmouth, and from which I -have made the drawing etched in this work. I consider these authorities -rather important, as when this church was restored for the Catholic -worship all feeling for pointed design had been superseded by Italian; -but change of detail had not then produced change of sentiment, and I -shall clearly show that Catholic traditions, in this respect, have -survived all changes of form and ornament. - -It is, therefore, these open railings, or screen-work, for which we -contend as an essential characteristic of Catholic reverence in the -enclosure of chancels, chapels, and altars; practically, they prevent -any irreverence or intrusion in the sacred places at those times when no -celebration or office is going on; and symbolically, they impress on the -minds of the faithful the great sanctity of all connected with the -sacrifice of the altar, and that, like the vicinity of the "burning -bush," the ground itself is holy. Wherever this screen or enclosures -have been removed, as in some modernized churches of Italy and France, -distressing irreverence has been the consequence; and, on more than one -occasion, I have seen an altar turned into a hat-stand within a few -minutes after the holy sacrifice had been offered up upon it, while -animals defile the frontals, and lazzaroni lounge on the steps. - -These screens serve also for a most edifying purpose; while the -principal one across the chancel or choir sustains the great rood, with -its attendant imagery and ornaments, the lateral enclosures are -surmounted by ranges of metal standards for lights, to burn on great -feasts, while the mouldings and bratishings are enriched with texts and -sacred devices. - -The rest of this work may be considered only as a justification and -proof of what I have advanced in this brief essay, viz.—1st. That open -screens and enclosures of choirs and chancels have existed from the -earliest known period of Christian churches down to the present century, -that they form an essential part of Catholic tradition and reverence, -and that no church intended for Catholic worship can be complete without -them. 2nd. That their introduction belongs to no particular period or -style, and that their partial disuse was not consequent on the decline -of pointed architecture, but to the decay of reverence for the sacred -mysteries themselves, as I have found screens of all styles and dates. -3rd. That closed screens are only now suited to conventual and -collegiate churches in this country, the cathedrals being required for -the worship of the people, from whom the view of the altar has never -been purposely concealed. 4th. That those who oppose the revival and -continuance of open screens are not only enemies of Catholic traditions -and practices, but the grounds of their objections militate as strongly -against every symbolic form and arrangement in ecclesiastical -architecture, and, therefore, till they retract their opposition they -are practically insulting the traditions of the church, impeding the -restoration of reverence and solemnity, and injuring the progress of -religion. - -[1] The church of St. Eustache, Paris, is a striking example of a -pointed church, both in plan, disposition, and proportion, carried out -in Italian detail; but even much later, the churches of St. Roch and St. -Sulpice, in the same city, were constructed on Catholic traditions, -although all trace of the ancient detail has disappeared; they are -_cruciform_, _choral_, and _absidal_, with _aisles_ and chapels, a -clerestory, and vaulting supported by flying buttresses, and the latter -has even two great western towers for bells. Notwithstanding their -debased detail, these edifices have still the character of churches, and -are adapted by their _arrangement_ for the celebration of Catholic rites. - -[2] I trust to be able before long to put forth an impartial statement -relative to the destruction of Catholic edifices and ornaments -consequent on the change of religion in England. After the most patient -investigation, I have been compelled to adopt the conclusion, that the -most fearful acts of destruction and spoliation were committed by men -who had not only been educated in the ancient faith, but who were -contented externally to profess its doctrines. I had originally fallen -into popular errors on these matters in some of my early publications, -and it is but an act of justice to affix the odium of the sacrilege on -those who were really guilty. I feel quite satisfied that one of the -most urgent wants of the time is a real statement of the occurrences -connected with the establishment of Protestantism and the loss of the -ancient faith; of course, I have to treat the subject in an -architectural view, but still I trust to bring forward many facts that -may lead to a better understanding and more charity on both sides, for -we may all exclaim, "Patres nostri pecaverunt et non sunt, _et nos -iniquitates eorum portavimus_." - -[3] I have been credibly informed, that an amphitheatre was deliberately -proposed, a few years since, as the best form of a Catholic church for -London. - -[4] These enclosures were also to prevent the distraction which large -bodies of people moving about the church might occasion to the -ecclesiastics. - - - - -OF THE ENCLOSURE OF CHOIRS, - -FROM THE EARLY AGES OF THE CHURCH DOWN TO THE PRESENT TIME. - - -It is most certain (writes the learned Thiers) that in the three first -centuries there were churches, that is to say, places set apart for the -faithful to meet in prayer and assist at the holy sacrifice; but we have -no record respecting the internal arrangements of those places, which -often were mere rooms in private houses, hence it is impossible to say -whether any separation existed in them between the people and the clergy. - -But from the time of Constantine's conversion, it is beyond doubt that -the choirs were divided off from the other portion of the church by -veils or screens. Eusebius describes the choir of the Church of the -Apostles, erected by Constantine at Constantinople, as enclosed by -screens, or trellis-work, marvellously wrought.—"Interiorem ædis partem -undique in ambitum circumductam, _reticulato opere_ ex ære et auro -affabre facto convestivit." - -The same writer thus speaks of the choir of the Church of Tyre, built -and consecrated by the Bishop Paulinus:—"Porro sanctuario hoc modo -absoluto et perfecto, thronisque quibusdam in altissimo loco ad Præsidum -ecclesiæ honorem collocatis, et subselliis præterea undique ordine -dispositis, decore eximieque exornato, altarique undique tanquam Sancto -Sanctorum in medio sanctuarii sito, ista rursus, ut a plebe et -multitudine eo non posset accedi, cancellis ex ligno fabricatis -circumdedit, qui adeo artificiosa solertia ad summum elaborati sunt, ut -mirabile spectaculum intuentibus exhibeant." - -The emperor Theodosius divides the church into three parts:—"Sacro -sanctum Altare _Cancellis Clausum_, quadratum Templi oratorium murorum -ambitu circumseptum, et locum residuum usque ad ecclesiæ fores -exteriores." And St. Paulinus, Bishop of Nola, describes three doors in -the screens of the Church of St. Felix. - -Trinaque Cancellis currentibus ostia pandunt. - -Among the decrees of the Second Council of Tours, in 557, it is ordered -that lay persons are not to enter the chancel which is divided off by -screens, except to receive the holy communion:—"Ut Laici secus altare, -quo sancta mysteria celebrantur, inter Clericos, tam ad vigilias, quam -ad Missas, stare penitus non præsumant; sed pars illa _quæ a Cancellis -versus Altare dividitur_, Choris tantum psallentium pateat Clericorum. -Ad orandum vero et communicandum laicis et feminis, sicut mos est, -pateant Sancta Sanctorum." - -St. Germanus, patriarch of Constantinople, thus explains the intention -and meaning of the choir screens:—"Cancelli locum orationis designant, -quojusque extrinsecus populus accedit. Intrinsecus autem sunt Sancta -Sanctorum solis Sacerdotibus pervia. Sunt autem revera ad piam memoriam -_Cancelli ænei_,[5] nequis simpliciter et temere ingrediatur." - -The space enclosed by these screens in those churches where the aisles -extended round the choir was entered by three double gates, those to the -west, at the lower end of the choir, were called "the holy doors," the -others were placed between the choir and the sanctuary, on the epistle -and gospel sides. But in smaller churches, where the chancel alone forms -the eastern extremity, there was only one pair of gates, or holy doors, -at the west, and this most ancient arrangement has continued down to the -present day, even in churches that have been fitted up with modern iron -railings. - -From the authorities above quoted, which are some cited by Father -Thiers, in his treatise, Sur le Cloture des ChÅ“urs, it will be seen that -open screens existed from the earliest erection of churches, and that -they were composed of wood or metal, most frequently brass. This style -of enclosure prevailed universally in all classes of churches till the -end of the twelfth century, when, in the cathedral and collegiate -churches, they were altered into solid walls, in the manner and for the -reasons before described in the introduction to this work. - -In the "Constitutions" of the great St. Charles Borromeo, which were of -course subsequent to the Council of Trent, are the following interesting -decrees relative to the enclosure of altars:— - -OF THE CHOIR. - -The place of the choir (since it ought to be by the high altar, whether -it surround it from before, as the ancient custom was, or it be behind, -because either the site of the church, or the position of the altar, or -the custom of the place so require) being separated from the space -occupied by the people (as the ancient structures and the nature of the -discipline show) and surrounded by screens, ought to extend so far, both -in length and breadth, where the space of the site allows of it (even to -the form of a semicircle, or some other shape, according to the -character of the church or chapel, in the judgment of the architect), as -to correspond fitly in capaciousness, as well as in becoming adornment, -to the dignity of the church, and the number of the clergy. - -OF THE HIGH ALTAR. - -The high altar ought to be so placed as that there shall be between the -lowest step to it and _the screen-work by which it is, or is to be, -fenced_, a space of eight cubits, and even more where possible, and the -size of the church requires it for its proper adornment. - - -OF THE JUBÉ, OR ROOD LOFT. - -It was the custom of the primitive church, and long afterwards, to sing -the Epistle and Gospel from two stone pulpits placed at the lower end of -the choir, from whence they could be conveniently heard by the people; -and from this reason they were termed "ambones." Of these, many examples -are remaining in the ancient basilicas, especially at San Lorenzo, San -Clemente, &c., at Rome. These pulpits were also used for chanting the -lessons of the Divine Office, and from the reader asking a blessing -before commencing with, Jubé Domine Benedicite, they were commonly -called "jubés," which name was retained when those pulpits were exalted -into a lofty gallery reaching across the choir. - -It is difficult to affix the precise period when the transverse jubés, -or rood lofts, were first erected, but they must be of very great -antiquity, as that of St. Sophia at Constantinople was large enough to -enable the emperors to be crowned in it, a function which would require -space for a considerable number of persons. - -The French kings always ascended the jubé of Rheims Cathedral at their -coronation; and on the accession of Charles X., as the ancient rood loft -had been demolished, a temporary one was erected for the solemnity of -his coronation. - -These jubés were usually erected on a solid wall to the choir, and -pillars with open arches towards the nave; and under them there was -usually one or more altars for the parochial mass. - -They were usually ascended by two staircases, either in circular -turrets[6] or carried up in the thickness of the wall, which was -generally the case in England. - -Occasionally we find altars were erected in the lofts, under the foot of -the cross; such was the case at Vienne, in the Church of St. Maurice, -where the parochial altar was in the centre of the rood loft, and the -Blessed Sacrament was also reserved there Sub titulo crucis. - - -OF THE FURNITURE OF THE ROOD LOFTS. - -1.—The GREAT CRUCIFIX and ROOD, with its attendant images, stood always -in the centre of the loft. - -The cross was usually framed of timber, richly carved, painted, and -gilt; at its extremities the four Evangelists were depicted, and -frequently on the reverse the four doctors of the church. The -Evangelists were sometimes represented as sitting figures in the act of -writing, but more frequently under the form of the apocalyptical -symbols. The extremities of the cross usually terminated in -fleur-de-lys, and its sides were foliated or crocketed. - -The Blessed Virgin and St. John were the almost invariable -accompaniments of the crucifix, but cherubim were occasionally added. As -these Roods were of great weight, their support was assisted by -wrought-iron chains, depending from the great stone arch on the entrance -to the choir and chancel, and the staples for these chains are -frequently to be seen in churches from which the Roods have been removed. - -2.—LECTERNS for the Epistle, Gospel, and Lessons. These lecterns were -either moveable brass stands, like those in choirs, or marble desks, -forming part of the masonry of the design: these are still left in many -churches on the continent. Those at the Frairi at Venice are most -beautiful, and, to come nearer home, in a rood loft at Tatershall Church -is a curiously-moulded stone desk for the reader of the lessons. - -3.—CORONELS and STANDARDS for LIGHTS. - -Coronels of silver or other metal were suspended on all the great rood -lofts, and filled with lighted tapers, on solemn feasts. The maintenance -of the rood lights was a frequent and somewhat heavy item in the old -churchwardens' accounts, as will be seen by extracts published in this -work. - -At Bourges there were twenty-four brass basins, with prickets for -tapers, which the bishops used to supply at their own cost. - -The Blessed Sacrament was usually exposed from the rood loft. The -exposition on the high altar of Lyons Cathedral was mentioned as -occurring for the first time in the year 1701. All the solemn -expositions at Rouen took place from one of the altars under the rood -loft, and there is every reason to believe that the Blessed Sacrament -was usually exposed either on the rood lofts or the altars attached to -them; but these expositions were only at considerable intervals of time, -and only permitted on some great and urgent occasion, and they were then -conducted with the greatest possible solemnity, as may be seen in the -account given by De Moleon of the exposition of the Blessed Sacrament at -the Cathedral, Rouen. Branches of trees were commonly set up in these -rood lofts at Christmas and Whitsuntide, and they were also occasionally -decorated with flowers. - -The principal use of these lofts was for the solemn singing of the -Epistle and Gospel; but, as I have said before, the lessons and the -great antiphons, &c., were also chanted from them. In the Greek Church, -the deacon read the diptychs from the rood loft, and formerly warned the -catechumens and the penitents to depart before the mass, crying out -Sancta Sanctis! The fronts of the old rood lofts were frequently most -richly decorated with paintings or sculptures of sacred history, divided -into panels or niches, surmounted by a rich bratishing of open -tracery-work and foliage. - -THE ROOD BEAM.—In the generality of wooden screens, the breastsumer of -the screen forms the beam on which the rood is fixed and tennanted; but -there are instances where the beam is fixed at some height above the -top, as at Little Malvern, the intervening space being filled in with -some tracery, or enrichment. The position of this beam gave rise to a -very ludicrous mistake on the part of one of the recent screen -opponents, who cited this church as an example of a mere beam to sustain -a rood without a screen; but unfortunately for his argument, the screen -itself is still standing beneath, in its original position. In Italy, at -Milan, Sienna, Ovieto, and several of the larger churches, there is only -a beam sustaining the rood, with images of the Blessed Virgin and St. -John. Some of them are ornamental in design, but I do not think any of -them older than the sixteenth century. There are several examples in -France, but all comparatively modern; but in the Domkirche, at Lubeck, -there is a most remarkable example of a rood beam, that merits a -particular description. The beam itself is composed of a great many -pieces of timber, deeply moulded and carved, and enriched with pendent -tracery and crocketed braces. It stretches across the nave in the -westernmost arch, on a line with transept, the rood screen being across -the easternmost one. - -The cross is covered with open tracery, and crocketed; each crocket is -an expanding flower, from which the bust of a prophet issues, bearing a -scroll with a prophecy relative to our Lord's passion. The same images -are carved at the extremities of the four great quatrefoils, containing -the emblems of the Evangelists. The images of the Blessed Virgin, St. -John, St. Mary Magdalen, and the bishop at whose cost the work was set -up, are placed on the beam: the two latter are kneeling. Between these, -the dead are seen arising from their graves; and in either angle, on a -corbel, an angel of justice and mercy. Beyond these, on the piers of the -church, are two images of Adam and Eve; and a host of smaller angels and -images complete the personages of this most extraordinary work. Some of -the images are rather barbarous, but the foliage and details are -exquisitely wrought, and the whole design is most striking and original. - -There are rood beams at Nuremberg, but the originality of that in St. -Lawrence's Church is rather doubtful,—though the antiquity of the rood -itself is certain. Each arm of the cross ramifies into three branches, -at the extremities of which are angels, with chalices, and on the top -branch a pelican. - -Gervase, the monk of Canterbury, in his description of that cathedral, -makes the following statement: Under the great tower was erected the -altar of the holy cross, and a screen which separated the tower from the -nave: a _beam_ was laid across, and upon the middle of this beam a great -cross, with images of the Blessed Virgin and St. John, and two cherubim. - -There is a rood beam of some antiquity at the church of Séran, near -Gisors. It is placed across the westernmost arch of the central tower. -And the same may be remarked in several of the Normandy churches; but in -some cases they stand considerably above the top of the screen; while in -others the screens have been removed at a very recent period, probably -that of the great revolution. - -_From the Instructiones Fabricæ of S. Charles Borromeo._ - -Under the vaulted arch of the chancel in every church, especially -parochial churches, let a cross, having thereon the image of Christ, -devoutly and becomingly made of wood, or any other material, be exposed, -and conveniently placed. - -But if, on account of the great depression of the arch or vaulting, it -cannot be placed so well there, then let it be put up against the wall, -over the arch, under the ceiling; or let it be placed over the chancel -door. - -[5] The custom of using brass for the material of choir screens is to be -traced to a very late period, as at St. Gatier, at Tours; Cathedral, -Rouen; and in many of the Flemish cathedrals. - -[6] The only instance I have found in England of circular staircases to -a rood loft, inside the church, is at Ely, before the old alterations of -the choir. - - - - -ON SCREENS IN ITALY AND SPAIN. - - -I commence with Italy, first, because it has been the fountain from -whence Catholic truth has flowed to other parts of Christendom, and -secondly, as I believe it is a very general delusion that screens formed -no part of the fittings of a Roman church. - -As an overwhelming contradiction to this often-repeated error, I produce -a representation of the great screen in old St. Peter's, from the most -irrefragable authority,[7] from which it will be seen that a _double_ -marble wall was erected, about six feet high, and twelve feet apart, -that on these walls stood twelve porphyry pillars, supporting a -transverse cornice surmounted with standards for lights. Moreover, at -the neck of these pillars, under the cap, rods were extended for the -suspension of lamps, which were kept perpetually burning in honour of -the Apostles, whose relics lay beneath the high altar. - -This altar, as will be seen by the plan, stood considerably within the -screen, surrounded by pillars, and covered by a ciborium. The back of -the altar is turned towards the nave, with a cross and candlesticks upon -it, and must have effectually concealed the celebrant from the people; -behind all this is seen the great apse, with the cathedra for the pope, -mosaic ceiling, and usual decorations. - -This is the most important authority for the use of screens in the -ancient Roman church; and the dignity and sanctity of the old basilica -of St. Peter was so great, that it would be naturally considered as the -type for other churches; moreover, if we except the details which belong -to the early period of its erection, it is a perfect type of a Pointed -screen,—convert the twelve pillars into shafts, surmount them with -arches, and terminate them by a bratishing, and we have a work of the -mediæval period. It is also exceedingly interesting to observe that this -screen is surmounted by standards for wax tapers, and many lamps were -suspended from it. The most modern screens of the seventeenth and -eighteenth century still preserve these features, and the traditional -arrangement has lasted from the reign of the emperor Constantine down to -our time. It will be seen by the plate which represents the screen, that -the altar is covered with an elevated ciborium, raised on four pillars, -connected by rods, from which veils of silk and precious stuffs were -suspended. It may be useful to remark, that, although as I have before -said, the altar itself was never shut off purposely from the sight of -the people, yet it is most certain that all altars were provided with -these veils or curtains, which were closely drawn during the -consecration. There is especial mention of the gifts of such curtains by -the early popes to the altars of churches in Rome;[8] and though this -rite has been long disused, yet the lateral curtains, suspended on rods, -which still hang in many continental churches, are remains of the -ancient reverential practice. It is greatly to be desired that these -ciborium altars were more generally revived in our times, especially for -the reservation of the holy sacrament. Their vaulted coverings are not -only most majestic in appearance, but they are practically useful in -preventing the deposition of dust on the altar and tabernacle. In all -cases, side curtains should be retained for altars in lateral chapels, -as they preserve the celebrant from distraction, and protect the tapers, -&c., from currents of air. But to answer these ends, it is essential -that the curtains should be suspended nearly at right angles to the -reredos, and not expanded flat against the walls, as may be seen in some -churches of our own time. - - -THE SISTINE CHAPEL SCREEN. - -This screen, which is still standing, is probably not older than the -sixteenth century. It is composed of an elevated basement of marble, -about five feet high, and divided above this into compartments, by -square pillars of marble, supporting an entablature, and the spaces -between them being filled by a bronze grating of crossing bars, making a -total height of above 12 feet. On the top of the entablature are metal -standards for tapers. - -Father Bonanni, who wrote in the seventeenth century, describes the -chapel as arranged in the following manner:—1. The altar. 2. The pope's -throne. 3. The benches for the cardinals and prelates. 4. An enclosed -space for the religious and officers of the pope's court. 5. A sort of -balustrade which separates these portions from the laity: at the top of -this balustrade are placed four, six, or seven tapers, according to the -solemnity of the time. - -The term balustrade has been usually applied by old writers to screens, -and must not be understood in the modern acceptation, of signifying a -sort of rail hand high; in this instance we have a clear proof to the -contrary, for the screen termed a balustrade is still standing, and, -with the exception of the style of pillars and mouldings, is very -similar to those erected in Pointed churches. Trevoux, in his great -dictionary, has the following explanation of the word: "Balustre also -signifies those small _pillars_ to shut off the alcove in a room, or the -chancel of a church or chapel. Columellæ, Cancelli, &c." In this sense -they are always to be understood when mentioned by old writers in -reference to church architecture. Low balustrades, or rails, were -unknown to antiquity. The enclosures were always of a sufficient height -to prevent persons getting over them, and the low rails round altars, -are, in England, a pure Protestant introduction, and originated in the -necessity of preventing the gross irreverence offered by the Puritan -party to the holy tables, on which they frequently sat during the -sermon. If the word balustrade as used by French and Italian writers, be -not thoroughly understood, it must lead to a misconception of the old -arrangements. Pistolezi, in his great work on the Vatican, describes -this screen as a balustrade; his words are as follows:—"La Capella—e -divisa in due spartamenti, il minore, che della Porta alla _Balustrata_ -de marmore si estende, _serve per i Laici_," &c. - - -THE QUIRINAL CHAPEL - -Has a wall in the same position as the screen of the Sistine chapel, -about five feet high, surmounted by pillars, bearing candelabra for -large wax tapers, but the spaces between these are open. This was set up -in the pontificate of Pius VI. - - -SAN CLEMENTE. - -The marble enclosure of the choir is four feet six inches high; the -floor of this choir is two steps above the nave. Between this choir and -the sanctuary is a cross wall of marble, six feet high, with an opening -in the centre, through which only the back of the altar can be -discerned, as the basilica is turned to the west. It will be readily -perceived by these arrangements, that although no ornamental screen-work -existed, yet, practically, the sanctuary is far more shut out than in -Pointed parochial churches, where the solid panelling rarely exceeds -three feet six inches; and it must be admitted, that, if the first few -feet were built up solid, as at San Clemente, it is a matter of little -consequence, as regards facilities of seeing, whether this base is -surmounted by open work, or terminated by a cornice. - -The original fittings and choral arrangements of the greater part of the -ancient churches at Rome have been entirely modernized, with a view to -their embellishment, during the revived Pagan period. Indeed, this city -has been singularly unfortunate. During the prevalence of Christian art, -it was almost deserted, and even the Popes resided at Avignon, in a -pointed palace of stupendous dimensions and design. But on their return, -the new and corrupt ideas of art had arisen, and so much money was -expended in rebuilding and altering the ancient edifices, that Rome -possesses far less interesting ecclesiastical buildings than many -comparatively small cities of Italy, and it is impossible to form the -least idea of the beauty of Italian mediæval art, without visiting those -places that have had the advantages of poverty and neglect, and the -consequent preservation of the ancient and appropriate fittings. - - -THE BASILICA OF ST. NEREI AND ACHILLE, ROME.[9] - -This remarkable screen is of marble, about seven feet high, cut like a -panelled wall. A flight of steps ascends on each side behind the screen, -to an elevated platform, from which rise the steps and ciborium of the -altar; on this same level the Epistle and Gospel were sung by the deacon -and sub-deacon, from marble desks enriched with carvings, and fixed on -the entablature of the screens. There are two twisted candlesticks for -tapers, and it is probable that originally there were a greater number. -The altar, as usual, has its back turned towards the people; so that -this truly ancient and interesting church is in diametrical opposition -to the all-seeing principle of modern times. - -I have figured a curious example of an iron screen from a painting in -the cathedral of Sienna, by Pinturicchio. I imagine this sort of metal -trellis screens to have been very common in the Italian churches.[10] - - -We next proceed to Florence, where the remains of mediæval architecture -are far more extensive and interesting than at Rome. The choir of the -cathedral is immediately under the dome; an octagon subasement supported -a screen of the Doric order, covered with sculptures and bas-reliefs. -This was only removed a few years since, and, in consequence of its -removal, the canons, in order to preserve themselves from the cold air, -usually officiate during the winter months in a glazed chapel, very like -a large counting-house, that has been erected on the north side of the -church. It is, I believe, practically impossible to keep choir in this -church without a screen. - - -SANTA CROCE. - -In this church many of the old screens yet remain. They are for the most -part composed of metal trellis-work, supported by wrought uprights, and -terminated by open bratishing. Those on the north side are quite -perfect, and evidently coeval with the fabric. - - -SAN MICHELE. - -The altar of the church San Michele, which was erected in a building -originally a corn-market, out of devotion to a picture of our Blessed -Lady, that was depicted against one of the pillars. It is surrounded by -a superb screen of marble and bronze, which will be better understood by -referring to the plate, on which it is figured. The execution of the -sculpture of this altar is most admirable, and the minutest details are -finished with extreme delicacy and care, and many of the panels are -enriched with precious stones and jaspers. The upper part of the screen -supports a richly-moulded brass trough, to receive the drippings of the -numerous tapers offered upon this altar, and for which standards with -prickets are disposed above each mullion or division of the screen. The -whole is in the most perfect state, and offers a splendid example of -mediæval Italian art. - - -SAN PETRONIO, BOLOGNA. - -The nave of this gigantic and noble church is alone completed. The choir -at the eastern end is therefore but a temporary erection in the two last -bays. Several of the side chapels are enclosed by Pointed screens, -coeval with the erection of the church. They are composed partly of -wood, and partly of marble and metal; but they are elaborate and lofty, -and quite of the same character as those of the northern churches. - - -PADUA. - -The church of San Antonio has a large screen and rood loft, of -cinque-cento-work, at the entrance of the choir, which is also -surrounded by screen-work, and another screen, of a much older date, -with open arches and tracery-work executed in marble, divides off the -chapel of S. Felice from the main body of the church. The arrangement of -the choir of this remarkable church is very similar to that which -prevailed in the French cathedrals; and some of the churches in Venice -bear a very close resemblance to the Flemish ecclesiastical buildings. - -The chapel of Santa Maria dell' Arena, in the same city, remains nearly -in its original state, and exhibits a very curious example of choral -arrangement. The stalls partly return on each side of the entrance, and -are backed by stone walls about four feet high on the inside, and seven -on the outside; the space between them is ascended by steps, and forms a -platform or ambo for the chanting of the Gospel and Epistles, for which -purpose an iron and a marble desk, both of the fourteenth century, still -remain. These form a screen to the choir, and serve as dosells or -reredoses to two altars which are placed against them. There are no -appearances of there ever having been any screen-work above these, but -all above a solid wall seven feet high is of small consequence as -regards facilities of seeing for those in the nave. This chapel was not, -however, parochial, but erected for the use of a confraternity. - - -VENICE. - -The screen of S. Mark has been so often depicted, that it has not been -thought necessary to give a plate for its illustration; but it is a very -fine example of an early Italian screen. Some writers have commonly -described it as Byzantine, but it differs entirely from Greek screens, -which are invariably solid, and entered by three doors; whereas that of -S. Mark is open above the subase, and has only one pair of doors in the -centre. It is a very remarkable work of the period, and decorated with -several marble images above the entablature, executed by early Pisan -sculptors. The images are of a much more recent date than the screen -itself, which is one of the most ancient and best preserved examples of -screens now remaining in Italy. - -The church of Frairi, or Santa Maria Gloriosa, contains a very -remarkable choir screen, which I have figured among the plates. It is -composed of marble, and quite solid; the front is divided into -compartments representing the prophets, boldly designed, and carved in -bas-relief; at each end are the ambones for the Epistle and Gospel, with -an angel for the book-bearer. - -Beneath the corbels which support these ambones are the four Evangelists -represented seated and writing the Gospels. The corbels themselves are -beautifully wrought with cherubims and angels. The choir stalls within -this screen are of elaborate Gothic-work, and ornamented with skilful -inlay. Altogether, this church is another most striking example, out of -multitudes of others, of the extreme fallacy and absurdity of the modern -notion that Pointed architecture is unsuited to Italy and the south; and -yet we hear this continually put forth in the most positive manner; and -instead of men importing the grand ideas and spirit of those Italian -artists who flourished in the mediæval era, we are inundated with the -wild eccentricities of Bernini, or the more insipid productions of an -even later school. - - -Not having visited Spain, I am not able to give any account of the -church fittings from personal observation, but I have had an opportunity -of inspecting several accurate drawings made on the spot, and from them -it appears that huge screens of ornamental iron-work, reaching to a vast -height, and elaborate in detail, are by no means uncommon. I have -figured one on a small scale from the cathedral of Toledo, and I have -little doubt that they greatly resemble the choir screens of St. Sernin -at Toulouse, which I have given to a larger scale. This city partakes -most strongly of a Spanish character, which strengthens my supposition -regarding the similarity of the screen-work. - -[7] Ciampini, de Sacris Ædificiis, p. xvi. Fontana, Templum Vaticanum, -p. 89. Pistolezi, Il Vaticano Descritto, vol. 7, p. 57. From Professor -Willis's History of Canterbury Cathedral:—"Screen of old St. Peter's, at -Rome.—In front of the steps were placed twelve columns of Parian marble, -arranged in two rows; these were of a spiral form, and decorated with -sculpture of vine leaves: the bases were connected by lattice-work of -metal, or by walls of marble breast high. The entrance was between the -central pillars, where the cancelli, or lattices, were formed into -doors, which gave access to the presbytery as well as the confessionary. -Above these columns were laid beams, or entablatures, upon which were -placed images, candelabra, and other decorations; and, indeed, the -successive Popes seem to have lavished every species of decoration in -gold, silver, and marble-work upon this enclosure and the crypt below. -The entire height, measured to the top of the entablature, was about -thirty feet; the columns, with the connecting lattices and entablatures, -formed, in fact, _the screen of the chancel_." - -[8] Anastasius, in his Lives of the Popes, mentions Sergius I., Gregory -III., Adrian I., Leo III., Pascal I., Gregory IV., Sergius II., Leo IV., -and Nicholas I., as munificent donors of costly veils for the altars of -various churches in Rome, as may be seen at length in Thiers's Traité -des Autels, chap. xiv. - -[9] There are five illustrations of this church in an interesting -Italian work, entitled Monumenti della Religione Cristiana. - -[10] These pictures are all engraved in a work entitled Raccolta delle -più celebri Pitture di Sienna. - - [Plate II: - _Elevation of Screen of Old Sáµ— Peters Church at Rome._ - _REFERENCES_ - A. _Ciborium of the High Altar._ - B. _The Holy Gates._ - CCC. _Metal lattices._ - EE. _Marble Basement._ - GG. _Rods for Suspending Lamps & offerings in honour of Sáµ— Peter._ - HH. _Standing Candlesticks for great feasts._ - Gates; Plan.] - - [Plate III: - _Marble Screen in the Basilica of SS Nerei and Achille, at Rome._ - _Iron Screen from an ancient Painting at Sienna representing the life - of Pius the second, by Pinturicchio._] - - [Plate IV: - _Marble Screen in the Church of the Frairi, Venice._ - _Detached Altar of Sáµ— Michele, Florence, with its Brass Screen._] - - - - -ON SCREENS IN GERMANY AND FLANDERS. - - -SCREENS AT LUBECK. - -The churches of this ancient city have preserved all their internal -fittings as perfectly as those of Nuremberg, although the Catholic rites -have ceased within them for nearly three centuries. The minutest -ornaments remain intact, and but very trifling additions or alterations -have been made in the original arrangement; accordingly, we find -splendid examples of screens, which I have figured in the adjoining -plates. - -The first is in the Dom or cathedral. It originally consisted of three -moulded arches, springing from slender quatrefoil shafts, supporting an -open gallery. The choir was entered by two doors under the side arches, -while an altar was erected in the centre compartment, and this -arrangement is almost universal in the German screens, reversing the -custom of France and England, of placing the entrance in the centre, -with two lateral altars. This screen received a considerable quantity of -enrichment in the way of imagery and tabernacle-work in the fifteenth -century; the original arches are probably as old as the early part of -the thirteenth. In Lutheran times, a clock has been added on the epistle -side of this screen, which completely destroys its symmetry and -appearance. - -Two bays westward of this is a gigantic rood, on a beam, described under -rood beams. - -Each lateral chapel is enclosed by open screens, most artificially -wrought in brass, and of great variety of design. - -The next most important screen at Lubeck is in the Marienkirche. This -screen consists of five bays, or compartments, with crocketed labels and -images in the spandrels; the masonry is of the fourteenth century, but -the upper panels, containing images and paintings, are not older than -the fifteenth. As this was always a parochial church, the arches are all -open, and filled with light brass-work. I examined them most carefully, -and they evidently had been open according to the original design, nor -were there any marks of altars ever standing under them as at _the -cathedral_. The whole choir of this church, as well as the side chapels, -are enclosed with light and beautiful brass screens, and a very -elaborate screen of carved oak, surmounted by open bratishing, and -basins for tapers, divides off the Lady chapel. - -The Katherinen Kirche contains a most beautiful rood screen of very -original design. - -The church belonged formerly to religious, and the choir is raised some -eighteen or twenty feet above the level of the church floor, supported -by three ranges of vaulting resting on dwarf marble pillars, and forming -a sort of above-ground crypt. Immediately over the front of these -arches, rises the rood loft, fronted by carved panels, most beautifully -painted with sacred images, and terminated in a very bold floriated -bratishing of admirable execution; in the centre is the great rood, with -the Evangelists in floriated quatrefoils, and the attendant images of -our Blessed Lady and St. John, on octagonal pedestals. At the eastern -end of the lower church is an enclosed choir, divided off by three light -metal screens from the parishioners, so the religious and people had -distinct altars, and were entirely separated in the same church—a most -singular and beautiful arrangement. - -The great Hospital is constructed like a church, with beds and chambers, -open at top, under three vast roofs, covering a nave and aisles. The -entrance to this is like a fore choir or antechapel, and dedicated for -divine worship. It contains no less than five altars, three of which are -under the arches of three screens, the stonework of which is probably -the oldest in Lubeck, and to which I should assign the date of the -middle of the thirteenth century. The upper part of the loft, consisting -of carved panels and paintings, is a work of the fifteenth century. - -It is worthy of remark that, although the Lutheran religion has -exclusively prevailed in this city for several centuries, many of the -branches set up to burn tapers in front of the images in this and other -churches bear the date of 1664, and even later. - -St. James's church contains several wooden screens of a remarkably early -date. They are certainly not later than the middle of the thirteenth -century, and are most exquisitely carved with heads of saints, -stringcourses, bratishing, images of doctors and evangelists in -quatrefoils, and in style of art corresponding to the early work in -Wells cathedral. - -As this treatise is devoted to the subject of screens, I have confined -my remarks to them, but I must add that I consider the churches of -Lubeck to be the most interesting, as regards fittings and details, of -any ecclesiastical buildings remaining in Europe. There are examples of -metal-work, early painting, and wood-carving, of the thirteenth, -fourteenth, and fifteenth centuries, and the finest monumental brass in -the world, most probably by the same artist as produced the famous one -at St. Alban's, but much larger and more elaborate. - - -MUNSTER. - -The churches of this city having been completely sacked during the -usurpation of the infamous John of Leyden, present few traces of the -ancient furniture, and they are for the most part fitted up in the -vilest possible taste. But the cathedral has by some good fortune -retained its ancient screen and choir, which, with the exception of the -high altar, remains in its original state. The screen is of stone, most -richly carved, and composed of five bays, the centre one elevated over -the others; under this is an altar, according to German custom, with two -doors leading into the choir on each side. In the two external -compartments there are two other altars, but these I conceive to be -modern additions. - -The eastern elevation of this screen, towards the choir, is most -beautiful; there are three richly-canopied stalls at the back of the -altar, and the loft, which is very spacious, is ascended by two openwork -spiral staircases, of most elaborate design. The present rood is modern, -and by no means commensurate in beauty with the screen; but there are -evident marks of the former existence of a very large rood, partly -supported by iron ties from the vaulting. - -The lateral screens of the choir are solid, as is universally the case -in cathedral churches; but those which enclose the side chapels are -composed of brass and marble, and were erected in the _seventeenth -century_, at the cost of the then bishop. Altogether, this choir is one -of the most perfect in Germany, and, happily, restored for Catholic -worship, without suffering any modernization. - - -BRUNSWICK. - -Though a very unpromising name to Englishmen, who are accustomed to -associate it with very modern times and places in their own country, is -a most interesting ancient city, full of fine mediæval remains, and -curious domestic architecture. The Dom (Lutheran) contains the remains -of a rood screen and loft, with a central altar; but in a church now -disused for worship, and of which I was unable to ascertain the name, a -most elaborate screen, partly of stone, and partly of wood, is still -standing uninjured; the style verges on the cinque-cento, but all the -traditional forms and enrichments are preserved, and altogether it is a -magnificent and imposing work. - -The other churches have been much modernized in adapting them to -Lutheran worship, which appears to vary in different places and -countries to a very considerable extent; for while at Lubeck and -Nuremberg the Catholic fittings remain intact, at Brunswick and other -places they have nearly disappeared, and been replaced by modern -abominations. Perhaps the preservation of these fine remains is -principally owing to the want of funds in the cities whose commerce has -decayed; they have not had the temporal means to spoil them. This is -strikingly observable in remote parish churches in England, where no -rates could be raised for their repairs, for they are usually in a very -perfect state; while in large and populous towns, the churchwardens have -had so much to expend, that they are completely gutted and ruined. - - -HILDESHEIM. - -The cathedral, though it has suffered most severely from extensive -alterations in the seventeenth century, has still preserved a most -curious stone rood loft, debased in style, but still carrying out the -principles of the old traditions. It was approached by two flights of -steps, the choir being elevated over a crypt, which gives it a most -imposing appearance. On the top of the first platform is an altar, and -immediately over it a stone pulpit, with a brass lectern, on the left -side, in the form of an eagle, doubtless for the deacon to sing the holy -Gospel to the people. On either side of this are doors, with gates of -open metal-work; above are five arched canopies, which contain -sculptures in alto-relief, representing the sacrifice of Abraham; -bearing the cross; entombment of our Lord; Jonas and the whale; and -under the foot of the rood, in the centre, Moses setting up the brazen -serpent in the wilderness; an appropriate type of the great reality, our -Lord lifted up on the cross, or rood, which is, as usual, sculptured -with the attendant images of St. John and the Blessed Virgin. There are -two Byzantine coronæ for lights still suspended in this church, and many -of the details of the choir, crypt, &c. are exceedingly interesting. - - -BREMEN. - -This cathedral has been much modernized by the Lutherans, but the -ancient rood loft, though removed from its original position, is still -standing in the church, as a sort of gallery. The sculpture is of a very -superior description, and it may be ascribed to the early or middle part -of the fifteenth century. In the centre part of the aisle are some -exceedingly curious fragments of stall-work, as old as the thirteenth -century, which doubtless formed a portion of the original choir -fittings. They are very remarkable in design and execution, being cut -out of huge oak planks, several inches thick, and, though somewhat rude, -have a fine, bold, and severe character. - - -BASLE. - -This cathedral, now used for Lutheran worship, has a very fine close -screen, with the remains of a central altar, and two side doorways. - - -FRIEDBERG AND GELNHAUSEN. - -Have the same arrangement, as may be seen by the plates. - - -MARBURG. - -The screen is a decorated wall, entirely shutting off the choir, with an -altar in the centre. See plate. - - -HALBERSTADT. - -Has a fine rood loft, of the end of the fifteenth, or beginning of the -sixteenth century. - - -ULM. - -The central altar, surmounted with screen and canopy-work, is still -remaining; but the connecting work between it and the stalls has -been removed, probably about the middle of the last century, and an -iron railing substituted. This church, which is one of the finest in -Germany for its elevation and interesting details, is now used for the -Lutheran worship, but, with the exception of this screen, the original -fittings remain perfect. - - -S. LAWRENCE CHURCH, NUREMBERG. - -Here the great rood is supported by an arched beam, over the entrance of -the choir, and as it is some years since I visited this church, I am not -prepared to state positively if this is the ancient arrangement; but as -I have never seen a corresponding example in a Pointed church where the -fittings are coeval with the date of the edifice, I should greatly doubt -it; especially as it is most certain that this portion of the building -has undergone considerable alterations in adapting it to the Lutheran -rites. - -The ancient arrangement of these German screens, with the central altar -and side doors, is often depicted in pictures by the early masters. I -may mention one remarkable instance at the Gallery of the Academy, -Antwerp. The background of a small picture of our Blessed Lady -represents the interior of a church. The screen is depicted as of grey -marble, supported on porphyry pillars. The holy doors, of perforated -brass-work, are closed, and the whole is surmounted by a rood and -accompanying images. The arms of the cross are supported by elaborate -metal chains, descending from the vaulting. - - -THE GREAT CHURCH AT OBERWESEL. - -Has one of the most perfect, as well as the most beautiful screens in -Germany (see plate); but in its arrangement it resembles the French, -rather than the German types, as the entrance to the choir is in the -centre, and there are two side altars in the vaulted space under the -loft. The details of this screen are most beautifully wrought, and the -mouldings are of the purest form. This church was served by religious, -and the screen is therefore solid, and panelled, to correspond with the -division of the pillars. The screen is not the only interesting object -in this church. The stalls are finely wrought, and the high altar is -surmounted by a splendid triptych, richly painted and gilt. The sacristy -remains in the original state; there are several incised slabs and mural -paintings, and altogether it is a church of very great interest. - - -HAARLEM. - -The Dutch churches have, for the most part, been completely gutted of -their ancient Catholic fittings, but S. Bavon, at Haarlem, is a -fortunate exception. It has preserved the brazen screens of its choir; -they are of wrought work, exceedingly open, and very similar in design -and execution to those at Lubeck. There can be no doubt that all the -churches were provided originally with similar screen-work, the traces -of which may be frequently discerned in the piers and pillars. I have -been informed of some brass screens yet remaining in the more northern -part of Holland; but not having personal knowledge of them, I can give -no description of their dates or design. There is, however, quite -sufficient to establish the great fact, that in Catholic times the Dutch -churches were in no way inferior in this respect, but that screens were -as usual in them as in other parts of Christendom.[11] - - -The finest example of a Pointed screen remaining in Belgium is at -Louvain; but even this has been sadly modernized, and its use and -symbolical signification both destroyed. It consists at present of three -open arches, through which people can pass into the choir. Within the -memory of many persons yet living, the side arches were filled by two -altars and reredoses, and the centre one closed by two gates of open -metal-work. The removal of this beautiful and essential furniture for -the screen was coeval with the destruction of the sedilia, the -demolition of the ancient high altar, and the substitution of a Pagan -design in marble, and a variety of other enormities, by which the whole -character and ecclesiastical arrangement of the choir was destroyed; and -what is most lamentable, all this was brought to pass by those very -ecclesiastical authorities who ought to have been foremost in preserving -the ancient traditions. - -But to return. The upper part of the screen and rood loft is still, -happily, perfect, and is surmounted by the original rood, with its -attendant images. The details of the cross are admirably executed, and -the whole effect is most striking and devotional. The cross is gilt, and -relieved in colour; the images are also painted. The arms of the cross -are supported by wrought-iron chains, fixed to the stonework of the -great arch, on the rood loft. The three staples to sustain these chains -may yet be discerned in most of the Belgian churches, and point out the -ancient position of the rood, which modern innovation has removed. - - -DIXMUDE. - -Has a very late florid screen and rood loft. It is divided like that of -Louvain, into three compartments. The altars, which, however, have been -much modernized, are still remaining. The decorations, as well as the -reredoses, are of the seventeenth century. The loft is surmounted by a -rood. - - -AERSCOT. - -The rood loft in this church is of the same date as that of Dixmude, and -most probably designed by the same artist; the side altars here are also -remaining, but covered with decorations of the seventeenth century, in -very bad taste. - -The rood, crucifix, Blessed Virgin, and St. John are still remaining. - - -LOUVAIN. - -S. Gertrude.—The screen was much injured by alteration in the -seventeenth century; but, though modernized, it retained a great deal of -its original character, till the monstrous idea was conceived, about -three years ago, of suppressing the return stalls, and throwing open the -whole choir. This has been very lately carried into execution, and the -church has suffered most materially, not only in its church -arrangements, but in the general effect of the building. - -The Dominican church had a fine rood and screen, of which there are -still some remains, though greatly injured by the widening of the choir -entrance. - - -TOURNAI. - -A huge rood screen of black and white marble, erected in the seventeenth -century, surmounted by a crucifix, and decorated with sculptures. -Although erected at a very debased period, it still retains all the old -traditional arrangements. - - -BRUGES. - -S. Salvator's.—A black and white marble screen and loft of the -seventeenth century. It is divided into three arched compartments, but -without altars; the side spaces are filled with open brass-work, and the -choir gates, or holy doors, are of the same material.[12] - -Notre Dame.—A screen of a very similar description, only of a plainer -character. It is remarkable for having the altar erected in the centre -of the loft, out of which grows the great rood, supporting the crucifix. - -S. Giles's church has a very curious screen of the seventeenth century, -exceedingly rich in carving, and supporting a rood loft. It is designed -in perfect conformity to the ancient traditions, although the detail is -necessarily of a debased period. - - -THE CHURCH OF HAL, NEAR BRUSSELS. - -Must have had a very fine rood loft originally, but being a place of -pilgrimage, it became most unfortunately very rich from offerings, which -were employed (with the best possible intention) to destroy the ancient -furniture of the church; the great rood itself, elaborately carved, -hangs up on the south side of the great tower, and is a fine specimen of -what the beauty of the loft must have been in the old time. - - -ANTWERP. - -This great cathedral was completely sacked by the Calvinists, in the -latter part of the sixteenth century, previous to which its fittings -were in perfect unison with the edifice. But, unfortunately, when it was -restored to Catholic worship, the spirit of Paganism had entered into -the arts, and the new furniture exhibited all the marks of debasement. -However, the old traditions still ruled the mind as regarded principles, -and it will be seen, by reference to the plate, that the screens were -conceived in the old spirit; and although the introduction of altars -against the nave pillars was a great and distressing innovation, yet -they were still protected by elevated screen-work, and not left open for -profanation. There is a most striking correspondence between this -screen-work and that round the altar of S. Michele, at Florence. The -whole of these fittings have disappeared, partly during the occupation -of the French, and partly by injudicious repairs. The choir is now being -lined with stalls, some of the details of which are deserving of great -commendation, but they have been designed in utter contradiction to -ecclesiastical tradition. If this is to be made a cathedral church, the -choir should be enclosed; but if it is to serve a parochial purpose, -instead of the lofty canopies, and solid back, the choir should have -been enclosed with open metal screens, like those at Lubeck, and an open -rood loft across the choir; at present it is neither one thing nor the -other. The whole entrance of the choir is open to the public, who crowd -up to the high altar, and the stalls are filled with the first comers; -the whole arrangement is disgraceful, unecclesiastical, and irregular, -and loudly calls for reform. Frequented as this church is by such masses -of people, the screen should certainly be an open one, and the back, -above the stalls, should correspond. There are two enormous canopies, -over nothing, that stand against the pillars; at first I imagined they -indicated the seat of some dean or dignitary, but I soon found they -projected only over a vacant space, by which the stalls were ascended, -and were simply placed there as a vehicle for exhibiting a great -assemblage of pinnacles and buttresses, and expending a sum of money -unhappily, that would have half built the rood loft. The authority from -which I have taken the representation of the old screen, &c., is a -picture by Peter Neefs, preserved at Bicton, the seat of Lady Rolle. - -All the churches in Antwerp have been wofully modernized; but there is -something like a screen at S. James's: two huge masses of marble wall, -projecting from each of the great pillars, at the entrance of the choir. -It is a work of the seventeenth century, heavy, and ill-contrived; and -for a parochial church, most unsuitable. - - -GHENT. - -The cathedral of S. Bavon has two projections of a similar description, -leaving the space open in the centre for an entrance to the choir. These -form lofts at top, and are ascended by staircases. On Sundays and -festivals, I regret to add, they are filled with _fiddlers_! Were they -joined at top, this would form a regular rood loft, but as it stands at -present, it is a most anomalous pile of marble-work, effectually -shutting out half the choir, without any attempt at beauty or symbolism. - -The old Dominican church has a remarkable screen of the seventeenth -century; it is overloaded with sculpture and ornament of a very bad -period; but it has a rood and loft, and it separates the choir from the -nave of the church, which, like the usual Dominican churches, consists -of a long parallelogram, with side chapels, gained out of the projection -of the buttresses. The building itself is of the fine, severe Pointed -style that prevailed in the fourteenth century; but all the fittings, -erected probably at the same time as the screen, are of very debased -character. It may be proper to remark that all the side chapels of the -great Belgian churches are enclosed by marble screens, intermixed with -perforated brass-work. These are mostly the work of the early part of -the seventeenth century, and no doubt replaced the more ancient oak and -metal screens that were mutilated or destroyed by the Calvinists in the -devastating religious wars of the Low Countries. They are an existing -proof that the traditional principles of enclosure and reverence -outlived the change of style of architecture; for, although all these -are of debased Italian design, they are constructed principally on the -old arrangement, and are usually surmounted by standards for tapers. - -The custom of screening off these side chapels was universal. We find -them in Italy at a very early period (see Bologna), and many beautiful -pointed examples, both in wood and stone, exist in Germany, France, and -England; they are subsequently found of every date and style. In the -eighteenth century they were usually constructed with elaborate -wrought-iron-work, and in our time of a simple form in the same -material; but the principle still remains in every part of Christendom, -excepting some of the most modern Italian churches, where all tradition -seems to have been lost, or abandoned by their artists and architects. - -This account of screens in Germany and Flanders is necessarily very -incomplete; but it is sufficient to illustrate the intention of the -work, and anything like a complete list would be both too voluminous and -tedious to the reader. - -Chancel screens appear to be very general in the old timber churches of -Norway, and I have figured one in the church of Urnes, near Bergen, -which is exceedingly interesting; and though it is by no means easy to -affix dates to these rude productions, there is every reason to suppose -this to be a work of considerable antiquity. This church is now used for -Lutheran worship, but, like every ancient edifice erected for Catholic -rites, it bears indelible evidence of the enclosure of the chancel and -the erection of the rood. - -[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 Sáµ— Katherine's church, Lubeck._] - - [Plate VIII: - _Choir; Gelnhausen._ - _Choir; Sáµ— Elisabeth's Church at Marburg._] - - [Plate IX: - _Screen at Oberwesel._ - _Plan of the Jubé. Cathedral, Metz._ - _Plan of the Jubé. Cathedral, Toul._ - _Screen of Sáµ— 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 chÅ“ur 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'Å“uvre 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. - -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 the _eighteenth_ century. - -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] - - -VILLEMAUR. - -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. - - -S. GERMAIN DE L'AUXERROIS, PARIS, PARISH CHURCH. - -"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. - - -S. ETIENNE DU MONT, PARIS, PARISH CHURCH. - -"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. - - -BOURGES. - -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. - - -NOTRE DAME, PARIS. - -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'Å“uvre 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-work -of 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 at Sens, &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. - - -ABBEY OF FECAMP. - -"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. - - -CATHEDRAL CHURCH OF BAYEUX. - -"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. - - -S. RIQUIER, NEAR ABBEVILLE. - -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 have figured this in the plates as a curious specimen of the -period. - - -S. WULFRAN, ABBEVILLE. - -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 chÅ“ur 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'Å“uvres 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 chÅ“ur, 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-Å“uvre 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 chÅ“ur. 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 chÅ“ur, 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. - - - - -ON SCREENS IN BRITTANY. - - -S. FIACRE LE FAOUET. - -This remarkable rood loft, which I have figured in 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. - - -LAMBADER. - -This screen, 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 of stone -construction; but the front of the loft is elaborately carved with -tabernacle-work and imagery. - - -FOLGOET. - -This screen, 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. - - [Plate XI: - _Iron Screen, at Toledo._ - _Iron Screen, Choir of Sáµ— Sernin, Toulouse._] - - [Plate XII: - _Screens erected in the 18áµ—Ê° Century._ - _Église D'Agnes, Picardie._ - _Soissons._ - _Sáµ— Paul, Trois Chateaux, Dauphiné._ - _Cathédrale de Sens._] - - [Plate XIII: - _Screens in Brittany._ - _Folgoet._ - _Sáµ— Fiacre le Faouet._ - _Chapelle Sáµ— Germain, in Ribermont._ - _Plan of Jubé, Notre Dame de Lépine._] - - [Plate XIV: - _Lambader Brittany._ - _Iron Screen at Sáµ— Riquier. 18th Century._ - _Wooden Screen in the Church of Urnes, near Bergen._] - - - - -ON SCREENS IN ENGLAND. - - -There is no country in Christendom where so many screens are still -preserved and standing, as in England. Till within a very recent period, -every cathedral church had retained its ancient separation between the -nave and choir; but sad to relate, one of the most venerable of our -churches is now denuded of this most essential and ancient portion of -the fittings of a cathedral. I refer to Durham: where choir and nave are -thrown into one great vacant space, and all the dignity and reverence of -choir worship, suited to a capitular body, destroyed. Although the -screen was of most debased design, and erected by a Pagan architect -(Inigo Jones), at a Pagan period; yet, being placed in the old and -proper position, and having attained a respectable colour, through age, -it did its work, and was ten times preferable to the modern vacuum -caused by its removal. Indeed, all the alterations at Durham are so many -enormities. For centuries the western doors of the cathedral were -closed, a chapel built outside them, termed the Galilee, and an altar, -dedicated in honour of the Blessed Virgin, stood in the recess of the -centre door, but lately, without any reason, for, as I have before said, -no entrance can be obtained to the church from that end, have these -doors been opened, and the remains of the altar removed, thus destroying -one of the most curious traditions belonging to this venerable -cathedral. Even the old Cromwellian Puritans did not injure the church -so much as _its present restorers_, and it is greatly to be regretted -that there are no means to compel these authorities to desist from their -insane innovations. In the eyes of all true ecclesiologists Durham has -lost half its apparent length, half its grandeur, since it has lost its -screen, and it has got somewhat of the conventicle. But to return—York, -Lincoln, Southwell, Wells, Exeter, Bristol, Chichester, Canterbury, -Rochester, Chester, Norwich,[18] have all their old screens and -rood-lofts standing. These are too well known amongst persons interested -in this subject to need detailed description, but I may observe that -they nearly all are ascended by staircases in the thickness of the -eastern walls, rising up on each side, and that lateral altars in the -screens were not so common as on the continent. The roods, in all cases, -have been replaced by organs, which are badly placed both as regards the -chanters and the effect of the building. The only instance I have ever -met with the remains of a rood is at Columpton, near Exeter, where a -large block of oak, carved like rock-work, with a skull and bones, -evidently intended to represent Calvary, is still left, and in its upper -part a deep mortice to receive the end of the rood. - -Our parochial churches are yet rich in screens; of wooden rood-lofts we -may particularize Sleaford, Newark, Bury St. Edmunds, Fairford, Tong, -Lanryst, Sefton, Ranworth, and Southwold as some amongst the most -remarkable. The countries most abounding in screens, are Norfolk, -Suffolk, Lincolnshire, Cambridgeshire, and Devonshire, but each county -presents many interesting examples, and it must be distinctly understood -that every church, small or great, was originally provided with a screen. - -In Norfolk, the churches of Cawston, Sall, N. Walsham, Worsted, Walcot, -Trunch, Happisburgh, Bacton, Paston, Lynn, Ranworth, Cley, Castle Acre, -Cressingham, Snetisham, and Ackle, &c., have all fine screens. Many of -them are richly painted, and the lower panels filled with images of -saints on gold and diapered grounds. The best preserved are those at -Ranworth and Cawston. About five different painters were employed in the -decoration of these, as the various styles may be distinctly traced over -various parts of the country. Some of them exhibit far greater skill -than others, but all have a deal of quaint character, and the images -fill up the spaces in which they are placed, by the adjustment of -drapery, &c. - -There is a great deal of fine screen-work in Suffolk, at Woolpitt, -Elmswell, Thurston, Lavenham, Long Melford, Brandon, Southwold, -Blythburgh, Hawsted, and many other churches. - -In Lincolnshire there are splendid screens at Winthorpe, Ingoldmills, -Orby, Burgh, Croft, Boston, Hackington, Swineshead, Tattershall, Ewerby, -Newark, Grantham. - -In Devonshire the screens have been generally preserved, and on many of -them the painted panels with saints and imagery are quite perfect. They -are mostly constructed on one principle, with projecting wooden -ribbed-work crossing the rood-loft; at Honiton, Feniton, Bradwinch, West -Buckland, Columpton, Dartmouth, Kenton, Pinhoe, Plymtree, Tollaton, -Tiverton, Atherington, Dawlish, &c., are screens surmounted by -rood-lofts; but at Bridford, Burlescombe, Clayhanger, Dartington, -Hempston, Plymstock, West Ogwell, &c., there are only screens without -lofts, but of exceedingly elaborate design, and for the most part richly -painted and gilt, some with saints in the lower panels, like those in -Norfolk. A very numerous list, indeed, might be made of churches in this -country, where screens of some kind are to be found; they are not always -of the same material, for the examples of stone are numerous, as at -Totness, Culmstock, Colyton, and Paignton, &c., this latter being -monumental, and containing family tombs, introduced in the screen-work. -Although the counties above mentioned are those which abound the most in -fine examples of screen-work, yet most numerous and interesting -specimens may be found in every county. - -Sefton church, in Lancashire, has a splendid rood and side screens -enclosing the chancel, of a later period, but most elaborate detail. - -The parish church at Lancaster contains some very magnificent screen and -canopy-work of the time of Edward I. The treatment of the crockets is -quite peculiar, as they are joined together, forming a sort of solid -enrichment on the gablets. - -The priory church of Hexham is rich in carved fittings. The stalls and -screen-work of the choir are perfect, and though rude in execution are -extremely interesting; this being a conventual church, the screen-work -is quite solid. If we proceed further north, we shall find the same -system of enclosure of choirs and chancels by screens. The rood-loft at -Glasgow is still perfect, and though the Scotch churches have been -horribly mutilated, the ancient position of the enclosures is to be -traced in most of them. - -The churches in Wales were mostly furnished with rood-lofts. The screen -and loft at Lanryst are most elaborate in carved enrichments; they were -probably erected in the beginning of the fifteenth century, and it is -worthy of remark that in this, as well as others, there is a striking -similarity between the screens in Wales and Brittany. - -Were it not tedious, I could supply a long list of fine screens yet -remaining in every part of the country, but there are few of an older -date than the thirteenth century, as so many of these churches have been -rebuilt or refitted since that period. There can be no doubt that even -the Saxon churches were provided with some enclosure across the arch -which divided off the chancel. Indeed, so natural and right does it seem -to have this separation, that the principles of screens survived the -Reformation, as will be mentioned hereafter. But not only do we find the -cathedrals and parochial churches to have been furnished with screens, -but also chapels in private houses and hospitals for the poor. The -archbishop's chapel at Croydon is divided by a plain but very -substantial and effective screen, figured in the first volume of Pugin's -examples. - -Browne's hospital at Stamford, Bishop Bubwith's almshouses at Wells, S. -John's hospital at Sherburne, the bede-houses at Northampton and -Leicester, the Vicar's chapel at Wells, have all screens in their -chapels, and some of them of most elegant design. In the private chapel -of an ancient mansion at Cothele, on the banks of the Tamar, is an open -screen of perpendicular work. In short, I do not imagine that any -building dedicated to divine worship was considered complete, unless -furnished with a suitable screen. - -In the reign of Edward VI., the roods, with their attendant images, were -removed, and it is probable that the lofts were stript at the same time -of the candlesticks and basons of latten, wherein the lights were set -up. But the screens themselves do not appear to have suffered, and -indeed, in accordance with the decree that the chancels were to remain -as in time past, the screens were absolutely necessary. Considering the -great number of screens yet standing, it is evident that those which -have been removed, were demolished, through the ignorance or -indifference of the authorities during the repairs that the buildings -have undergone, and I am personally acquainted with several instances -which corroborate this fact. There are several examples of -post-Reformation screens, one at Gedington church, of a simple but good -character, and another at Martham church, Norfolk, which is painted and -gilt. - -The choir of Wimborne Minster, Dorsetshire, was fitted up in the -beginning of the seventeenth, or end of the sixteenth century, quite -after the old traditions, as regards screen-work and arrangement, though -the details were of course debased. - -The collegiate chapels of the universities present several remarkable -examples of post-Reformation screens, as Wadham, Baliol, Lincoln, the -old screen of Magdalene, before the recent alterations, at Oxford; and -Peterhouse, Caius college, Clarehall, at Cambridge; even the screen of -King's college chapel itself was not erected till after the schism, as -the initials of Anna Boleyn occur in its decorations. - -I have been informed of a screen in one of the churches at Leeds, -erected in the seventeenth century; and an oak screen of a still later -date is standing in the church of St. Peter, upon Cornhill, London. Lady -Dudley, a most pious lady, in the time of Charles I. set up a screen in -the church of St. Giles-in-the-fields, which was afterwards destroyed by -the Puritan faction. The whole transaction is so illustrative of the -spirit of those times, and so applicable to the fanatics of our own -days, that I have printed it at length at p. 74. - -From these instances it will be seen that the principle of screening off -chancels has been retained in the church of England since its separation -from Catholic unity, and the partial discontinuance in the eighteenth -century was purely owing to extreme ignorance of ecclesiastical -traditions, which prevailed throughout the members of this communion at -that period, remarkable only for debased taste, and a total disregard of -the wonderful productions of Catholic antiquity. - -To this brief account of screens in England, I have subjoined some -interesting extracts from churchwardens' accounts and other documents, -printed in Nichol's illustrations, which will illustrate their history -and decoration. - - -ACCOUNTS OF ST. MARGARET'S, WESTMINSTER. - -"1510. - - "Item. The said wardens, now accomptants, received of Mrs. Elizabeth - Morley, widow, towards the new making of a Rood, Mary, and John, in the - roodeloft, at the time the parish be of power and substance, to build - and make the same rood loft, the sum of £10. 0Ë¢ 0ᵈ. - - "Item. Received of the gift of Watir Gardynar, to the making of the - rode-loft in the middle isle within the church, as more plainly - appeareth by acquittance made by the said churchwardens to the said N. - Watir, dated the ... day of October, the 9ᵉ yere of the reign of King - Henry VII., £38. 0Ë¢ 0ᵈ". - -The next item occurs in the reign of Edward VI.— - - "Paid to Thomas Stockdale, of XXXV ells of cloth for the frunte of the - rood-lofte, whereon the commandments be written...." - -It appears from this, that the commandments were set up originally in -the rood lofts, and not over the altars. But in the succeeding reign of -Mary, this cloth, on which the commandments were painted, was turned to -a different purpose, for in 1557, we find the following item: - - "For making iii serplys of the cloth that hung before the rode loft, - written with the commandments, 2Ë¢ 0ᵈ." - -In 1559, the rood was destroyed, and in a barbarous manner, for we find -the following items: - - "Paid to John Rial for his iii days' work to take down the roode, Mary, - and John, 2Ë¢ 8ᵈ. - - "Item. To the same for cleaving and sawing of the rood, Mary, and - John, 1Ë¢". - -In 1561, "Paid to joyners and labourers about the taking down and new -reforming of the rood loft, as by a particular book thereof made doth -appear, £37. 10Ë¢ 2ᵈ". - -This is the last item which occurs respecting the rood loft of this -church. - - -S. LAWRENCE, READING. - -_From Coate's History of Reading._ - -"1499. - - "It. Rec. at Alhalow-tyde for the rode light xË¢ iiiiᵈ. - - "It. Payed for xliii.-li. of ire wark, on the south end of the rode - loft to stay the lyght, the li. iiᵈ Smᵃ viiË¢ iiᵈ. - - "It. Payed for xxvi. li. of irewark on the north syde or end of the - same rode loft to stay the same lyght, pic le li., ii. Smᵃ iiiiË¢ iiiiᵈ. - - "It. Payed for lyne to draw the curtens in the same lofte, iiiᵈ. - - "It. Payed for scouring of the laten bolls in the said loft, iiiiᵈ. - - "It. Payed for six laten bolls on the north side of the rode loft, - viiiË¢. - -"1506. - - "It. Paied for settyng up of the said rode, Mary, and John, for the - remouing of the organs, and for making yᵉ sete for yᵉ player of yᵉ same - organs, xxᵈ. - - "It. Paied to Henry Blanksten, paynt for gilding the rode, Mary, and - John, in the rode loft, xiiiiË¢." - - -EXTRACTS FROM THE CHURCHWARDEN'S ACCOMPTS OF ST. MARY HILL, LONDON. - -_Costs paid for penting of the roodes, with karvying, and oder costs also._ - -"1497. - - "Item. To Sir John Plomer, for makying of the fyugyrrs of the roode, - £0. 1Ë¢ 8ᵈ. - - "Item. To the karvers for makyg of iii. dyadems,[19] and of oon of the - Evangelists, and for mendyg the roode, the crosse, the Mary and John, - the crown of thorn, with all odir fawts, £0. 10Ë¢ 0ᵈ. - - "Item. To Undirwood, for peynting and gyldyng of the roode, the crosse, - Mary and John, iiii. Evangelists, and the iii. dyadems, with the - nobills that I owe to him in money, £5. - - "Item. For makyng clene of standards, candlesticks, braunches, with the - bolls of laten upon the beame of the rodeloft, anenst the fest of Est., - A.D., 1486." - - -EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF THE PARISH OF ST. HELEN'S, -ABINGDON. - -"1555. - - "Payde for making the roode and peynting the same, £0. 5Ë¢ 4ᵈ. - - "For making the roode lyghtes, £0. 10Ë¢ 6ᵈ. - - "For the roode lyghtes at Christmase, £1. 3Ë¢ 2½ᵈ. - -"1557. - - "Received of the paryshe for the roode lyghts at Christmas. Payde for - peynting the roode of Marie and John, and the patron of the churche, - £0. 6Ë¢ 8ᵈ. - - "For the roode, Marie, and John, with the patron of the church, £0. 18Ë¢ - 0ᵈ. - -"1561. - - "To the somner, for bringing the order for the roode loft. - - "To the carpenter and others for taking down the roode lofte, and - stopping the holes in the wall, where the joices stoode, £0. 15Ë¢ 8ᵈ. - - "To the peynter, for writing the scripture where the roode loft stoode, - and overthwarte the same isle, £0. 3Ë¢ 4ᵈ." - - -EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF HEYBRIDGE. - - "Payde for waxe for the roode-lofte light agenst Chrystemas last paste, - pryce the pounde 10ᵈ, £0. 4Ë¢ 2ᵈ. - - "A cloth of the Passyon to hang in the roode lofte in Lente." - - -EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF WALBERSWICK. - - "Item. Paide to Robt. Bungyng, for helpyng of oon borde in the roode - lofte, £0. 0Ë¢ 2ᵈ. - - "Item. Payd for mendyng and staying yᵉ roodeloft, in hale, £0. 0Ë¢ 2ᵈ. - - "Item. To ye said Stephin, for mendyng yᵉ herne wark in yᵉ rode lofte, - £0. 0Ë¢ 4ᵈ." - - -WOODBRIDGE. - -"Hic jacet Johannes Albred quondam Twelewever, istius ville. Ob. primo -die Maii, 1400, et Agnes uxor eijus. - -"This Twelewever, with Agnes, his wife, were at the charges (people of -all degree being, as then, forward to beautifie the house of God), to -cut, gild, and paint a rood loft or partition betwixt the body of the -church and the quire, whereon the pictures of the crosse and crucifixe, -the Virgin Mary, of angels, archangels, saints and martyrs are figured -to the life: which how glorious it was when it was all standing, may be -discerned by that which remaineth. This, their work of pietie, was -depensild [painted] upon the fabricke, of which so much as is left. - -"'Orate.—Johannes Albrede et Agnetis—Soluerunt pro pictura totius hujus -operis superne:—videlicet, crucis crucifixi, Marie, archangelorum et -totius candeleb.' - -"The names of some of the saints pourtraied upon the worke and yet -remaining, are these, S. Paul, S. Edward, S. Kenelm, S. Oswald, S. -Cuthbert, S. Blaze, S. Quintin, S. Leodegare, S. Barnaby, S. -Jerome."—From Weever's Funeral Monuments. - - -ACCOUNT OF THE SCREEN IN THE CHURCH OF ST. GILES-IN-THE-FIELDS. - -"The said church is divided into three parts: the sanctum sanctorum -being one of them, is separated by a large skreene in the figure of a -beautiful gate in which is carved two large pillars and three large -statues: on the one side is Paul with his sword; on the other Barnabas -with his book; and over these, Peter with his keys; they are all set -above with winged cherubims, and beneath supported by lions. - -"This screen, which was erected by the pious munificence of Lady Dudley, -about ten years previous, was demolished by the Puritans in 1644. We -find a party in the parish in 1640, exhibiting articles to Parliament -against the rector, Dr. Heywood. It was stated that, in the parish -church were set up crucifixes, and divers images of saints, and likewise -organs with other confused musicke, hindering devotion." The screen -given by Lady Dudley was also decreed as superstitious, and in 1644 is -the following memorandum respecting it: "Also, we, the auditors of this -account, doe find that the accomptant, Edward Gerrard, was commanded, by -ordinance of Parliament, to take down the screene in the chancell, it -being found superstitious, which was accordingly done, and it sold for -fortye shillings; - -"Also, out of the receipt for church goods, were paid the bricklayer for -mending the walls on both sides the chancel, where the screen -stood."—From Parton's History of St. Giles-in-the-Fields. - -It is remarkable what a similarity of feeling against screens is to be -found among Puritans and Paganisers. - -[18] Till very recently there were distinct traces of the side altars -under this screen, but they have been removed, and modern tracery put in -their place. - -[19] _Diadem_, the old English word for Nimbus. - - - - -OF THE FOUR CLASSES OF AMBONOCLASTS - - -THE CALVINIST AMBONOCLAST. - -When we now behold the city of London, with its narrow lanes, lined with -lofty warehouses and gloomy stores, leading down to the banks of the -muddy Thames, whose waters are blackened with foul discharges from -gas-works and soap-boilers, while the air is darkened with the dense -smoke of chimneys rising high above the parish steeples, which mark the -site of some ancient church, destroyed in the great conflagration, it is -difficult to realize the existence of those venerable and beautiful -fabrics where the citizens of London assembled in daily worship, and -whose rood lofts shone so gloriously on Easter and Christmas feasts. But -this great and ancient city was inferior to none in noble religious -buildings; and in the sixteenth century the traveller who approached -London from the west, by the way called Oldbourne, and arriving at the -brow of the steep hill, must have had a most splendid prospect before -him; to the right the parish church of S. Andrew's, rising most -picturesquely from the steep declivity, and surrounded by elms, with its -massive tower, decorated nave, and still later chancel; on the left the -extensive buildings of Ely-house, its great gateway, embattled walls, -lofty chapel and refectory, and numerous other lodgings and offices, -surrounded by pleasant gardens, as then unalienated from the ancient see -after which it was called, it presented a most venerable and -ecclesiastical appearance. Further in the same direction might be -perceived the gilded spire of S. John's church of Jerusalem and the -Norman towers of S. Bartholomew's priory. Immediately below was the -Fleet river, with its bridge, and the masts of the various craft moored -along the quays. At the summit of the opposite hill, the lofty tower of -S. Sepulchre's, which though greatly deteriorated in beauty, still -remains. In the same line, and over the embattled parapets of the -Newgate, the noble church of the Grey Friars, inferior in extent only to -the cathedral of S. Paul, whose gigantic spire, the highest in the -world, rose majestically from the centre of a cruciform church nearly -seven hundred feet in length, and whose grand line of high roofs and -pinnacled buttresses stood high above the group of gable-houses, and -even the towers of the neighbouring churches. If we terminate the -panorama with the arched lantern of S. Mary-le-Bow, the old tower of S. -Michael, Cornhill, and a great number of lesser steeples, we shall have -a faint idea of the ecclesiastical beauty of Catholic London. But to -return to our more immediate subject, each of these fine churches was -provided with its screen and rood. Numerous are the entries in the old -churchwardens' accounts yet remaining of pious offerings made by the -citizens to beautify the devotional sculptures which decorated them, and -to provide tapers and branches to deck them for the returning festivals. -There were veils for Lent, when the glory of our Lord was partially -obscured by his approaching Passion; and there were garlands for Easter, -and paschal lights, and crowns, and diadems. The old parish church of S. -Mary-at-Hill was inferior to none in the beautiful partition of its -chancel; it was principally the work of a pious citizen, who, on the -decay of the older work, renewed the same; or, as the old chronicle -expresses it:—"For the love he bore to Jesu and his holy Modir did sett -up at his own proper costes and charges, and most artificially -dispensil, the image of Christ, Mary, and John, and many saynts and -aungels, with the loft whereon they stood: and for the due maintainyng -of a perpetual light to hang brenyng before the same, and for a priest -to synge at his anniversary he also left two tenements in the paryshe of -Barkynge; and when he died he was buried under a grey stone, over and -against the holy doors of the chancel, and till the sad time of the -civil wars, was his portraieture in brass, and that of his wife, and 3 -sons and 5 daughters at their feet, and his shield of mark, and the arms -of the honourable Company of the Fishmongers, and round the bordure, -with an Evangelist at every corner, was this inscription: '✠Good -Christen people, of your charitie pray for the soulys of John Layton, -citizen and fyshemonger of London, who deceeded on the feast of S. -Stephen, in the yeare of our Lorde 1456, and of Margaret his wyffe, on -whose sowlys and the sowlys of Christen men may Jesu have mercy. Pater, -ave, Amen.'" And on the brestsumer of the rood loft were carved divers -devices, such as S. Peter's keys for his Patron, and dolphins and -sea-luces salterwise for the Company, and scrolls, with +Lays+ coming -out of tuns for the founder, and above all was a most artificial -bratishing, with large bowls of brass, with prickets for tapers on great -feasts, and there was a staircase of freestone, closed by an oak door, -set up on the south side of the aisle, for the convenience of ascending -to the same; and on each of the lower panels of the holy doors and of -the bays of the screen were pictures of saints and martyrs, on grounds -of gold diaper, each with their legend. For nearly a century this goodly -work had stood the pride and delight of the parishioners, who bestowed -much cost on sustaining its lights and ornaments, as the church books -yet testify. But a sad and fearful change was approaching—new and -heretical doctrines were circulated and even heard at Paul's Cross; men -became divided in heart and mind; the returning festivals exhibited no -unity of joy and devotion; many gloomily stayed away; and it was -currently reported that nocturnal meetings were privately held at some -citizens' houses, where preachers from beyond sea taught novel opinions, -and inveighed against altars and priests, and sacred images and ancient -rites; and soon there was a quest to examine into the ornaments of the -churches, and many a goodly pyx, and chalice, and chrismatory were -seized by the sacrilegious spoilers for the state; and shortly after the -ancient service was interrupted by scoffers and infidels, and they who -adhered to the old faith of England's church were filled with sorrow and -dismay, and they worshipped in fear and sadness, and every day brought -new troubles and greater sacrilege. - -It was late in the evening, or rather the early part of the night, that -a number of persons, evidently of very varied ranks and conditions, were -crowded into a back chamber in the habitation of a citizen notoriously -disaffected to the ancient religion; they were listening with -considerable earnestness of attention, to the exhortations, or rather -ravings, of a man of sour aspect, whose dress and gestures announced him -as belonging to the class of unordained preachers called the New -Gospellers. The subject of his discourse was the extirpation of -idolatry; the triumphs of the Jewish people over the unbelieving nations -was the principal source from whence he drew his denunciations. The -texts relating to the destruction of the heathen idols he transferred to -the ancient images of the church, and succeeded in rousing the passions -of his hearers to the utmost frenzy. "But why," he exclaimed, "do we -waste time? Let us lay the axe to the root of the tree; the famous rood -of S. Mary-at-Hill standeth hard by, to the shame and reproach of -Christian men. Let us pluck it down and utterly deface it, so it perish -and be seen no more." Some of the most zealous of the fanatics instantly -acted on this suggestion. Descending to the street, they soon surrounded -the residence of the aged sacrist (who still retained his office, though -the duties were sadly curtailed), and rousing him from his rest, -demanded the keys of the church. Alarmed by the uproar, many casements -were opened; but the numbers of the clamouring party appeared so -considerable, and the prospect of any assistance from the watch (which -was then only perambulatory) so remote, that none ventured down to the -assistance of the old clerk, who, terrified by the menaces of his -assailants, and without any companion except a lad who acted as his -servant, at length surrendered the keys. A few links had by this time -been procured, and by their smoky and lurid light the southern door was -opened, and the whole party tumultuously crowded into the venerable -edifice. The lamp so liberally provided by John Layton had ceased to -burn for some time; its revenue had been sequestered as superstitious, -and the chancel was shrouded in impenetrable darkness. Against this -gloomy background the rood and its attendant images stood out in red -reflected light, but the Jews themselves that scoffed on Calvary's mount -were not more bitter in their scorn than the New Gospellers, who uttered -loud shouts and cries as they beheld the object of their sacrilegious -vengeance. The sound of hollow blows echoes through the church, the -lower door is forced: ascending footsteps are heard on the staircase; -then the rebounding tread of heavy feet on the loft itself, torches -appear—axes gleam—heavy blows fall thick; some cleave, some pierce, some -shout, and with one great crash it totters and falls—images, cross—all -lie a ruin on the ancient pavement. The work of destruction now -proceeds: some wrench the extended limbs from the sculptured cross; -broken and dismembered, the sacred image of the Redeemer is dragged down -the nave; while others deface and cleave the evangelistic symbols, -tossing the fragments in wild derision; some curse, some spit, some -foam, others exclaim, "Into the fire with it!" and a glare of light -striking through the western window, showed that the suggestion had been -followed; it crackled in the garth, and now the mangled images are piled -on the roaring mass, while furious cries, "Away with it! Destroy it -utterly!" break through the stillness of the night, and scare the -affrighted parishioners, who behold this horrible spectacle from their -gabled residences. Nearly three hundred years have elapsed, and the rood -was again raised in glory in this very city, and the cry "Away with it!" -was again heard. Came it from the blaspheming Jews? No. Came it from the -bitter Calvinists? No. Came it from the incarnate fiends? No. It -proceeded from a _modern Catholic ambonoclast_!!!! - - -THE PAGAN AMBONOCLAST. - -Louis de Chantal was born in France, of noble parents, about the middle -of the eighteenth century; being a younger brother, he was destined from -his earliest years to the ecclesiastical state, but on arriving at a -maturer age, his tastes and inclinations were so adverse to the sacred -functions, that he proceeded no further than receiving the tonsure, -which enabled him to hold the rich ecclesiastical preferment in the gift -of his family, and entitled him to the appellation of Monsieur l'Abbé de -Chantal. He soon became commendatory abbot of two once great religious -establishments, then languishing under a sad decay of zeal and -discipline consequent on the loss of a regular head. The great object of -commendatory abbots was to keep the number of religious to the lowest -possible amount, in order to profit the more by the revenues, which they -diverted to their own private benefit and luxury. At Conques the decay -of the temporal kept pace with that of the spiritual; the buildings -which, for the most part, had been erected during the glorious period of -S. Louis, were falling fast to ruin. The regular portions, now much too -large for the habitations of the few religious that remained, exhibited -the desolate appearance of neglect and emptiness. Verdure luxuriated in -the untrodden courts, and sprung up even in the very cloister, whose -vaults had long ceased to echo the regulated tread and solemn chaunt of -the ancient Benedictines. It was evident that essential repairs could -not long be postponed, and a bull issued by the Pope a few years -previous, requiring the conventual buildings of France to be -substantially repaired out of the revenues, was still in force. The -matter was, however, deferred for a short time, as our young abbé was -about to proceed on his travels to the more classic ground of Italy, at -that period ignorantly regarded as the great repository and source of -all art and taste. The noble mediæval cathedrals of France were -considered by Monsieur de Chantal as so many specimens of ancient -barbarism, but the extravagancies of Bernini and the distortions of Le -Pautre were splendid achievements in his eyes. It may be readily -conceived what class of objects arrested his attention in his travels: -his enthusiasm on arriving at the Eternal City was boundless—he almost -believed that the heathen mythology was revived, and that he was in the -presence of those divinities whose exploits had been the study of his -early youth. The splendid galleries of voluptuous art, where the -metamorphoses and amatory combats of Ovid were depicted to the life. The -marble goddesses in shady groves, and sporting tritons cooling the air -in high and sparkling jets—the obelisks, the sarcophagi, the endless -treasures of classic art. Then even the churches, they were scarcely to -be distinguished from the exquisite taste of the heathens themselves. -Thinly draperied saints were borne into paradise by hovering Cupids. -Voluptuous female statues reclined on the sarcophagi of bishops and -ecclesiastics,—herculean martyrs writhed like dying gladiators, while -naked angels held aloft the victor's crown. Our abbé was ravished with -astonishment and delight as the eager cicerone drew him from one -far-famed object to another, each more wonderful than the last. In his -perambulations he occasionally passed some venerable looking -sanctuaries, but the usual exclamation of the guide, _eh, una -porcheria_, was quite sufficient to repress any desire of examining -them; and in a word, he returned from Italy like most of the -ecclesiastics of that period, with a thorough contempt for the ancient -traditions of church architecture, and a determination to Italianize, as -far as possible, in any work with which he might be connected. The time -had now arrived when the repairs of the abbey of Conques could be no -longer delayed, and accompanied by an architect of the Souflot style, -with a thickly curled wig reaching half-way down his shoulders, he one -morning started from his hotel at Paris, and proceeded thither. Although -only a few leagues distant, the bad roads so delayed their progress, -that it was late in the afternoon when they attained the top of the -descent that led down into the valley where the abbey was situated. A -little to the eastward of the scattered houses which formed the village, -and small but characteristic church, stood the then lofty and irregular -abbatial buildings. High above the rest rose the long grey mass of the -church, surmounted by a high leaden roof, whitened with age. A forest of -pinnacles surrounded the apse, while buttress and arc buttant continued -in regular succession to surround the vast fabric. At the western end -were two towers, but the southern one alone had been carried up to its -intended height, the other had received a temporary roof, when raised a -few feet above the nave; the abbacy shortly after fell into _commendam_, -and it rose no higher. A small but elegant leaded spire was placed at -the intersection of the nave and transept, but it was evidently a -substitute for some far grander design in the way of a centre lantern, -as might be divined by the rising of angle masonry left incomplete. - -A dense mass of wood covered the opposite hill with a deep green, while -the warm tints of a westerning sun relieved each turret and pinnacle in -a glowing hue on the verdant background. A rapid descent soon brought -the abbé and his companion to the gates, which were opened with some -difficulty to admit the equipage within the first court; such vehicles -were utterly unknown when these buildings were raised, and further -progress was impossible except on foot. The abbé then alighted, and was -received with much external respect by the few religious who remained -the occupants of a monastery, where more than a hundred sons of S. -Benedict had kept the rule together in older and better times. - -The next morning the architect waited on Monsieur de Chantal in his -chamber, "Monseigneur," he exclaimed, "j'ai parcouru les bâtimens;—rien -de plus gothique, de plus mauvais; point de règles, point de principes; -ces gens-là ils n'ont jamais connu le beau; il faut tout démonter, tout -démolir." This proposition, however well it might accord with the tastes -of the commendatory abbot, was by no means agreeable to his intentions, -as the proposed demolition and rebuilding would cost a considerable sum, -which he thought might be as well expended on some new gardens attached -to his hotel at Paris, and he therefore, on a personal inspection, -considerably modified the sweeping intentions of his architect, and -confined his operations to indispensable repairs and the erection of -some new offices. These points arranged, he proceeded at once to the -inspection of the church. On entering by the western cloister door, the -venerable fabric appeared nearly in its original state: the nave was -divided into nine bays with light clustered shafts, the centre one of -each running quite up to receive the groin; the triforium was divided -into compartments corresponding to the mullions of the clerestory -windows, and filled with imagery and devices in painted glass. The upper -windows contained the image of a saint in every light, under a high -canopy of rich design. The lower windows of the aisles had been altered -in the fifteenth century, the tracery was more elaborately ramified and -the glass exhibited a higher degree of pictorial skill, though inferior -in severity and style to the more ancient glazing. - -The ribs of the groining were richly painted at the intersections, with -images in relief on every boss. The pavement was irregularly studded -with incised slabs of benefactors, who were permitted to repose beneath -the floor of that edifice to whose support and glory they had -contributed while living. But the most striking object that presented -itself to the sight, was a most elaborate jubé or rood loft, extending -completely across the entrance to the choir. Eight slender shafts -sustained seven arches, richly crocketted on the labels, with images of -angels in sexfoils, filling up the spandrils. Between every arch and -over the shafts, was an image standing on a corbel under a projecting -tabernacle; immediately over them were sixteen arched and canopied -recesses, each containing, in high relief, a mystery of our Lord's life -and passion, most artificially wrought in stone, and heightened with -gilding and colours, and over all, in the midst, was a great rood rising -almost to the vault of the church, with most cunning work of leaves and -foliage running up and about it, and sprouting forth at its extremities, -and on it an image of our Lord as it were a king with a diadem on his -head, and a long tunic, all gilt, reaching down to his feet, with the -borders set with crystals, and on either side an image of our Blessed -Lady and S. John, and two cherubims with images of gold. This rood, -which was held in singular veneration by neighbouring inhabitants, and -by them commonly termed Le Bon Dieu de Conques, found but little favour -in the eyes of our refined abbé; "Il faut démonter cette vieillerie-là ," -said he, turning to the architect. "Ah, mon Dieu, oui," was the ready -answer, "_ça fera du bien_; on peut y mettre une grillage en fer, comme -à S. Denis."[20]—"C'est une bonne idée!" cried Monsieur de Chantal, "et -je la ferai exécuter." It is probable that, in carrying out this -barbarous and sacrilegious intention, the abbé meant to _improve_ the -church!! Brought up in the principles of error and paganism, to him -nothing was beautiful that did not savour of classic art. It is probable -that he really meant well, as far as so debased a mind could mean well; -let us hope his ignorance obtained his final pardon, and that he was -permitted to expiate in his doleful end this terrible deed of -destruction. The religious of Conques mourned most bitterly over the -demolition of the ancient jubé. Men who live a religious life are -naturally adverse to change: the removal of an image, a picture, an -object on which they have been accustomed to look with devotion, is to -them an irreparable loss, and great were the wailings of the little -community when they learned their abbé's decision; remonstrance was, -however, useless against such superior power, and the demolition of the -whole was finally decided. But its destruction was not deplored by the -religious only,—the inhabitants of Conques, a simple-minded but devout -race, had, for many generations, regarded this ancient and edifying -imagery with singular veneration. From their early years, succeeding -fathers had taught their little ones that the great king upon the cross -was the son of the king of kings, who expired on the rood to save them, -and there was his blessed mother weeping at his side, and the beloved -disciple to whose care she was committed; and below all were wonderful -mysteries shown, from the salutation of the angel to the painful bearing -of the cross to Calvary. All these and much more were set forth and most -artificially, and great was the lamentation of the good people of -Conques when they heard that it was to be no more seen. - -Impatient to begin his improvements, the abbé procured some workmen to -commence the demolition before his return to Paris. Among those who -presented themselves was a young man of great athletic powers, but of a -sinister and scornful countenance, and who appeared to proceed in the -task of destruction with singular alacrity and energy. Several men with -ropes and ladders had now ascended the upper part of the rood, while the -young man before mentioned stood at the foot, and alternately applied a -crow and axe to cut away the mortice in which the base rested and prise -it out. Before the men above had the ropes properly fast to lower all, -by a tremendous effort he forced the foot from its socket, and the -cross, inclining to the Gospel side, fell over, carrying away the image -of the Blessed Virgin in descent, and the whole mass lay broken on the -pavement. The movement was so sudden that it startled the abbé, who was -standing near the man, and a feeling of dread seemed to appal the other -workmen as they gazed on the fallen rood, but the face of the youth was -flushed with ill-concealed exultation, which the abbé remarked, and -attributed at the time to his successful display of strength; but it -came from a far deeper feeling, as he afterwards discerned to his own -destruction. - -The whole screen was afterwards demolished; and by the end of the -succeeding year, when Monsieur de Chantal came to inspect the -alterations, he found, to his great satisfaction, that something of the -character of a Berninian church had been imparted to the ancient choir. -A rococo screen of open iron work, with his own arms in the centre, had -supplanted the ancient screen. Pointed arches had been turned into round -ones by help of plaster; the ancient capitals, luxuriant in salient -foliage and quaint imagery, had been transferred into heavy Corinthians; -most of the painted glass had been removed and replaced by large square -white panes. The shafts of the pillars were marbled by streaks of paint, -and this once perfect choir reduced down to a base and bad imitation of -the corrupt Italian style. - -About a furlong from the abbey-gate was the old parish church, a simple -and unpretending structure, with its slate-topped steeple and gilded -cock, a most fitting emblem of the exemplary and vigilant pastor, the -Père Duchesne, a venerable priest, who for many years had most -faithfully discharged the sacred duties of his cure; a man of most -retired habits, who devoted that portion of his time that was not -occupied by parochial cares to learned researches and pursuits. He was -deeply read in liturgical lore, and held the ancient traditions and -offices of the church in great veneration. Every Sunday and feast the -most respected of his parishioners assembled round the lectern in the -chancel, where they sang the praises of God in the old plain song, for -no other music was tolerable to the ears of either priest or people. The -interior of the church, though simple, was not devoid of interest. There -were considerable remains of painted glass, especially towards the -eastern end; the high altar was coeval with the erection of the church -itself, and had been traditionally consecrated by a holy bishop, now -numbered among the saints of God. The altar of the Lady chapel dated -from the end of the fourteenth century, and was erected by a seigneur -who lived in the old chateau on the hill, then in ruins. The rood loft -was remarkable; the front was supported by four pillars, sustaining -three equal arches; the space between these pillars was enclosed by a -sort of iron trellis, set up with the original work, as a protection to -two side altars, the reredoses of which formed a solid wall for nearly -six feet high, and were then divided by mullions into lights, like a -window; these were also secured by bars, and a massive pair of doors, -with rich ornamental iron-work, closed the entrance to the chancel. I -have been thus particular in the description of this screen, as it is -important for a subsequent part of this history. Such was the church, -and such its curé. The Abbé de Chantal, in ordinary courtesy to the old -priest, determined to call at his residence previous to his departure. -On arriving, he was ushered into a small chamber, where the curé was -seated with a folio extended on the table before him. Somewhat surprised -at the sudden entrance of the abbé, and not over well pleased, as he -held such quasi ecclesiastics at the lowest estimation, he begged to -know the reason for so unlooked-for a visit. "Oh, Monsieur le curé," -carelessly exclaimed the abbé, "I have been making great improvements at -the abbey, and I wish to know if you have seen what has been done?" "I -have, indeed, seen what has been done, or rather undone," cried the old -priest with increasing emotion, "but surely you cannot expect me to -approve the destruction of Catholic antiquity and symbolism, and the -substitution of unmeaning and offensive novelties." "_Eh, patience_, -Monsieur le curé; why I was going to propose to you to reform your -church _à l'Italienne_, and to get rid of the monstrous barrack in the -middle, _on les démonte partout_." At these words, the curé, reddening -with indignation, exclaimed, "Monsieur de Chantal, the present degraded -state of ecclesiastical discipline permits you, a layman in every -respect but in the fashion of your clothes and the form of your peruke, -to hold the highest office in a foundation where, in more ancient and -better days, you would not have been permitted to take part in the most -menial duties. You have destroyed that which your predecessors -respected; you have defaced and mangled the Temple of God; you have -dressed it out à la mode; and its solemnity is departed for ever, to the -sorrow and disgust of myself and my people. But allow me to tell you, -the parish church is under my care, and while I live not one stone of -that venerable enclosure of the holy place shall be touched or removed, -or its sacred imagery injured." The abbé, deeply mortified at the -reproaches of the curé, endeavoured to conceal his mortification by -diverting the discourse on the times and his parishioners. The curé, -however, turning to his visitor, said in a sad and solemn tone, "The -times are full of sad presage. The riches, the corruptions, immunities, -and extravagant privileges that disgrace even the highest ecclesiastics -of the land, are the subject of deep and merited murmurs among the -neglected people; men begin to hate religion for the vices of its -ministers, and those who squander in worldly vanity the revenues -intended for the service of religion and Christ's poor, will have to -give a fearful reckoning." The abbé started to his feet: "Nay, hear me," -continued the curé. "You are one of these spoilers; it is true the abbey -was given to you as a heritage, but it was the gift of those who had no -power to bestow. Think of that choir, once filled with a hundred devout -servants of God chanting his praises by night and day, now debased and -almost deserted. The vast refectory in ruins,—its vaulted gateway, where -hundreds partook the hospitality and charity of the house, now scarcely -shelters a single straying mendicant—all is neglect and decay, and how -will it end?" "Ah, mon Dieu," cried the abbé, "I cannot bear this; how -often have I thought and tried for better things! But no, impossible. My -rank, my family honour, all must be supported." So, hastily departing, -he summoned his servants and carriage.—"To Paris!" he exclaimed. That -night the Hotel de Chantal was a blaze of light, the rendezvous of the -_élite_ of the capital; and among the many cavaliers who escorted the -fair dames of Paris that graced the mirrored and lustred saloons, none -could surpass the gallantry and devotion of the noble owner of the -mansion, the commendatory abbot of Conques.... - -Fifteen years had elapsed since that night of revelry—the Hotel de -Chantal is closed—it has been pillaged of its costly furniture—its -saloons are desolate: some few miserable people live in its upper -rooms—a ferocious _sans-culotte_ has replaced the liveried porter. Where -is its once noble, its wealthy owner? In the corner of a miserable -mansard of the Faubourg S. Germain crouched the figure of a man -approaching the middle age, but whose unshaven visage and neglected -state added several years to his appearance. His dress was that of a -labourer, but the coarseness of his outer garments but ill accorded with -his fair and unworked hands. A small leathern valise was by his side, -and he anxiously listened to every sound. "This was the time he should -have arrived," he exclaimed, "my retreat is only known to him. Mon Dieu! -can he have betrayed me?" At this moment a confused and increasing sound -of cries and snatches of songs was heard in the street—it is on the -staircase—the tramp of ascending footsteps, mingled with imprecations of -vengeance, strikes on the terrified ears of the unhappy Chantal, for -such was the seeming labourer. He rushed to the window, but it afforded -no chance of escape, as the eaves of the tiles were overhanging the -street at a prodigious height, and the steepness of the pitch precluded -all hope of ascending to the top. At this moment the door was assailed, -the feeble fastenings soon gave way, and a party of men rushed in, among -whom De Chantal distinguished his treacherous servant, who had betrayed -his retreat. "Le voila!" he exclaimed, and in a moment the abbé was in -the grasp of men who never spared an aristocrat. At the same time a red -handkerchief held out of the window, announced to the crowd below that -the victim had been captured and was secured, amid yells of triumph and -execration. A few moments served to drag down the unfortunate abbé to -the street, half filled by a mixed rabble, in which the women were -conspicuous for their savage exclamations and menaces. "A bas les -aristocrats, à bas les prêtres, à bas les tyrans," were heard on all -sides, while the terrified abbé was forced along, strongly grasped by -two ferocious _sans-culottes_. - -In a short time they arrived at a small open space; some straw was -scattered on the pavement, and by the side of a common butcher's block, -hastily brought to the spot, stood a man of enormous muscular strength -and lofty stature, a shirt loosely bound round his waist and a pair of -sabots completed his attire, while he wielded a huge chopper or axe, in -savage impatience for his victim. The abbé cast a terrified look at this -popular executioner, and seemed indistinctly to recollect his ferocious -features. "Oh, Jesu, Jesu," he shrieked, in agony of soul, when the -furious infidel, bending towards him, in a voice of savage irony -exclaimed, "_Il n'y est plus_, Monsieur l'Abbe; _nous l'avons démonté à -Conques_, ha! ha!"—The executioner and the youth who cut away the rood -were the same.—In a few moments a badly severed head and a bleeding -corpse were tossed to and fro amid the frantic mob, and exposed to every -indignity, till a common cart removed them and bore them to an -unhallowed grave, and no cross ever marked the spot which held the -mutilated remains of the last commendatory abbot of Conques, the _Pagan -ambonoclast_. - - -THE REVOLUTIONARY AMBONOCLAST. - -Jacques Frénin was the name of the man who so fearfully figured as the -executioner of the abbé. From an early age he had imbibed those infidel -opinions that were too industriously propagated among the French people -for a considerable time previous to the breaking out of the great -revolution. He hated the priests, because he thought they were rich, and -not obliged to labour like himself; for the same reason he detested the -nobility and higher classes. He considered religion as a mere invention -of priestcraft; he was never seen at its offices, or participating in -its rites; it was therefore not surprising that he assisted at the -demolition of the ancient rood of the abbey with a sort of diabolical -satisfaction. "Ma foi," he exclaimed, "c'était un beau commencement, -mais ça ne s'arrêtera pas là ;" and indeed, a few years later the full -principles of infidelity developed themselves in the closing of all the -temples of God, and total destruction of many of the most glorious -religious monuments. As soon as popular fury had made head against all -regular government, Jacques entered the National Guard, and proceeded to -Paris, where his great strength and daring courage soon raised him in -the estimation of his fiend-like associates. He was always the ready -destroyer of a cleric or aristocrat; hence the terrible part he -performed at the close of the last chapter. Through the continual -occasions of plunder that presented themselves in those lawless times, -he obtained a considerable sum of money, and with this he determined on -retiring to his village, and securing some property. The abbey buildings -had been nearly demolished for the materials, with the exception of the -great western towers, which had resisted destruction, and stood now -isolated, and of immense apparent height. Fragments of shafts, mullions, -ribs, and ashlar-work were piled in heaps for sale, and the area of the -church was one great mound of lime and broken materials. The sad scene -of desolation produced no regret on the mind of the hardened Jacques, -who merely exclaimed, "Ah, c'est fini!" and turned towards the old -parish church, which was still standing. On drawing near he perceived an -affiche announcing it for sale as part of the propriétés nationales. -"Here is a capital chance," he thought; "a store for wood is what I -require, and then if I buy that neighbouring forest my fortune is made." -In a short time the purchase was concluded, and the venerable temple, -which had for some time ceased to echo the divine praises, was disposed -of to become a common wood-store. The interior of the building had a -most desolate appearance; the whole was denuded of every ornament; the -side altars were standing, but the high altar had been thrown down in a -fruitless search for supposed treasure. An ancient image of our Lady had -been removed, but the corbel remained, and the outline of the figure -itself was traceable on the wall. The floor was strewed with rubbish, -and damp was gathering round the bases of the pillars and chancel steps. - -Jacques viewed his purchase with great satisfaction. Could he but fill -it with wood, what profit he should realize! "But, peste!" he exclaimed, -"with that diable de jubé, it is impossible to get a cart up near the -end. Tu descendras vite." Now Frénin had assisted during his -revolutionary campaigns at the destruction of many a noble church, and -had remarked the expeditious way in which this was effected by cutting -away the bases of the shafts, and propping them up with pieces of -timber, smeared with pitch, which, when fired, were rapidly consumed, -and caused the instant fall of the superincumbent weight; so that, as -one of the writers of that period triumphantly explains, "_On peut -détruire toute une cathédrale dans un petit quart d'heure._" Having -frequently witnessed the success of this plan on a great scale, Jacques -determined to apply it to the pillars of the rood screen, and with the -aid of a mason who had been employed in the demolition of the abbey, he -succeeded in stilting all the shafts on wooden shores, which he -afterwards covered with grease and pitch. He calculated that in their -fall they would bring in the vaulting of the loft, and, in fine, save -all the trouble of pulling down piecemeal. All being prepared, he -entered the church early in the morning, and twisting the wooden props -with straw, he proceeded to ignite them. Those who have read the last -chapter should remember the peculiar construction of this screen, with -its iron trellis-work between the walls, the solid reredoses towards the -chancel. A volume of smoke rose from each of the four piles of wood, -succeeded by fierce crackling flames, and still denser smoke. Frénin was -quickly escaping, when in the confusion of the moment, he pressed the -iron gate from him; it closed with a spring catch, and with the rebound -shot the key far beyond his reach into the nave. He rushed to the -chancel doors, but they were barred within. In the midst of the -increasing flame he frantically dashed himself now against the door, and -now straining at the iron trellis, he roared with despair and terror; -for at that early hour no one would be near to force the gates and save -him. But two little children, belonging to a devout widow of the -village, had been taught to go and offer their morning prayers before -the church doors, though its portals had been closed for the ingress of -the faithful; and, as usual, they bent their knees before the sacred -threshold. Scarcely had they commenced their orisons, when the crackling -sounds within the building attracted their attention; these were rapidly -succeeded by the shouts of Frénin. Looking through the crevice, they -beheld flames, and ran back affrighted to the village, exclaiming, "Le -feu est à l'église." At this cry the peasants rushed from the houses, -and the smoke, which now escaped from the broken windows of the edifice, -showed that the alarm was too well founded. Proceeding to the western -doors, which Frénin had closed on entering, they forced them open by -means of a felled tree, swung by their united efforts as a ram. - -On entering, the most horrible spectacle presented itself. The pillars -and arches of the rood screen encircled in fire, and in the midst of -smoke and blaze the gigantic figure of a man whose hair and clothes were -already burning, yelling imprecations; in the agony of despair he -grasped the bars with fruitless efforts to tear them from their faithful -rivets. "Ah, mon Dieu, c'est Frénin," exclaimed the terrified villagers. -"Il est perdu!" cried another voice, and at that instant the wooden -shores, reduced to gleaming embers, gave way, and arches, vaulting, all -fell in crushing weight on the wretched ambonoclast, who was speedily -consumed beneath the burning mass. Water was now procured, and by the -ready help of the numerous villagers who had been gathered to the spot, -all danger to the fabric itself was soon prevented; but when the smoking -ruins had been cleared away, a few ashes were all that remained of the -powerful frame of Jacques Frénin, the revolutionary ambonoclast. - -At this moment a man of venerable aspect entered the building, and who, -notwithstanding his secular apparel, might still be recognized as the -old curé, the Père Duchesne; for it was him, indeed. He had been -concealed during the Reign of Terror by a neighbouring farmer, in whose -loft the holy rites had often been privately celebrated. "My children," -he exclaimed, "you behold the terrible judgments of God on those who -sacrilegiously deface his holy temples. The unhappy Abbé de Chantal -perished by the hand of that wretched man of whose awful death you have -but just been the terrified spectators." A cry of subdued horror was -heard among the listening people. "Yes," he continued, "I was an -unwilling witness of his murder at Paris, and it was Frénin who struck -the blow. Inured to every crime, a despiser of God's ordinances and of -his ministers, he came at last to pollute this very temple to profane -uses. But divine justice would not suffer this enormity; he has perished -by his own hands, and his end was destruction. My dear children," -continued the curé, "my heart bleeds to enter this church where I for so -many years united with you in daily sacrifice and prayer, and from which -we have been so long excluded, to see it so forlorn and desolate; and -even now who knows but by my presence here I may be discovered and -destroyed?" "Ah, mon père, mon père," murmured the villagers, "we will -protect you." "God's will be done!" replied the curé. At that moment the -sound of an approaching horseman was heard. The women instantly drew -near the pastor, while some of the men hastened to the doors, to -ascertain the person who was arriving. In a few moments they returned -with a substantial farmer of the neighbourhood, covered with dust, who, -hastening to the curé, exclaimed, "Ah, Monsieur le curé, nous sommes -sauvés; le premier consul a restauré le culte," and handed a paper to -the venerable priest, who could scarcely peruse it from emotion. It was, -indeed, true; the concordat with the Holy Father was made, religion was -restored. Such was the exultation of the inhabitants, that they would -have had mass celebrated in the church, if the curé had not explained to -them that, after its recent desecration, and the horrible death of -Frénin, it would require reconciliation before any sacred rites could be -performed within its walls; and for that purpose they must wait either -for the bishop or his authority. - -A procession in thanksgiving was then speedily arranged; and now with -what alacrity long-concealed objects appeared! One good woman -triumphantly produces a cope she had concealed under a quadruple layer -of mattresses; another hastens with the holy water vat, brightening it -up as she came along; half the contents of the ancient sacristy returned -to view as if by magic. But what gave greater joy to the old curé than -all the rest, was the ancient rood, that had been removed from the jubé -and concealed in a roof by a pious parishioner. It came supported by -four of the strongest youths, carried in triumph. The voice of the curé, -enfeebled by age, and tremulous with overflowing devotion, could -scarcely entone the Vexilla Regis, but it was instantly taken up by a -chorus of voices. With caps in hand, tearful eyes, and swelling hearts, -the villagers of Conques followed the venerable image of the Redeemer -till arrived at the cemetery. The curé, after an ardent address of -exhortation and thanksgiving, dismissed them with his blessing. One bell -yet remained in the old tower; a rope was soon obtained, and loudly it -rang on that happy day. The church was soon after reconciled, and the -holy sacrifice has been continually offered up ever since. The rood was -raised again on high, with great rejoicings, and Père Duchesne saw that -day, and sang his _Nunc Dimittis_. He reposes in peace in the adjoining -cemetery, but his spirit lives in his successor, who equally venerates -the ancient traditions of his ancient faith. The rood is now safe from -further profanation. The traces of Frénin's destruction will be shortly -effaced by a perfect restoration; but the frightful end of the -ambonoclasts of Conques will long form the subject of discourse among -the inhabitants of the village. - - -THE MODERN AMBONOCLAST. - -This character is of comparatively recent creation,—none of the species -having been seen about in this country previous to the consecration of -S. George's church. About that time two or three made their appearance, -and, though not by any means in a flourishing condition, they have -somewhat increased. It has been asserted that their first dislike of -screens arose from a desire of literary notoriety, and that, finding -several old women of both sexes had taken a most unaccountable and -inexplicable offence at the ancient division of the chancel, and the -restoration of the crucifix, which had been so wisely destroyed in the -good old days of Queen Bess, they profited by the occasion to increase -the sale of a periodical. But this may be mere calumny; and, indeed, it -is very probable that it is a case of pure development, as at first they -did not exhibit any repugnance to pointed churches, which they rather -lauded, and only took objection to certain upright mullions and painful -images; but they speedily developed other propensities and ideas, and -latterly have exhibited symptoms almost similar to hydrophobia at the -sight, or even mention, of pointed arches or pillars. The principal -characteristics of modern ambonoclasts may be summed up as -follows:—Great irritability at vertical lines, muntans of screens, or -transverse beams and crosses; a perpetual habit of abusing the finest -works of Catholic antiquity and art, and exulting in the admiration of -everything debased, and modern, and trumpery; an inordinate propensity -for candles and candlesticks, which they arrange in every possible -variety; they require great excitement in the way of lively, jocular, -and amatory tunes at divine service, and exhibit painful distress at the -sound of solemn chanting or plain song; at divine worship they require -to sit facing the altar, and near the pulpit, and then, if the edifice -be somewhat like a fish-market, with a hot-water pipe at their feet, a -gas-pipe in the vicinity, and a stove in the rear, they can realize a -somewhat Italian atmosphere in cold and cheerless England, and revive -some sparks of that devotion that the gloomy vaulting of Westminster and -the odious pillars of a new rood screen had well nigh deprived them of. -It must be, however, stated, to their credit, that the modern -ambonoclasts, unlike their predecessors, confine their attacks to -strokes of the pen; and we do not believe that they have hitherto -succeeded in causing the demolition of a single screen. Indeed, it is -probable that, if the development of their real character had not -proceeded so rapidly, they might have caused some serious mischief to -Catholic restoration; but the _cloven foot_ is now so visible, that men -are looking out in expectation of the _tail_, and are already on their -guard. - -[20] The choir of S. Denis, near Paris, had been modernised a few years -previous. - - - - -CONCLUSION. - - -It now only remains to make some remarks on the recent revival of -Catholic art and architecture, the difficulties with which it has to -contend in England, and the opposition that has been raised against it. -As the enclosures of the sanctuary can be traced from the erection of -the earliest Christian churches, and as they are inseparably connected -with reverence and solemnity, we might have hoped, and indeed expected, -that the restoration would have been hailed by all who profess the -ancient religion as an evidence of returning faith. But, alas, we have a -class of men to oppose the revival of ancient symbolism, on whom the -examples of fifteen centuries of Catholic antiquity fail to produce the -slightest recognition of respect. The past is to them a nullity, and -they would fain have us believe that the present debased externals of -religion are to be equally received and propagated as those which were -generated during the finest ages of Christian art. Now, knowing the -whole history of this debasement in religious art, its origin and -progress, and the general decline of Catholic faith and Catholic -principles, corresponding to its increasing influence, it is impossible -for us to regard its very existence otherwise than as an intolerable -evil, and we must labour incessantly for its utter expulsion from our -churches. The decline of true Christian art and architecture may be -dated from a most corrupt era in the history of the church; and ever -since that most unnatural adoption of Pagan externals for Catholic -rites, we mourn the loss of those reverend and solemn structures which -so perfectly embodied the faith for which they were raised. Bad as was -the Paganism of the fifteenth and sixteenth centuries, it was dressed -out in much external majesty and richness; but now nothing is left but -the fag end of this system; bronze and marble are replaced by calico and -trimmings; the works of the sculptor and the goldsmith are succeeded by -the milliner and the toyshop; and the rottenness of the Pagan movement -is thinly concealed by gilt paper and ribands,—the nineteenth century -apeings of the dazzling innovations of the Medician era. Cheap -magnificence, meretricious show, is the order of the day; something -pretty, something novel, calico hangings, sparkling lustres, paper pots, -wax dolls, flounces and furbelows, glass cases, ribands, and lace, are -the ornaments and materials usually employed to decorate, or rather -disfigure, the altar of sacrifice and the holy place. It is impossible -for church furniture and decoration to attain a lower depth of -degradation, and it is one of the greatest impediments to the revival of -Catholic truth. It is scarcely possible for men to realize the awful -doctrines and the majestic ritual of the Church under such a form; and -yet these wretched novelties are found on the altars of some of the most -venerable temples, equally as in the abortions of modern erection. They -disfigure alike the cathedral of the city and the wayside chapel of the -mountain-pass; they flourish in religious communities, and are even -tolerated in the seminaries for the education of the priests of the -sanctuary. Bad, paltry, miserable taste has overrun the externals of -religion like a plague; and to this state of deplorable degradation -would these new men bind our desires and intellects, as if it were of -God, and on a par with the noble works achieved in times of zeal and -faith, and at a period when all the art and talent of Christendom was -devoted to the one object of increasing the glory and magnificence of -the great edifices devoted to the worship of Almighty God. Moreover, it -is very important to observe the extraordinary similarity of idea that -actuated the artists of all Christian countries during the middle ages. -Making due allowance for climate and materials, the same ruling spirit -presided over the arts of Italy and England. The same devout effigies, -recumbent and praying, each robed in the flowing ecclesiastical habits -of the order, may be seen in every old Italian church, as in our own -cathedrals. There was no difference then between a Roman chasuble and an -English chasuble, between a Roman mitre and an English mitre. The same -beautiful forms and proportions reigned universal. Even where the -Christians extended their conquests in the East, in the city of -Jerusalem itself, the edifices they raised were in architecture Pointed -and Christian; some of which even still remain. Everywhere the Catholic -might be traced by the works he raised; but now, alas, excepting by the -extreme ugliness, and deformity, and paltry ornament, that are the usual -characteristics of modern Catholic erections, it would be difficult to -distinguish them from the recent productions of modern sects. Is it not -a consideration that should fill every true Catholic heart with grief, -that the propagation of the faith is no longer attended by the -propagation of ecclesiastical traditions? Every year what zealous -missionaries depart for distant climes, bearing with them, indeed, the -true principles of faith, but with it the most degraded externals -possible. The sources from whence they supply themselves are the -magazines of Lyons and Paris, places filled with objects made entirely -on the principle of cheap magnificence, uncanonical in form and often in -material, hideous in design, utter departures from the beautiful models -of mediæval antiquity, calculated only to please the vulgar and the -ignorant, dazzling in the eyes of savages, but revolting to every man of -true ecclesiastical knowledge and feeling. These things are not only -expedited to the colonies and even to the antipodes to form in any -mission a fresh nucleus of deplorable taste and ideas, but they inundate -the sister island itself; yes, in Ireland, where, even in times -considered barbarous, the ancient goldsmiths wrought exquisitely cunning -work for the altar and the shrine, they now deck out her sanctuaries in -Parisian trumpery, and borrow the model of her churches from the -preaching-house of the Presbyterian settler; and to such a low ebb is -all feeling for ecclesiastical art and architecture fallen—that when a -cathedral is raised after the old form of the cross of Christ, its very -bishop walls off the holy place, and converts it into _a room_! -Room-worship, where all see, is the modern shell in which innovators and -nineteenth-century men could _exhibit_ those sacred mysteries for which -Catholic antiquity raised those glorious choirs and chancels, witnesses -of their reverence and our degeneracy. But sad to relate, this principle -of room-worship is gradually extending itself into those majestic -edifices of antiquity by the manner in which they are perverted to the -modern system. The month of May is more especially devoted to the honour -of our Blessed Lady, an excellent devotion, but how is it carried out? -All who have had the misfortune of travelling on the continent during -this month must have noticed an unusual disfigurement of the fabric in -the shape of enormous festoons of red calico or some other material, as -the case may be, pendent from the groining over a catafalque of painted -canvass, flower-pots, and glass cases, surmounted by an image intended -for our Blessed Lady herself, in the most meretricious attire covered -with gauze and spangles. This miserable representation is usually set up -in the very centre of the transept or the last bay of the nave, -completely altering the whole disposition of a church. Great devotion to -the blessed mother of our Lord, was a striking feature in mediæval -antiquity. Almost every cathedral was dedicated in honour of Notre Dame, -and where was the parish church of any size that did not possess its -Lady chapel set apart for her peculiar honour? What beautiful examples -have we of these in England, though, grievous to relate, some of them -are converted to unworthy purposes, and all disused; but in many of the -continental churches it is little better; for, except an occasional -mass, Lady chapels, _as such_, are no longer kept up. In one of the -finest churches of Liege I saw an altar set up for the month of May, a -heap of paltry showy materials; but on getting to the other side I -discovered this gilded front to be sustained by old packing-cases, -trestles, casks, and planks, hastily piled up, and not even concealed -from those who might penetrate eastward of the nave. Further on was the -real Lady chapel in a very neglected state, without furniture or -decoration: this was undoubtedly the portion of the church where the -devotions of May should be celebrated; but the nave is more like a -_room_, and is therefore used in preference to that portion of the -fabric which the devout builders had set apart for the purpose. And what -majestic Lady chapels did the old churches contain! usually the most -eastward portion of the church,—the _refugium peccatorum_; they -displayed in their windows and their sculptures all those edifying—those -touching mysteries of our Lady's history which are so fruitful for -contemplation, and the tryptych altar unfolded its gilded doors when -adorned for sacrifice, with many a saint and angel depicted on its -painted panels, and the office was sung by our Lady's chaplains, all in -their stalls of quire, and the morrow mass-priest celebrated most -solemnly, and many a taper burnt brightly before her image, and our -Lady's chapel was one of the fairest portions of these fair churches. -But now, alas, while these chapels are in a great measure abandoned to -neglect, a wretched piece of scenery is substituted, and this is set up -in the centre of the nave, to the disguise of the architecture and the -impediment of its proper use. Even making all allowances for the reduced -revenues of the continental churches, it must be admitted that they are -for the most part most miserably neglected, and in a great measure -disused. There are splendid crypts where no rites are ever celebrated. -Lateral chapels turned into confessionals, or what is much worse, into -deposits for lumber; everything is carried on on the smallest scale, and -with the least trouble, and not only are the generality of modern -Catholic churches on the continent most miserable abortions, but every -year sad mutilations are permitted in many of those sacred buildings -that are still preserved for religious purposes. - -Even in the Pontifical States, within a very short period, a fine -church, of mediæval construction, was shorn of both its aisles, by the -act of the very canons themselves; one they demolished for the -materials, and the other they converted into a custom house and stores. -Indeed, many modern canons have been miserable stewards of the churches -committed to their care, which makes their partial suppression in the -eighteenth century the less to be regretted. As shown in the course of -this work, they were great destroyers of choral arrangements and painted -glass in the latter times; and from a much earlier period they were -accustomed to raise a revenue by permitting domestic erections against -the sacred edifices themselves,—shops and houses between buttresses and -lodgments in porches. - -At the north portal of Rouen cathedral but a few years since, I was -obliged to climb into the roof of a wretched barrack or book-stall, -erected in the seventeenth century, to inspect the unrivalled sculpture -representing the creation of the world and the early Scripture history, -and the very purloins of the roof were held by mortices cut into images -of splendid design, and the rough walls built rudely against the most -elaborate tabernacle-work and bas-reliefs. The tenants of these -miserable shops, which gave the name of the Cour des Libraires to the -northern approach of the cathedral, paid regular rent to the chapter -down to the great revolution. I am happy to state that these unsightly -excrescences have been demolished by the government, and the whole -beauty of the original design is now visible. - -At Aix-la-Chapelle, a city reported, and, I believe, with truth, to be -full of devout persons, the Dom is incumbered with houses and shops for -the sale of snuff-boxes, pipes, and tobacco, between every buttress of -the apsis surrounding the high altar, and the owners of these -habitations are driving their bargains and cooking their victuals within -a few feet of the high altar of a church which is the depository of the -most venerable reliques of Europe. I mention these things to show how -sadly the ancient reverence of sacred buildings and things has declined -in latter times, and most assuredly they are intimately connected with -the screen question. Rites so sacred as those of the Catholic church -require every watchfulness, both in conduct and in externals, to -preserve them in due veneration; and an irreverent arrangement in the -construction of a church may be the cause of infinite sin and scandal. -Now, therefore, that we are beginning, as it were, _de novo_, to restore -the churches of God, how important is it that we should so construct -them, that they may by their symbolic and ancient fashion, set forth the -stupendous mysteries for whose celebration they are raised, and, at the -same time, prove them to belong to that very faith that generated, -centuries ago, those great principles of Christian art which we may -rival, but scarcely excel! - -The Catholic body in England is now suddenly become the spectacle of the -world. An immense responsibility has been incurred; how will it be -supported? Our episcopal rulers bear titles which are associated with -the most venerable men and places in the history of the English -church,—names associated with the first planting of Christianity in this -land,—names known far and wide as pertaining to some of the fairest -fabrics that Catholic hands ever raised to the honour of their -Creator,—and names the very possession of which in a manner demand a -conduct and principles in accordance with their import. May we not then -hope, nay, expect, that better times are approaching; that our spiritual -rulers will, in very deed, set forth, if not the full glories of the -ancient men, at least a continuation of their principles, so that, in -all the works undertaken under their auspices, the old spirit and -intention may be evident. Christian architecture must now become a -_principle_, and not a _mere matter of whim and caprice of individuals_, -or its advocacy or rejection treated as a mere jest. Architects may -suggest and execute, _but the moving power must come from episcopal -authority—that is the legitimate source_. The finest churches, unless -the ecclesiastics enter into the spirit of the arrangement and -construction, are only so many evidences of modern degeneracy; and the -erection of a choral church for an orchestral service is a farce, and a -prostitution of ancient symbolism to a profane and irreverent purpose, -even more painful than when it is carried on in a meeting-house with an -altar in it. And as for those men who would import the debased modern -externals of Italy into this land for religious purposes, whatever their -intentions may be, _they can only be practically considered as the -greatest and worst enemies with which we have to contend_, for they -lower the majesty of religion to the level of a common show, and degrade -the sacrament before the people, giving occasion for scoffing and -ridicule, and putting stumbling-blocks in the way of our separated -countrymen, dressing up the altar of God like a mountebank's show, and -imparting a strange and modern appearance to that which was indeed the -ancient faith of this land. What a mockery would it be to lead those -devout men, (who though separated in position, have been united in heart -with the ancient religion, who have prayed in deserted aisles and -chapels, kissed the prostrate consecrated stones of ancient sacrifice, -and mourned over desecrated shrines and rifled tombs of holy dead,) up -to the threshold of that very gate within which they fondly hoped for -the realization of all those glories on which they have existed for -years, on its being opened, to introduce them into a sort of -drawing-room chapel with a deal altar hung with gauze, lace, and -ribands, surmounted by a _chiaro oscuro_ of an ecstatic friar dancing a -naked Bambino in his arms, and a bason on a neat stool for a font. -"Impostors," they would exclaim, "is this the realization of the ancient -faith? why, the wreck we have left savours more of the old spirit than -this miserable show." But let us reverse the scene, and introduce our -pilgrims into a church, raised after the ancient fashion of those in -which they had been used to worship, but restored to life and beauty. -First, that veiled altar and ardent lamps tell of the divine presence -abiding among men: _ecce tabernaculum Dei cum hominibus_. What sanctity -this imparts to the whole fabric, and how dead do even the most -stupendous churches appear when denuded of the sacramental presence; the -ground itself in such a place is holy: not only the disposition of the -fabrick itself, but every enrichment, every detail harmonises in setting -forth one grand illustration of the faith. The windows sparkle in -saintly imagery and sacred mysteries, the very light of heaven enters -through a medium which diffuses it in soft and mellowed hues. What a -perspective is presented to the sight, of successive pillars supporting -intersecting arches, leaving distant openings into aisles and chapels! -Then the chancel, with its stalled quire seen through the traceried -panels of the sculptured screen, above which, in solemn majesty, rises -the great event of our redemption, treated after a glorified and -mystical manner, the ignominious cross of punishment changed into the -budding tree of life, while, from the tesselated pavement to the -sculptured roof, every detail sets forth some beautiful and symbolical -design; how would such a fabric strike to the heart of a devout soul, -seeking for the realization of ancient solemnities! And is it not a case -of gross infatuation for men professing the old faith to reject what we -may truly imagine to be a revelation made by the mercy of God for the -consolation of his servants upon earth, and to turn back to the old -vomit of Pagan design, associated only with the infernal orgies of false -gods and heathen corruptions? Does it not show an utter loss of all -appreciation of the beautiful and the true, and a state of mental -degradation as deplorable, as it is alarming in its practical results? - -Yes, it is mainly to these causes that the reproaches of debasement, -that are so frequently urged against us by Protestants, are to be -traced, nor can we scarcely wonder that those who judge by externals and -do not penetrate beneath the surface, should come to such conclusions, -judging by what is presented before them even under the most glorious -vaults of Christendom. But when we turn to true Catholic art, what do we -behold? the works of men profoundly versed in symbolism and the holy -scriptures: indeed, the great portals of the foreign cathedrals are -_Bibles in stone_. There we trace the sacred history from the first -moving of the spirit of God on the waters to the creation of all matter -and man himself; there we are led down through the Mosaic history to the -prophets foretelling the redemption of man, each with his phylactery and -appropriate emblem; beside those, all the types of the old law, those -mystical foreshadowings of our blessed Lord and his passion, till we -come to the realities, and every scene and every mystery connected with -the redemption of man, from the angelical salutation to the ascension -into heaven, are so severely, yet so piously treated, that they at once -address themselves to the inquiring mind of childhood, and draw tears of -devout admiration from mature and reflective age. O, spirit of ancient -Catholic art, how is it that you no longer abide among its people? What -curse, what blight, has deprived us of your aid? Is it not that the sons -of the church have forsaken the old traditions of faith, and have gone -straying after strange forms and gods, and substituted debased novelties -for ancient excellence, and to these profane and irreverent -representations they have given the name of Christian saints, using the -mysteries of religion as a mere peg whereon to hang their abominable -productions. - -This system prevailed to such an extent that, in the sixteenth and -seventeenth centuries, the people, and even the historians themselves, -lost all knowledge of what some of the sculptures of their very -cathedrals represented, and explained the prophecies of scripture and -the histories of the Old Testament by modern legends,[21] with which -they were not in the least connected, as may be seen in the histories of -Amiens, Rouen, &c. - -There can be no doubt that in modern art the great and important -mysteries of Catholic truth have been in a great manner supplanted by -the representations of novel devotions and dubious representations.[22] -Among these latter, heart painting has a most extraordinary vogue. -Without being wanting in the respect due to the authorized devotion of -the sacred heart, I should be deficient in duty as a Christian artist if -I did not protest most strongly and candidly against the external form -in which it is usually represented. It is quite possible to embody the -pure idea of the divine heart under a mystical form that should -illustrate the intention without offending the sense; but when this -_most spiritual idea_ is depicted by an anatomical painting of a heart -copied from an original plucked from the reeking carcase of a bullock, -and done with sickening accuracy of fat and veins, relieved on a chrome -yellow ground, it becomes a fitting subject of fierce denunciation for -every true Christian artist, as a disgusting and unworthy representation -for any object of devotion. The rage that appears to exist among many -modern communities for hearts, is quite astonishing. To a casual -observer of some of their oratories it would really appear that their -whole devotion consisted in this representation: it is depicted in every -possible form and variety, sometimes _revolvant_ and smoking, sometimes -_volant_, with a pair of wings growing out of the sides, sometimes -_ardent_, flaming, fizzing, bursting like an exploding shell, sometimes -_nayant_, floating in a pool, sometimes in pairs, sometimes in clusters. -In fine, we have them in every possible variety, and they are by no -means dissimilar to the illustrations of those amatory epistles so -largely circulated in this country about the feast of S. Valentine. -Whether there lingers any association of ideas between these latter and -their more spiritual counterparts in the minds of pious ladies, I do not -pretend to determine, but most certainly these vile caricatures have a -wonderful hold of the fair sex, whose very book-marks generally consist -of such representations. Moreover, the bad and vicious taste that -prevails in the greater part of our religious communities of women, is a -very serious evil;[23] many of them are houses of education, and it is -most lamentable that, with the first elements of religion and piety, the -pupils imbibe the poison of bad and paltry taste which, from early -associations, affects them perhaps through life, and vitiates all their -ideas on those subjects connected with the externals of religion. It is -true that, by the blessing of God, the principles of Catholic art are by -degrees penetrating these strongholds of prejudice and bad taste, but as -yet I am not aware of one house of education where there is even a -decent chapel; the great reforms have been effected among the active -orders of ladies, and I will most fearlessly appeal to their convents, -where trash of every kind has been excluded, where both the needle and -pen reproduce the beautiful ornaments of antiquity, and where the united -voices of the community send forth the old Gregorian tones from their -stalls, as examples of what may be done by those who, even with slender -human means, apply themselves to the revival of true Catholic art and -practices. But this is only in England, and I fear that, at the present -time, nearly the whole conventual system on the continent is sunk in the -production of the veriest trash that was ever contrived for the -desecration of the altar and degradation of ecclesiastical costume. What -an appalling field of labour lies before the missionaries of Christian -art! Yet the very magnitude of the task should only serve to animate its -disciples to heroic exertion in its propagation, and to rescue the -Catholic faith from the external degradation into which it has fallen, -and to reinstate it in all its former majesty, and to restore the -reverend usages of the ancient fabrics, by which the sacred mysteries of -the church may be set forth in a more lively and striking manner, -strengthening the zeal and devotion of the faithful and drawing to the -fountain of truth those souls whom the theatrical choirs and modern -abuses have deterred from uniting. - -If men were but acquainted with the Catholic church as she really is, in -her canons, and her authoritative service books, how differently would -they think and speak of her! The majesty of the language used in her -ritual and pontifical is inferior only to that of the sacred scriptures -themselves, and would almost seem to bear the evidence of inspiration in -the text. How we must admire the appropriate fitness of each -consecration to the peculiar object to be devoted to the service of -Almighty God, from the walls of the temple and altar of sacrifice to -those heralds of solemnity, the bells, whose brazen notes can animate a -whole population with one intention and one prayer! Then if we consider -the divine song of the church, its serenity, its melody, and indeed its -almost sacramental power in infusing faith into the heart as its tones -flow into the ears of the assistants, while the rhythm most perfectly -expresses the sense of the sacred words thus solemnly sung, without vain -repetitions and distracting fugues, but as is ordered by the Roman -ceremoniale, sit devota, distincta, et intelligibilis, so that men -listen, not to curious sounds, but sing in prayer and with one voice, -glorify God in unison of heart and sound. What majestic, what consoling -services has the church provided for her children! What happiness, even -on earth, might they not realize by fulfilling the loving intentions of -such a mother, and by devoting their means and energies, carry out the -authorized and ancient ritual! But alas, such is the degenerate spirit -of this age, that even among those who profess the ancient faith in this -land, the existence of solemn services is the exception and not the -rule; and while this is the case how can we wonder at the feelings with -which they are regarded by the majority of our separated countrymen, who -from curiosity or better motives of inquiry attend them? A great portion -of the old country missions have usually a sort of room with a look of -chilling neglect, at one end of which a wooden sarcophagus or quatrefoil -box serves for an altar, duly supplied with some faded artificials and -mean candlesticks of a culinary pattern. A mouldy picture of the bad -Italian school, given by some neighbouring patron on account of its -worthlessness to the chapel, hangs above. A cupboard, painted in marble -streaks, serves for a tabernacle; a half-parlour, half-kitchen, for a -sacristy and confessional, damp and neglected; and a range of benches, -with kneeling boards, provided with every description of carpet patch -and moth-eaten cushions, complete the fittings of these establishments; -and here, Sunday after Sunday, is a short said mass, badly responded by -some poor lad, a large amount of English prayers, with a discourse, &c. -&c. This is the only service which the congregation hear on the greatest -festivals; to them the solemn offices of Holy Week and the alleluias of -the Paschal time are equally unknown. A poor priest, ill supported and -alone, without means and persons to aid in his functions, abandons the -glories of religion in despair, and thinks himself truly fortunate if he -can secure the essential sacraments to those committed to his charge. -But what is the consequence? Though the old people, from long habit, are -content with this state of things, their children do not imbibe any of -that zeal and Catholic spirit that the glorious offices of the church -infuse into the tender mind,—that love of the house of God and of his -service,—that interest which the succeeding and varied festivals awake -in the youthful heart; and, sad to relate, many of the old congregations -are decaying, and some have already _died out_. Now, if this state of -things was the result of absolute unavoidable poverty, it would seem -cruel to allude to it; but I grieve to say, many of these sort of places -are sustained, or pretended to be sustained, by old and wealthy -families, who, out of abundant fortunes, dole a much worse pittance to -the chaplain than the butler: and who, to avoid the inconvenience of -people coming too near their habitations, have fitted up an unoccupied -stable, or an old outhouse, for the tabernacle of the living God!! This -is no overdrawn picture, and I draw it to try if public shame can work -on these men, who seem dead to every other. Why, there are estates -possessed by nominal Catholics so broad, that six parochial churches -might be raised, and filled with the faithful; and yet, perhaps in this -vast space is only one wretched room like that described for all the -Catholic community, thus depriving more than two-thirds of the Catholic -population of even the practical means of fulfilling the duties of their -religion! It is a common cry that the Catholic body are poor,—but it is -false: the bishops are poor, the clergy are poor, the masses of town -population are poor; but there is wealth yet in possession of men who -have not altogether renounced the name, although they have the practice -of Catholics (if the world and Satan did not grasp their hands), to -restore religion throughout England, and to place it in such a position -as to be a beacon and a light to all. What, then, must be the black -despair of one of these men, when the world to whom he has sacrificed -all is passing away from him for ever! His gay companions of the turf -who have cheated him, and fattened on his rents and lands, have left him -to die alone,—not one of these jovial friends are there. A few mercenary -attendants hover round, to watch the last, and divide what they may. No -chapel or chaplain: the priest has long been driven out to live on a -distant portion of the property; the old chapel is a disused garret, -where a few moth-eaten office-books and unstrung beads tell of the -departed piety of the older members of the family. But many years have -elapsed since holy rites or holy men were there seen or heard. Stupified -with disease, the wretched owner of a vast estate, childless and -deserted, draws near his end. He has wasted a life which might have been -one of usefulness and honour. He has impaired a property which was ample -enough to have enabled him to have placed the religion of his fathers on -a noble footing; he might have founded missions, established schools, -encouraged his tenants, and been the means of bringing numerous souls to -God. But he has done nothing—he has got nothing, but the whitening bones -of some racers that cost him thousands, lost him thousands, and were -shot in an adjoining paddock, and stocks of empty bottles, consumed in -entertaining worthless associates, and a broken constitution now bearing -him to a premature end. It is over. He is no more. Unrepentant, -unshriven, unanealed, his spirit has gone to judgment. No ministers of -God, no rites of holy church, were there to exhort and strengthen the -departing soul. There was not one of all those mighty consolations which -the church has provided for dying Christians and their survivors. No -stoled priests kneel around in prayer and supplication; no ardent lights -show forth the glorious hope of resurrection; no poor bedesmen receive -the funeral dole, and cry, "May God have mercy on him!" no solemn knell -invites the departing prayer; the chamber of death is close and still: -the Protestant undertaker encloses the festering corpse in costly -coffins, hideous in form and covered with plated devices, but not one -Christian emblem among them all; a huge pile of sable feathers, as if in -mockery, surmounts the whole; and thus it stands, till, in a few days, -it is committed to moulder in the old vault. Placed on the north side of -an old parish church that had been built for Catholic rites, but now -blocked up with unsightly pews and galleries of uncouth and rude -construction, and denuded of every ancient decoration, the family vault -had once stood within a chantry, but the roof had long disappeared, -while the walls were crumbled into shapeless mounds. In the midst of a -small space, rank with weeds and nettles, was a huge brick tomb railed -in with bar and spike. A slippery way dug out at the lower end showed a -rapid descent to a dark aperture, formed by the removal of a large -stone, piled against the side. Over this stood the clergyman of the -parish, in a loosely fitting surplice ill concealing his semi-lay attire -beneath, attended by a decrepit clerk, who alternately recited the -appointed office. The executor, the lawyer, and the undertaker's men, -with some curious lookers-on, are alone present at this sad and desolate -spectacle. The coffin is lowered down the incline, the heavy mass is -forced into its narrow space, jammed in amongst the mouldering shells of -older interments. The men issue from the vault—the stone is replaced—the -heavy fall of earth clods resound on its hollow surface, and as the -access is filled in, all depart—the executors to the will—the -undertakers to the nearest tavern. Two old men linger on the spot. -"Well," one exclaimed, "I would not have thought the squire would have -died thus." "Alack, alack!" replied his companion, "it was all along of -bad company. I have heard Father Randall say, many a time, _he were a -good young man_." It was so indeed, _he was a good young man_. He was -taught and fulfilled his duties, but he never knew the grandeur or the -majesty of the faith in which he was reared. It was not his pride, his -glory. He knew it only as the persecuted—the contemned religion of his -ancestors, to which he was bound to adhere, but he never felt its power, -nor understood it as the fountain, the source of all that is majestic, -true, and ennobling upon earth, and so, when he heard it laughed at as -an old-fashioned jest, and got entangled with worldly men, he abandoned -its observances by degrees, and sunk into worldly pleasures and feelings -till he became dead to every call of conscience, even for the most -essential duties of religion, and came to that miserable end. If this -illustration be considered unsuitable for an architectural work, I reply -that the revival of true architecture is intimately mixed up with -education and the formation of the minds of the rising Catholic -generation. It is during the first few years of mental training that the -character and feelings are generally formed, and I maintain the moral -part of Catholic architecture, that is to say, the fitting of the mind -to understand and appreciate the external beauties of religion, and to -produce that love of God's service in the youthful heart, is quite as -important, and can only be raised in places where the offices of -religion are solemnly performed, and in suitable edifices. Now this -should be most strictly considered for the education of both clergy and -laity, for while the clergy have to officiate in these edifices, and -carry out their various uses, it is to the laity that they must look -both for the funds for the erection and the necessary means of support -after they are erected. Therefore, it is of paramount importance that -both receive the initiations in this matter, for early impressions are -everything. How truly deplorable are the ordinary class of chapels -attached to bishops' seminaries in France, for the most part whitewashed -saloons, without anything ecclesiastical about them, except bad -pictures, worse even than the walls they cover. Fortunately, they are -usually in the vicinity of some fine old church, where the -ecclesiastical students assist occasionally; but still, all should be in -harmony, the seminary with the cathedral, and the clergy with both. - -In respect of collegiate chapels we are certainly far in advance in -England, but one great chapel, very nearly completed, yet lingers on in -an unfinished state, when a little effort might render it available for -divine service, and, in the meantime, many students must quit the -college without that true love of ecclesiastical art that is only -imparted to the soul by a devout assistance at the functions of religion -in these solemn edifices. The mere inspection of them is nothing, it is -when they become associated with the life of divine worship that they -produce the full power and lift the soul in ecstasy. Let us hope and -pray that not only in colleges, but in all places set apart for the -education of youth, suitable chapels may be provided, so as to make the -students love the beauty of God's house. I must confess, with every wish -to preserve my charity, I am moved to indignation when I hear proposals -for erecting great sheds to serve as Catholic churches, places -resembling a depot for railway goods or the housings of a wharf. What -treatment is this for the divine mysteries! what treatment for the poor, -who are brought to worship God in a place little, if any, better than -the union, or market shambles themselves! One of the many great benefits -conferred by church architecture, is its affording the poor man a -glorious edifice where he may enter at will; his position of course -shuts him off from participating in all worldly grandeur or -magnificence, but the portal of the Catholic church is open to him early -and late; there he is no intruder, he may rest on the marble pavement or -kiss the costliest shrine—he is spurned from every other ground and -noble edifice but this—and yet this new system would bring the churches -down to a level with the offices of a parish workhouse, and deprive him -for ever of so great a consolation as the sight and enjoyment of a -solemn pile. No blessing can be expected for those who erect the temples -of God in a sparing and commercial calculating spirit. It is a positive -insult to divine providence to build a church on such low and niggard -principles, calculated to draw down a curse instead of a blessing. It is -contrary to first principles: if we saw a man pretending to make an -offering to us, in which he had economized in every possible manner, -should we be disposed to receive his gift with the same feelings as for -another who poured out his offering in a heartfelt and abundant manner? -From those who have little it shall be taken away, and it is impossible -to conceive any blessing attending one of these cast iron shells. It now -remains briefly to consider the actual revival of Christian architecture -among the English Catholic body, and to point out some important -practical principles which are as yet but imperfectly understood. - -In restoring the ecclesiastical architecture of the middle ages, there -are certain modifications and changes which the altered position of -religion renders absolutely necessary; for instance, in erecting a -cathedral or bishop's church it should be so arranged as to _be -perfectly available for the public worship of the faithful_, and the -choir, on that account, should not be enclosed in a solid manner, but -with open screens like the great parochial churches at Lubeck, and many -other continental cities, and also not unfrequently in England, as at -Newark, a grand parochial church; S. Nicholas, Lynn; Great Yarmouth, -Southwold, and many other such edifices intended for parochial worship. - -These churches may be as spacious and magnificent as cathedrals, as -indeed many of them are, but perfectly adapted for a great body of -people assisting at the sacred rites. It was currently reported that the -learned Père Martin declared that the old screens contributed to the -loss of faith among the people. Now if the reverend father did make this -statement, I have no hesitation in contradicting it, and for this -reason, that in those times when the cathedrals had enclosed choirs, -they were erected and used for the purpose of keeping up a great choral -service, and a worship of Almighty God _irrespective of popular -assistance_; but coeval with these were multitudes of grand parochial -churches like S. Maclou, at Rouen, relatively as magnificent as -cathedrals, and where there never existed any enclosed choirs at all, -but open ones, as I have shown in this work; it appears therefore that -the assertion of the reverend father has been made hastily, and without -sufficient grounds. - -At the present time, when we are almost on the apostolic system of the -primitive times, a cathedral should be perfectly adapted for parochial -as well as episcopal use, which was indeed the ancient arrangement in -corresponding times of antiquity when neither churches nor clergy were -very numerous. - -The next important point is the arrangement of the chancels, that they -may be perfectly adapted for the easy access and egress of large bodies -of communicants which have greatly increased since the middle ages. The -chancels of all large town churches should be continued either like -apsidal choirs, or taken out of the body of the church with the aisles -continuing eastward on either side, and terminating in chapels, thus -permitting the free egress of those who have communicated without -returning through the holy doors. This arrangement is not of any -importance in country parishes where the number of communicants is -necessarily limited, and where the elongated chancels may be retained, -but in great towns it is almost indispensable. And this leads us to -another matter of considerable importance. Almost all the pointed -churches that have been erected in towns, have been taken from examples -in the country villages, and although low churches built of rubble walls -with broach spires look most beautiful and appropriate amid cottages, -elm trees, and rural scenery, they appear quite out of place when -transplanted among the lofty mansions and scenery of a great city. A -church has recently been erected in London the design of which _per se_ -is exceedingly pleasing, but instead of the sky line of the gable roofs -we have the attic story and Roman cement balustrades and hideous -chimney-pots of an adjoining terrace rising above them. - -In all ancient cities where the houses were lofty, _the churches were -the same_, as at Antwerp, Bruges, Ghent, Lubeck, Ratisbonne, Nuremberg. -There are houses in the old towns whose gables are much higher than are -our first-rate houses, but the churches rise very far above them, so -that when seen from a considerable distance, the temples of God appear -over all surrounding objects. Moreover, internal grandeur can only be -produced by great height; it is a most important feature, and one which -cannot be exaggerated, therefore I hope and trust that in future -erections, no false economy, will interfere with this important and -symbolic principle. Another point to be considered in the erection of -town churches is the approach or entrance, which, if it be possible, -should be contrived through a cloister or porch, answering to the -ancient atrium. This would not only prevent noise and break currents of -air, but it would serve to prepare the mind of the worshipper before -entering the church itself, as a most devotional effect might be -imparted to the cloister by sculptures and paintings, of which there are -examples in several churches of Cologne and other cities in Germany. I -believe these would be found most advantageous, not only for these -religious reasons, but as completely shutting off the ingress of -external cold air,[24] and the church itself might be free from drafts -and yet properly ventilated from above. And it is a great point for the -revival of true church architecture, that it should be practically -convenient both for clergy and people, and that it is quite possible to -preserve an even temperature in the largest buildings is proved at S. -Peter's, Rome, and which really constitutes its greatest—if not its only -merit. - -It is also most essential to erect spacious sanctuaries, and cloisters -for the vesting of the singing clerks, who should not enter the priests' -sacristy, and they should be so contrived as not to be converted to -rooms of passage, or where women could find any excuse for penetrating. -The sacristies of the old Italian churches are magnificent, both in -dimensions and decorations. They are like second churches; and, indeed, -they should be considered and treated with nearly equal respect on -account of the sacred vessels and ornaments that are reserved within -their ambries. But to erect these noble adjuncts to churches some -considerable funds must be granted, and architects must not be expected, -as has fallen to my lot, to build a sacristy and fittings for £40, and -find some candlesticks into the bargain. - -Our churches should now combine all the beauty and symbolism of -antiquity with every convenience that modern discovery has suggested, or -altered ecclesiastical discipline requires. The revival would then -become a living monument and a true expression of the restoration of -religion in the land. But I grieve to say, from what I see of the -majority of pointed churches now erecting, that they are calculated to -inflict greater injury on the cause than even the Italian abortions, -which can only excite disgust, and drive men to the opposite opinion, -and therefore practically of some service. It is now time that the -movement assumed a regular principle; in the commencement everything was -strange and ill understood; step by step we had to fathom, and works -which now appear easy of execution were then deemed almost -impracticable. A great many errors and failures were the natural -consequence, and no man has been guilty of greater mistakes than myself; -some of them were caused by want of experience in this new and difficult -career, others through total inadequacy of funds. However, I feel -certain that, but a few years ago, even unlimited funds could not have -produced a truly fine work; and now I believe that a very majestic -building could be accomplished at a comparatively moderate outlay. But I -am sorry to say that, as yet, I see no man who has profited by my -original errors. The new churches are more elaborate and full of -decoration, but as convenient buildings are rather a decline from those -originally produced, and much more costly and very unsuitable for their -intentions. There is no distinction between churches intended for -religious orders and those for parochial purposes, though their use is -widely different. Formerly every order built in accordance with its own -rules, and it is easy, on the mere inspection of these buildings, to -ascertain their origin. The Dominicans were great preachers, and -consequently their churches are like immense naves, with lateral chapels -between the buttresses; the high altar placed against a reredos, behind -which was the choir for the religious. Christian architecture lends -itself perfectly to all these varieties: a Carthusian, a Dominican, or a -Franciscan church may be and _were_ quite in accordance with true -ecclesiastical architecture, and yet most differently disposed, to suit -the various religious rules. Unless Pointed architecture is carried out -on these adaptive rules, which are the old ones, it is not a living -monument. It is quite certain that our present race of architects, as a -body, do not yet understand the language: they transcribe words, and -even sentences, accurately, but it is a dead imitation of something -already done, and not a living creation; and, consequently, great sums -are thrown away in fine and praiseworthy and well-intentioned attempts, -but which will be shortly deplored by all concerned. I grieve to see -this, as, unless it is remedied, it may be the means of giving the -Pagans a _temporary_ triumph. I say temporary, because their eventual -destruction is as certain as that of the power of the devil himself, -but, like him, they have done and may do a deal of mischief till they -are finally bound. - -I therefore most earnestly conjure all those men who profess to revive -true architecture to look to the wants and circumstances of the time, -_not to sacrifice principles, but to prove that the real principles can -combine with any legitimate requirement of religion_; let the bishops -and clergy practically perceive that Christian architecture fulfils -perfectly all their wants: let there be light, space, ventilation, good -access, with the absence of drafts, which destroy devotion and excite -prejudice against Pointed doorways. Avoid useless and over-busy detail, -and rely on good proportions and solemnity of effect. Above all, we must -remember that everything old is not an object of imitation—everything -new is not to be rejected. If we work on these golden principles, the -revival would be a living monument, as it was in days of old; and that -God may grant us means to carry it out, that he will enlighten the -hearts of the obdurate, and unite the faithful in one great bond of -exertion for the revival of the long-lost glory of his church, -sanctuary, and altar, is the earnest prayer of the writer of this book. - -[21] In the old histories of Amiens, the bas-relief representing the -prophecy of Micheas, cap. iv., v. 3, "Et concidant gladios suos in -vomeres, et hastas in ligones," was commonly described as representing -the ancient manufacture of arms, for which that city was celebrated, but -to which it has not the slightest reference. At Rouen, the history of -Joseph and his brethren, with their sacks, and the cup, with the hanging -of the chief butler, was considered as that of a cheating corn-factor, -by the seizure of whose property the portal was erected; but without the -smallest grounds of probability, as shown by the learned Dom Pomeraye. - -[22] It is worthy of remark that the idea of representing S. Joseph -holding our Lord in his arms is comparatively modern, and in utter -opposition to the ancient school of Christian art, who always ascribed a -secondary position to this saint, and never made any representation of -him that would convey the least idea of his entertaining any _paternal_ -affection for our Blessed Lord. I have attentively studied this subject, -and never yet found any ancient representation that does not fully bear -out my assertion. This is one of the many instances where modern art, -disregarding ancient traditions, seeking the pretty and the pleasing, in -lieu of the mysterious and sublime, has imparted the externals of -importance to S. Joseph that the church has never recognized. _Our -Divine Lord as an infant was always represented in the arms of the -Blessed Virgin, and no other_, in all ancient mosaic painting and -sculpture, and I believe that these modern images of S. Joseph, which -have such astonishing vogue among devout people, if brought before an -episcopal council, would be condemned as tending towards erroneous -opinions. - -[23] The usual description of articles made by nuns in their recreation -were produced by scissors and paste, little gilt paper nick-nacks, fit -only to please children of a very tender age, and, indeed, bad for them, -as tending to corrupt their early notions. Every convent had a -glass-case, in which their miserable productions were reserved, and -shown and sold to visitors. I have heard of a very devout man, a member -of the English church, who went to see a convent in the centre of -England, imbued with the most reverent idea of conventual architecture; -cloisters, chapter-houses, oratories, dim oriels, and all the -associations of old religious buildings. What, therefore, was his -astonishment, at being driven up to what he conceived, from its external -appearance, was a new parochial union; nor was it lessened on his being -shown into a modern-looking, ill-furnished parlour, containing one of -these glass-cases full of trumpery, and invited to become a purchaser; -when, in his confusion, he found himself the fortunate possessor, minus -seven shillings, of a paper donkey and two paniers of sugar-plums, and -was glad to make a speedy retreat, with this singular reminiscence of -the modern daughters of S. Benedict. It is, however, a great -satisfaction to know that a better spirit is arising in several -cloistered communities, who now reproduce the sacred vestments in the -integrity of form; and we may hope and trust that the time is not far -distant when all the external objects of these convents will harmonize -with the venerable habit they wear, and with that internal spirit of -piety which they have so wonderfully maintained amid degenerate taste. - -[24] The clumsy manner in which the old church-doors were fitted, and -their opening direct into the body of the building, combined with the -length of Protestant sermons, have been the primary cause of pews. In -many churches they were almost necessary to protect the legs and head -from cutting drafts; and if these pews are now removed, and replaced by -open seats, without remedying the doors and currents of cold air, the -old partitions will return. The first thing is to remove the cause—the -effect will follow. Long sermons, also, have contributed much to -pew-making. A person assisting at an office where there is frequent -change of posture does not attach much importance to his seat, but when -he is fixed for a whole hour's sitting, the case is different; and hence -the comfortable contrivances in the modern English churches where the -sermon is everything, and the divine offices and liturgy but little -considered. Pews are essentially Protestant, but I have seen incipient -erections of the sort even in Catholic churches. - - -+Finis.+ - - - PRINTED BY COX (BROTHERS) AND WYMAN, GREAT QUEEN STREET, - LINCOLN'S-INN FIELDS. - - - - - -End of the Project Gutenberg EBook of A Treatise on Chancel Screens and Rood -Lofts, by A. 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Welby Pugin - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: A Treatise on Chancel Screens and Rood Lofts - Their Antiquity, Use, and Symbolic Signification - -Author: A. Welby Pugin - -Release Date: April 27, 2016 [EBook #51875] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TREATISE ON CHANCEL SCREENS *** - - - - -Produced by Deaurider, Chris Pinfield and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div id="tnote"> - -<p>Transcriber's Note.</p> - -<p>Apparent typographical errors, including inconsistent use of hyphens, -have been corrected. The author's use of accents has been retained.</p> - -<p>Words or phrases in blackletter font have instead been bolded.</p> - -<p>Any period below a superscript has been shifted to the superscript.</p> - -<p>The plates illustrate many of the screens and rood lofts that are -described in the text. They have been moved to the end of appropriate -chapters, and hyperlinked to the corresponding text. They each bear the -inscription "London Published by C Dolman 61 New Bond Street." </p> - -<p>There may be some confusion between the cathedrals of Sens and of -Senlis, both near Paris. There is an illustration of the screen of the -former, but no text; and a paragraph on the latter that mentions an -illustration, which is absent.</p> - -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-01" id="Plate-01">Frontispiece.</a></p> - </div> - <a href="images/pl-01-large.jpg"> - <img src="images/pl-01-thumb.jpg" width="350" height="269" alt="plate 01"/> - </a> - <div class="caption"> - <p class="x-small">A CATHEDRAL SCREEN.</p> - <p class="x-small">A PAROCHIAL SCREEN.</p> - </div> -</div> - -<div id="front"> - -<h1><span class="large">A TREATISE</span><br /> - -<span class="x-small">ON</span><br /> - -<span class="large gap-between">CHANCEL SCREENS</span><br /> - -<span class="x-small">AND</span><br /> - -<span class="large gap-between">ROOD LOFTS,</span></h1> - -<p><b>Their Antiquity, Use, and Symbolic Signification.</b></p> - -<p class="x-small">BY</p> - -<p>A. WELBY PUGIN, <span class="smcap">Architect</span>.</p> - -<p class="small">ILLUSTRATED WITH FIGURES COPIED ON STONE<br />FROM DRAWINGS BY THE AUTHOR.</p> - -<p class="x-small">NE TRANSGREDIARIS TERMINOS QUOS POSUERUNT PATRES TUI.</p> - -<p class="gap-between"><br />LONDON:</p> - -<p class="small">CHARLES DOLMAN, 61, NEW BOND STREET,</p> - -<p class="small">AND 48<small>A</small>, PATERNOSTER ROW.</p> - -<p class="small">1851.</p> - -<p class="x-small"><br />PRINTED BY<br /> - COX (BROTHERS) AND WYMAN, GREAT QUEEN STREET,<br /> - LINCOLN'S-INN FIELDS.</p> - -</div> - - -<h2>CONTENTS.</h2> - -<table id="toc" summary="ToC"> - -<tr> - <td class="chap">Introduction</td> - <td class="pagn"><a href="#Page_1">1</a></td> -</tr> - -<tr> - <td class="chap">Of the Enclosure of Choirs</td> - <td class="pagn"><a href="#Page_14">14</a></td> -</tr> - -<tr> - <td class="secn">Of the Choir</td> - <td class="pagn"><a href="#Page_16">16</a></td> -</tr> - -<tr> - <td class="secn">High Altar</td> - <td class="pagn"><a href="#Page_16">16</a></td> -</tr> - -<tr> - <td class="secn">Jubé or Rood Loft</td> - <td class="pagn"><a href="#Page_17">17</a></td> -</tr> - -<tr> - <td class="secn">Furniture of the Rood Lofts</td> - <td class="pagn"><a href="#Page_18">18</a></td> -</tr> - -<tr> - <td class="chap">On Screens in Italy and Spain</td> - <td class="pagn"><a href="#Page_22">22</a></td> -</tr> - -<tr> - <td class="secn">The Sistine Chapel Screen</td> - <td class="pagn"><a href="#Page_24">24</a></td> -</tr> - -<tr> - <td class="secn">Quirinal Chapel</td> - <td class="pagn"><a href="#Page_25">25</a></td> -</tr> - -<tr> - <td class="secn">San Clemente</td> - <td class="pagn"><a href="#Page_25">25</a></td> -</tr> - -<tr> - <td class="secn">Basilica of St. Nerei and Achille, Rome</td> - <td class="pagn"><a href="#Page_26">26</a></td> -</tr> - -<tr> - <td class="secn">Santa Croce</td> - <td class="pagn"><a href="#Page_27">27</a></td> -</tr> - -<tr> - <td class="secn">San Michele</td> - <td class="pagn"><a href="#Page_27">27</a></td> -</tr> - -<tr> - <td class="secn">San Petronio, Bologna</td> - <td class="pagn"><a href="#Page_28">28</a></td> -</tr> - -<tr> - <td class="secn">Padua</td> - <td class="pagn"><a href="#Page_28">28</a></td> -</tr> - -<tr> - <td class="secn">Venice</td> - <td class="pagn"><a href="#Page_29">29</a></td> -</tr> - -<tr> - <td class="chap">On Screens in Germany and Flanders:</td> - <td class="pagn"></td> -</tr> - -<tr> - <td class="secn">Screens at Lubeck</td> - <td class="pagn"><a href="#Page_31">31</a></td> -</tr> - -<tr> - <td class="secn">Munster</td> - <td class="pagn"><a href="#Page_33">33</a></td> -</tr> - -<tr> - <td class="secn">Brunswick</td> - <td class="pagn"><a href="#Page_34">34</a></td> -</tr> - -<tr> - <td class="secn">Hildesheim</td> - <td class="pagn"><a href="#Page_35">35</a></td> -</tr> - -<tr> - <td class="secn">Bremen</td> - <td class="pagn"><a href="#Page_35">35</a></td> -</tr> - -<tr> - <td class="secn">Basle</td> - <td class="pagn"><a href="#Page_36">36</a></td> -</tr> - -<tr> - <td class="secn">Friedberg and Glenhausen</td> - <td class="pagn"><a href="#Page_36">36</a></td> -</tr> - -<tr> - <td class="secn">Marburg, Halberstadt, and Ulm</td> - <td class="pagn"><a href="#Page_36">36</a></td> -</tr> - -<tr> - <td class="secn">S. Lawrence, Nuremberg</td> - <td class="pagn"><a href="#Page_37">37</a></td> -</tr> - -<tr> - <td class="secn">Great Church at Oberwesel</td> - <td class="pagn"><a href="#Page_37">37</a></td> -</tr> - -<tr> - <td class="secn">Haarlem</td> - <td class="pagn"><a href="#Page_38">38</a></td> -</tr> - -<tr> - <td class="secn">Dixmude</td> - <td class="pagn"><a href="#Page_39">39</a></td> -</tr> - -<tr> - <td class="secn">Aerscot</td> - <td class="pagn"><a href="#Page_39">39</a></td> -</tr> - -<tr> - <td class="secn">Louvain</td> - <td class="pagn"><a href="#Page_39">39</a></td> -</tr> - -<tr> - <td class="secn">Tournai</td> - <td class="pagn"><a href="#Page_40">40</a></td> -</tr> - -<tr> - <td class="secn">Bruges</td> - <td class="pagn"><a href="#Page_40">40</a></td> -</tr> - -<tr> - <td class="secn">Church of Hal, near Brussels</td> - <td class="pagn"><a href="#Page_40">40</a></td> -</tr> - -<tr> - <td class="secn">Antwerp</td> - <td class="pagn"><a href="#Page_41">41</a></td> -</tr> - -<tr> - <td class="secn">Ghent</td> - <td class="pagn"><a href="#Page_42">42</a></td> -</tr> - -<tr> - <td class="chap">On Screens in France:</td> - <td class="pagn"></td> -</tr> - -<tr> - <td class="secn">Cathedral of Amiens</td> - <td class="pagn"><a href="#Page_44">44</a></td> -</tr> - -<tr> - <td class="secn">Abbaye de S. Bertin, S. Omers </td> - <td class="pagn"><a href="#Page_45">45</a></td> -</tr> - -<tr> - <td class="secn">S. Quentin</td> - <td class="pagn"><a href="#Page_45">45</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Lyons</td> - <td class="pagn"><a href="#Page_46">46</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Orleans </td> - <td class="pagn"><a href="#Page_46">46</a></td> -</tr> - -<tr> - <td class="secn">Abbey of S. Denis, near Paris</td> - <td class="pagn"><a href="#Page_46">46</a></td> -</tr> - -<tr> - <td class="secn">Notre Dame de Mantes</td> - <td class="pagn"><a href="#Page_47">47</a></td> -</tr> - -<tr> - <td class="secn">Abbaye de Fontenelle, or S. Wandrille</td> - <td class="pagn"><a href="#Page_47">47</a></td> -</tr> - -<tr> - <td class="secn">Conventual Church of the Grand Augustins, Paris</td> - <td class="pagn"><a href="#Page_48">48</a></td> -</tr> - -<tr> - <td class="secn">Church of the Mathurins, Paris</td> - <td class="pagn"><a href="#Page_48">48</a></td> -</tr> - -<tr> - <td class="secn">Rheims</td> - <td class="pagn"><a href="#Page_48">48</a></td> -</tr> - -<tr> - <td class="secn">S. Nicaise, Rheims</td> - <td class="pagn"><a href="#Page_49">49</a></td> -</tr> - -<tr> - <td class="secn">S. Gatien, Tours</td> - <td class="pagn"><a href="#Page_49">49</a></td> -</tr> - -<tr> - <td class="secn">Church of Souvigny, in the Bourbonnais</td> - <td class="pagn"><a href="#Page_49">49</a></td> -</tr> - -<tr> - <td class="secn">Abbaye de S. Ouen, Rouen</td> - <td class="pagn"><a href="#Page_49">49</a></td> -</tr> - -<tr> - <td class="secn">Rouen Cathedral</td> - <td class="pagn"><a href="#Page_51">51</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Auxerre </td> - <td class="pagn"><a href="#Page_52">52</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Chartres</td> - <td class="pagn"><a href="#Page_52">52</a></td> -</tr> - -<tr> - <td class="secn">Cathédrale d'Albi</td> - <td class="pagn"><a href="#Page_53">53</a></td> -</tr> - -<tr> - <td class="secn">Cathédrale d'Autun</td> - <td class="pagn"><a href="#Page_54">54</a></td> -</tr> - -<tr> - <td class="secn">Cathédrale de Senlis</td> - <td class="pagn"><a href="#Page_54">54</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Toulouse</td> - <td class="pagn"><a href="#Page_54">54</a></td> -</tr> - -<tr> - <td class="secn">Church of S. Sernin, Toulouse</td> - <td class="pagn"><a href="#Page_54">54</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Auch</td> - <td class="pagn"><a href="#Page_55">55</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Rodez, Languedoc</td> - <td class="pagn"><a href="#Page_55">55</a></td> -</tr> - -<tr> - <td class="secn">Cathedral of Troyes</td> - <td class="pagn"><a href="#Page_55">55</a></td> -</tr> - -<tr> - <td class="secn">Account of the Jubés formerly standing in the Churches of Troyes</td> - <td class="pagn"><a href="#Page_57">57</a></td> -</tr> - -<tr> - <td class="secn">Villemaur</td> - <td class="pagn"><a href="#Page_58">58</a></td> -</tr> - -<tr> - <td class="secn">S. Germain de l'Auxerrois, Paris</td> - <td class="pagn"><a href="#Page_59">59</a></td> -</tr> - -<tr> - <td class="secn">S. Etienne du Mont, Paris</td> - <td class="pagn"><a href="#Page_59">59</a></td> -</tr> - -<tr> - <td class="secn">Bourges</td> - <td class="pagn"><a href="#Page_59">59</a></td> -</tr> - -<tr> - <td class="secn">Notre Dame, Paris</td> - <td class="pagn"><a href="#Page_60">60</a></td> -</tr> - -<tr> - <td class="secn">Abbey of Fecamp</td> - <td class="pagn"><a href="#Page_61">61</a></td> -</tr> - -<tr> - <td class="secn">Cathedral Church of Bayeux</td> - <td class="pagn"><a href="#Page_61">61</a></td> -</tr> - -<tr> - <td class="secn">S. Riquier, near Abbeville</td> - <td class="pagn"><a href="#Page_62">62</a></td> -</tr> - -<tr> - <td class="secn">S. Wulfran, near Abbeville</td> - <td class="pagn"><a href="#Page_62">62</a></td> -</tr> - -<tr> - <td class="chap">On Screens in Brittany:</td> - <td class="pagn"></td> -</tr> - -<tr> - <td class="secn">S. Fiacre le Faouet</td> - <td class="pagn"><a href="#Page_63">63</a></td> -</tr> - -<tr> - <td class="secn">Lambader</td> - <td class="pagn"><a href="#Page_63">63</a></td> -</tr> - -<tr> - <td class="secn">Folgoet</td> - <td class="pagn"><a href="#Page_64">64</a></td> -</tr> - -<tr> - <td class="chap">On Screens in England</td> - <td class="pagn"><a href="#Page_65">65</a></td> -</tr> - -<tr> - <td class="secn">Accounts of S. Margaret's, Westminster</td> - <td class="pagn"><a href="#Page_70">70</a></td> -</tr> - -<tr> - <td class="secn">S. Lawrence, Reading</td> - <td class="pagn"><a href="#Page_71">71</a></td> -</tr> - -<tr> - <td class="secn">Churchwardens' Accompts of S. Mary Hill</td> - <td class="pagn"><a href="#Page_72">72</a></td> -</tr> - -<tr> - <td class="secn">Churchwardens' Accompts of S. Helen's, Abingdon</td> - <td class="pagn"><a href="#Page_72">72</a></td> -</tr> - -<tr> - <td class="secn">Extracts from the Churchwardens' Accompts of Heybridge</td> - <td class="pagn"><a href="#Page_73">73</a></td> -</tr> - -<tr> - <td class="secn">Extracts from the Churchwardens' Accompts of Walberswick</td> - <td class="pagn"><a href="#Page_73">73</a></td> -</tr> - -<tr> - <td class="secn">Extracts from the Churchwardens' Accompts of Woodbridge</td> - <td class="pagn"><a href="#Page_73">73</a></td> -</tr> - -<tr> - <td class="secn">Account of the Screen in the Church of S. Giles-in-the-Fields</td> - <td class="pagn"><a href="#Page_74">74</a></td> -</tr> - -<tr> - <td class="chap">Of the four classes of Ambonoclasts:</td> - <td class="pagn"></td> -</tr> - -<tr> - <td class="secn">The Calvinist Ambonoclast</td> - <td class="pagn"><a href="#Page_76">76</a></td> -</tr> - -<tr> - <td class="secn">The Pagan Ambonoclast</td> - <td class="pagn"><a href="#Page_81">81</a></td> -</tr> - -<tr> - <td class="secn">The Revolutionary Ambonoclast</td> - <td class="pagn"><a href="#Page_91">91</a></td> -</tr> - -<tr> - <td class="secn">The Modern Ambonoclast</td> - <td class="pagn"><a href="#Page_98">98</a></td> -</tr> - -<tr> - <td class="chap">Conclusion</td> - <td class="pagn"><a href="#Page_100">100</a></td> -</tr> - -</table> - -<h2>LIST OF PLATES.</h2> - -<table id="lop" summary="LoP"> - -<tr> - <td class="plate"><a href="#Plate-01">I.</a></td> - <td class="text"><span class="smcap">Frontispiece.</span></td> -</tr> -<tr> - <td></td> - <td class="text">A Cathedral Screen.</td> -</tr> -<tr> - <td></td> - <td class="text gap">A Parochial Screen.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-02">II.</a></td> - <td class="text">Elevation of Screen of Old S. Peter's Church, at Rome.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Plan of the Chancel of Ditto.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-03">III.</a></td> - <td class="text">Marble Screen in the Basilica of SS. Nerei and Achille.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Iron Screen from an ancient painting at Sienna, - representing the Life of Pius II., by Pinturicchio.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-04">IV.</a></td> - <td class="text">Marble Screen in the Church of the Frairi, Venice.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Detached Altar of S. Michele, Florence, with its Brass Screen.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-05">V.</a></td> - <td class="text">Rood Screen of the Marienkirche, Lubeck.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Rood Loft, Cathedral, Munster.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-06">VI.</a></td> - <td class="text">Screen in the Dom-Kirche, Lubeck.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Screen and Rood Loft, Hospital, Lubeck.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-07">VII.</a></td> - <td class="text">Rood Loft, S. Katherine's Church, Lubeck.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Screen and Rood Loft, Dom, Hildesheim.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-08">VIII.</a></td> - <td class="text">Screen at Glenhausen.</td> -</tr> -<tr> - <td></td> - <td class="text gap">S. Elisabeth's Church, Marburg.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-09">IX.</a></td> - <td class="text">Screen at Oberwesel.</td> -</tr> -<tr> - <td></td> - <td class="text">Plan of the Jubé, Cathedral, Metz.</td> -</tr> -<tr> - <td></td> - <td class="text">Plan of the Jubé, Cathedral, Toul.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Screen of S. Nicholas's Church, Lorraine.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-10">X.</a></td> - <td class="text">Rood Screen, Cathedral, Antwerp: seventeenth century.</td> -</tr> -<tr> - <td></td> - <td class="text gap">One of the Altars erected against the Nave Pillars, - with its Brass Screen-work.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-11">XI.</a></td> - <td class="text">Iron Screen, Choir of S. Sernin, Toulouse.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Iron Screen at Toledo.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-12">XII.</a></td> - <td class="text">Screen in the Cathédrale de Sens.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Screen in S. Agnes, Picardy.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-13">XIII.</a></td> - <td class="text">Screen in S. Fiacre le Faouet.</td> -</tr> -<tr> - <td></td> - <td class="text">Screen in S. Folgoet.</td> -</tr> -<tr> - <td></td> - <td class="text">Screen in S. Germain, in Ribermont.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Plan of Jubé, Notre Dame de l'Epine.</td> -</tr> - -<tr> - <td class="plate"><a href="#Plate-14">XIV.</a></td> - <td class="text">Lambader, Brittany.</td> -</tr> -<tr> - <td></td> - <td class="text">Iron Screen at S. Riquier: eighteenth century.</td> -</tr> -<tr> - <td></td> - <td class="text gap">Wooden Screen in the Church of Urnes, near Bergen.</td> -</tr> - -</table> - -<div class="pagenum"><a name="Page_1" id="Page_1">{1}</a></div> - -<p class="center small">A</p> - -<p class="center">TREATISE ON ROOD SCREENS,</p> - -<p class="center small"><i>&c.</i></p> - -<h2>INTRODUCTION</h2> - -<div> - <img class="drop-cap" src="images/dropcap.jpg" width="200" height="327" alt="dropcap"/> -</div> - -<p class="drop-cap"><span class="uppercase">The</span> -subject on which I am about to treat -is one of far more importance than the generality -of men may be willing to admit; it -is not a mere question of architectural detail, -respecting a few mullions and a transverse -beam, but it involves great principles connected with -discipline, and even faith, and it is a question in which -all those who either wish for the revival of ancient -solemnity and reverence, or even the preservation of -what yet remains, are most deeply interested. The -contest that has been raised by the restoration of -screens in England is not altogether new; it occurred -in France during the latter part of the last century, -when a vile spirit of modern innovation appears to have -arisen among a portion of the French clergy, chiefly in the capitular -bodies, and more injury was then inflicted on the great churches of that -country than was caused by the outrages of the Calvinists and Huguenots -in the civil wars of the sixteenth century. The traditions of the -church, as regards the <i>disposition</i> and <i>arrangement</i> of ecclesiastical -<span class="pagenum"><a name="Page_2" id="Page_2">{2}</a></span> -buildings in the northern countries, do not appear to have been much -affected by the revived paganism of the sixteenth century; the details -were debased and incongruous, but the <i>things</i> remained unaltered <i>in -principle</i>,—rood lofts were erected, choirs were stalled, cruciform -churches, with aisles and lateral and lady chapels, and transepts, were -the general type followed,<span -class="fnanchor"><a name="Ref_1" id="Ref_1" href="#Foot_1">[1]</a></span> -and screens for choirs, side chapels, and -altars were universal. But gradually, from the adoption of the details of -classic antiquity, the buildings themselves became objects of imitation, -till revived paganism displayed its full absurdity in the substitution of -a temple of Jupiter for a church of the crucified Redeemer in the huge -<i>room</i> called the Madeleine. Designed by infidels, built by infidels, -and suited only for infidel purposes, and then turned over, for want of -another use, to become a church!</p> - -<p>The very decorations are an insult to Christianity; an ambitious -conqueror, set up as a deity, occupying the place of our divine -Redeemer himself, a mockery and a terrible blasphemy against that -God to whose service the place has been unfortunately devoted; -moreover, this monument of absurd impiety has been raised at a -greater cost than what would have produced one of the fairest churches -of mediæval construction, and it is so practically unsuited for even -the ordinary requirements of a church, that there are no means for -hanging bells, but a vain attempt was made of suspending them in the -roof, where they stunned all <i>within</i> the building, and were inaudible -to those <i>without</i>, for whose benefit they were intended, and, after a -short trial, they were finally removed.</p> - -<p><span class="pagenum"><a name="Page_3" id="Page_3">{3}</a></span> -I have been induced to speak particularly of this edifice, as it is the -beau ideal of a modern church in the minds of those who are opposed -to screens; for the principles of these men, worked out to their legitimate -ends, are subversive of every tradition and the whole system of -ecclesiastical architecture. Screens are, in truth, the very least part of -the cause of their animosity to the churches of their Fathers, for if any -man says he loves pointed architecture, and hates screens, I do not -hesitate to denounce him as a liar, for one is inseparable from the -other, and <i>more</i>, inseparable from <i>Catholic arrangement in any style</i>, -Byzantine, Norman, Pointed, or debased. We have now to contend for -the great principles of Catholic antiquity,—tradition and reverence -against modern development and display. It is not a struggle for -taste or ornament, but a contention for <i>vital principles</i>. There is a -most intimate connection between the externals of religion and the -faith itself; and it is scarcely possible to preserve the interior faith in -the doctrine of the holy eucharist if all exterior reverence and respect -is to be abolished.</p> - -<p>"There is no higher act in the Christian religion," says Father -Le Brun, "than the Sacrifice of the Mass; the greater portion of the -other sacraments, and nearly all the offices and ceremonies of the -church, are only the means or the preparation to celebrate or participate -in it worthily." Such being the case, it is but natural that the -place where this most holy sacrifice is to be offered up, should be set -apart and railed off from less sacred portions of the church, and we -find this to have been the case in all ages, in all styles, and in all -countries professing the Catholic faith down to a comparatively very -recent period, when in many places all feelings of sanctity, tradition, -and reverence, seemed to have been superseded by ignorant innovation -and love of change.</p> - -<p>It will be shown in this work that the idea of room-worship, and the -all-seeing principles, is a perfect novelty. Those indeed who would -make the mass <i>a sight</i>, are only to be compared to the innovators of -<span class="pagenum"><a name="Page_4" id="Page_4">{4}</a></span> -the 16th century, who made it essential to be <i>heard</i>; those who compiled -the Book of Common Prayer converted the mass into all-hearing -service; this was the great object of the vernacular change, that people -might <i>hear</i> the priest; they were to be edified by what he <i>said</i>, more -than what he <i>did</i>; the sacrificial act was merged into the audible recitation -of prayers and exhortations; for this reason the altars, in the -reign of Edward the Sixth, were to be moved down from their eastern -position to the entrance of the chancel, to enable the people to hear; -this led to the demolition of stone altars and the substitution of tables. -For this reason the whole congregation crowd into the choirs of the -cathedrals, leaving the rest of the church deserted. For this reason, in -large parochial churches, the chancel has been often entirely cut off, -and a portion of the nave glazed in and reduced to such a size that the -people could hear the clergyman; these were all natural consequences -of the change of principle consequent on the translation of the mass, -and the altered nature of its celebration. That churches are now built -after the old tradition for the service of the separated portion of the -English Church, is purely owing to an internal revival of Catholic -feelings and traditions in that body: the cause is a return to Catholic -truth and reverence; the effect is the erection of churches in accordance -with those feelings. It has been a charge and reproach -made by Catholics against their separated countrymen, that the -old fabrics were unsuited to their service, and unquestionably, -on the principle that it was essential for <i>every one to hear</i>, they -were so. But I will ask these new-fashioned men if it is indispensable -for <i>every one to see</i>, how much better are they adapted for -modern Catholic rites? They become as unfit for one as the other, -for it is unquestionable, that comparatively very few persons in these -cruciform churches could obtain a view of the altar, and this <i>independent -of any screen-work</i>, the disposition of the pillars intersecting -and shutting out all those who are stationed in the aisles -and transepts.</p> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">{5}</a></span> -I have always imagined that one great distinction between the Protestant -and Catholic services was this, that the former was essentially -a <i>hearing</i> service, at which only a comparatively few persons -could assist, while at the latter many thousands, or, indeed, hundreds -of thousands could unite in one great act of adoration and -praise, concentrating their thoughts and intentions with the priest -who is offering at God's altar, although he is far shut off from their -vision.</p> - -<p><i>Real Protestants</i> have always built rooms for their worship, or -walled up the old churches, when they have fallen into their possession, -into four or five distinct spaces, as in Scotland. But the separated -church of England, though Protestant in position, in name, and in -practice, has retained so much of the old traditions in her service, and -is linked by so many ties to older and better times, that she naturally -turns back to them with affection and reverence, and seeks, as far -as her maimed rites and fettered position will admit, to restore the -departed glory of the sanctuary. Few persons are aware that the -choirs of three of the English cathedrals were completely restalled, -and after the old arrangements, by the munificence of churchmen in -the seventeenth century; moreover, the completion of some towers -and extensive works date from the same period. It is a consoling fact, -that the cathedrals of England retain more of their old Catholic arrangements -and fittings than most of those on the continent: and as regards -the fabricks, they have suffered less injury, and have preserved their -original character most wonderfully. Architecturally, we must certainly -admit that the Anglicans have been good tenants of the old -fabricks; we must not test them by the works of preceding centuries, -but by the corresponding period; and when we reflect on the debased -state of design and art that prevailed, even in those countries which -were nominally exclusively Catholic, we may be thankful that our -great religious edifices have been so well handed down to our own -times, when the recognition of their beauty and grandeur is daily -<span class="pagenum"><a name="Page_6" id="Page_6">{6}</a></span> -increasing.<span -class="fnanchor"><a name="Ref_2" id="Ref_2" href="#Foot_2">[2]</a></span> -I have dilated on this subject, for if the lingering -remains of Catholic traditions which have been so imperfectly preserved -since the separation of England in the sixteenth century, have -yet produced such edifying results, how much more have we reason to -expect from those who should possess them in all their fullness! and -how heart-rending, how deplorable, how scandalous is it to behold (as, -sad to say, we have now fearful examples) even priests of the very -temple combining, by word and deed, to break down the carved work -of the sanctuary, and destroying the barriers erected by ancient reverence -and faith!</p> - -<p>But to return, I cannot too strongly impress on the minds of my -readers that the very <i>vitals</i> of Catholic architecture are assailed by the -opponents of screens.</p> - -<p>Those who complain of not being able to see in a Pointed church -should have assisted at an ancient service in a Roman basilica; the -altar surrounded by pillars sustaining veils and curtains, and covered -by a ciborium, was placed in <i>front</i> of the celebrant, of whom nothing -could be discerned by the congregation except an occasional glimpse -of his head; the space behind the altar was reserved for the bishop -and his presbyters, while in front was the choir for those who sung, -<span class="pagenum"><a name="Page_7" id="Page_7">{7}</a></span> -walled round to a considerable height, averaging five feet, and within, -or occasionally outside, this space, were the ambones for the epistle and -gospel, marble rostrums, ascended by steps, and usually of large dimensions; -moreover, the basilicæ were constructed with aisles, like pointed -churches, so that not one-tenth part of the congregation could have -seen either the celebrant or the mensæ of the altar. And although it -does not appear that the Latin church has purposely excluded the sight -of the altar from the people, yet from the beginning the canonical arrangement -of her sacred edifices has had the practical effect of cutting -off its view from a very large portion of the assisting faithful.</p> - -<p>Christians of the present time have but little idea of the solemnity -of the ancient worship of the Catholic church; ordained ministers -were alone permitted to fill the humblest offices about the sanctuary, -every object connected with the sacred rites were considered deserving -of the most loving care; even in the very early ages, the vessels of -the altar were usually of precious metals, and studded with jewels. -The books of the holy gospels were written in golden text on purple -vellum, bound in plates of silver encasing ivory diptychs, and deposited -in portable shrines, like relics. Though all this should fill us with -admiration, there is nothing to excite surprise, when we reflect on -the very sacred nature of the Christian mysteries—no sign typical -and prophetic, as under the Mosaic law, but our blessed Lord truly -present and abiding in the temple in the holy sacrament of the altar,—it -is by no means wonderful that the Christian worship should assume -a form of solemnity formerly unknown, and we are only astounded -that with the perpetuation of the doctrine the practice of external -solemnity should have so lamentably become decayed in the latter -times; indeed, so sacred, so awful, so mysterious is the sacrifice of -the mass, that if men were seriously to reflect on what it really consists, -so far from advocating mere rooms for its celebration, they -would hasten to restore the reverential arrangements of Catholic antiquity, -and instead of striving for front seats and first places, they -<span class="pagenum"><a name="Page_8" id="Page_8">{8}</a></span> -would hardly feel worthy to occupy the remotest corner of the temple. -The form and arrangement of the ancient churches originated from -the deepest feelings of reverence; the altar, or place of sacrifice, was -accessible only to those who ministered, it was enclosed by pillars and -veils; the sanctuary was veiled, the choir was enclosed, and the faithful -adored at a respectful distance. All this, and the custom of every -succeeding century, is in utter opposition to the modern all-seeing -principle, and which, if it is carried out, ends in an absurd conclusion; -for if it be essential for every worshipper to see, even a <i>level room</i> -would not answer the purpose, and the floor must be raised like an -amphitheatre to elevate the receding <i>spectators</i>, for unless the people -be thus raised, they form a far greater barrier than any screen-work; -and even at St. Peter's itself, when the Pope celebrates, there is a -living screen of Swiss troops and noble guards that effectually shuts -out the sight of what is going on, except to those taking part in the -functions, or a favoured few, who by means of gold or interest are -seated in raised loggia. If religious ceremonies are to be regarded as -spectacles they should be celebrated in regular theatres, which have -been expressly invented for the purpose of accommodating great -assemblages of persons to hear and see well. It has been most justly -said, that there is no legitimate halting-place between Catholic doctrine -and positive infidelity, and I am quite certain that there is none between -a church built on Christian tradition and symbolism and Covent -Garden Theatre with its pit, boxes, and gallery.<span -class="fnanchor"><a name="Ref_3" id="Ref_3" href="#Foot_3">[3]</a></span> -It is only by putting -the question in this forcible contrast that persons can really understand -the danger of these new notions, or the lengths to which they may -eventually lead; and I trust it may be the means of raising a feeling of -the greatest repugnance to them in the hearts of every true Catholic.</p> - -<p>As regards screens, I believe there are no portions of church architecture -the origin and intention of which are less understood, and I -<span class="pagenum"><a name="Page_9" id="Page_9">{9}</a></span> -have seen most absurd and contradictory arguments brought forward -in their defence as well as by their assailants; they have originated -from a natural as well as a symbolical intention,—it is a natural principle -to enclose any portion of a building or space which is set apart -from public use and access, and when such a boundary is erected round -the place of sacrifice in a church, it teaches the faithful to reverence -the seat of the holy mysteries, and to worship in humility.</p> - -<p>From the earliest times the choirs and sanctuaries of the Christian -churches were separated off from the rest of the building by open -metal-work and dwarf marble walls, and at the present day, in those -churches where the old screen-work has been destroyed by debased -tastes or revolutionary violence, it has invariably been replaced by high -iron railings, as indispensably necessary for the order and discipline of -the church; and though these railings are meagre in effect and prison-like -in appearance, they are screens to all intents and purposes, and -serve like their more ornamental prototypes to exclude unauthorized -persons from the sacred enclosures.</p> - -<p>The choirs of the early Christian churches, which were all frequented -by the people, were enclosed by open screens, like trellis-work, usually -made of brass, and this principle has descended through all ages in -churches destined for <i>parochial worship</i> and <i>the use of the people</i>, while -in cathedral, collegiate, and conventual churches, which were intended -more especially for the use of ecclesiastics, the solid screens were invariable, -not only across the nave but round the choir, so that the -canons and religious were completely enclosed. The introduction of -these close screens was coeval with the commencement of the long -offices, and were positively necessary for those who were compelled to -remain so many hours in choir, and who would have been unable to -resist the cold if exposed to the free passage of the currents of air which -prevail in these large edifices.<span -class="fnanchor"><a name="Ref_4" id="Ref_4" href="#Foot_4">[4]</a></span></p> - -<p><span class="pagenum"><a name="Page_10" id="Page_10">{10}</a></span> -But, like every object generated in necessity, the church soon -turned them to a most edifying account, and while the great screen -was adorned with the principal events of our Lord's life and passion, -surmounted by the great rood, the lateral walls were carved with edifying -sculptures and sacred histories, many of which still remain, as at -Notre Dame, Paris, Amiens, Chartres, Auch, &c. I do not think that -the theory, which some writers have advanced, of these <i>close</i> screens -being erected to increase the mystery of the celebration, and to procure -greater respect for the sacrifice, is tenable; the mass is not more holy -in one church or one altar than another, and it is most certain that no -parochial churches, built as such, ever had close screens, but always -open ones; and, indeed, we very often find altars erected outside these -close screens of cathedral and conventual churches, for the benefit of -the people, as will be seen by the plates given in this work, which -would involve a complete contradiction in principle, supposing the high -altar to be hid on symbolical grounds. The <i>close</i> screens belong properly -to the choir rather than the altar, as in many Italian churches -served by religious, the clergy sat behind the screen, while the altar -is partly without, so that the celebration served for both the religious -and the people.</p> - -<p>At Durham Abbey, the Jesus altar was outside of the great screen; -and at St. Alban's Abbey, in the screen which traverses the nave, -there are the evident marks of an altar which doubtless served for the -parochial mass.</p> - -<p>It will be seen from these remarks that close screens, as a principle, -are only suitable for churches intended for cathedral chapters or conventual -and collegiate bodies; and they are certainly most unsuitable -for any churches to be erected in this country under existing circumstances, -where the limited extent of means and number of the clergy -render it necessary for all services to be available for the faithful in -general, and the bishops' churches, like the original basilicæ, to be in -a manner parochial.</p> - -<p><span class="pagenum"><a name="Page_11" id="Page_11">{11}</a></span> -But as regards open screens the case is widely different; they existed -under the form of trellis (opere reticulato) in the oldest churches, -and, in succeeding centuries not only was every chancel and choir -enclosed by them, but each chapel, and even altar; they were to be -found in every parochial church, either of metal, stone, or wood; in -Germany, Flanders, and the North, metal was the usual material, but -in England and France stone and wood, while in Italy and the South -they were usually composed partly of marble and partly of metal. -But their use was universal, they commenced many centuries <i>before -the introduction of pointed architecture</i>, and <i>they have survived its -decline</i>; in fact, they belong to the first principles of Catholic <i>reverence -and order</i>, and <i>not to any particular style</i>, though, like everything else -connected with the church, they attained their greatest beauty in the -mediæval period.</p> - -<p>The church of San Michele, at Florence, contains an altar erected -in the fourteenth century, in honour of a venerated picture of the -Blessed Virgin; it is a most interesting example of a detached altar -surrounded by a screen. Like all the Italian mediæval works, it is -exquisitely beautiful in detail, and admirable in the sculptured enrichments; -it is entirely surrounded by a screen, partly composed of -bronze and partly of marble, divided in open panels of pointed -tracery; this supports a cresting, with prickets for tapers, and at the -four angles are images of angels bearing metal candlesticks of elegant -design. In order to convey a more perfect idea of this beautiful and -decorated altar, I have <a href="#Plate-04">figured</a> it among the illustrations. In Ciampini's -great work, "Vetera Monimenta," are plates of some of the -altars which stood in old St. Peter's Church, at Rome, enclosed by -brass screens, surrounded by standards for lights; and as a proof of -the extent of this traditional enclosure of altars, when Antwerp Cathedral -was restored to Catholic worship, after its pillage by the Calvinists -in the sixteenth century, there not only was a great marble screen and -rood loft restored across the choir, but a new range of altars having -<span class="pagenum"><a name="Page_12" id="Page_12">{12}</a></span> -been set up against the pillars of the nave, each altar was enclosed -by an open brass screen about six feet high, supported on a marble -base, as may be most distinctly seen in a view of the church painted at -the time by Peter Neefs, still preserved at Bicton House, near Sidmouth, -and from which I have made the <a href="#Plate-10">drawing</a> etched in this work. -I consider these authorities rather important, as when this church was -restored for the Catholic worship all feeling for pointed design had been -superseded by Italian; but change of detail had not then produced -change of sentiment, and I shall clearly show that Catholic traditions, -in this respect, have survived all changes of form and ornament.</p> - -<p>It is, therefore, these open railings, or screen-work, for which we -contend as an essential characteristic of Catholic reverence in the -enclosure of chancels, chapels, and altars; practically, they prevent -any irreverence or intrusion in the sacred places at those times when no -celebration or office is going on; and symbolically, they impress on -the minds of the faithful the great sanctity of all connected with the -sacrifice of the altar, and that, like the vicinity of the "burning bush," -the ground itself is holy. Wherever this screen or enclosures have been -removed, as in some modernized churches of Italy and France, distressing -irreverence has been the consequence; and, on more than one -occasion, I have seen an altar turned into a hat-stand within a few -minutes after the holy sacrifice had been offered up upon it, while -animals defile the frontals, and lazzaroni lounge on the steps.</p> - -<p>These screens serve also for a most edifying purpose; while the -principal one across the chancel or choir sustains the great rood, with -its attendant imagery and ornaments, the lateral enclosures are surmounted -by ranges of metal standards for lights, to burn on great -feasts, while the mouldings and bratishings are enriched with texts -and sacred devices.</p> - -<p>The rest of this work may be considered only as a justification and -proof of what I have advanced in this brief essay, viz.—1st. That open -screens and enclosures of choirs and chancels have existed from the -<span class="pagenum"><a name="Page_13" id="Page_13">{13}</a></span> -earliest known period of Christian churches down to the present century, -that they form an essential part of Catholic tradition and reverence, -and that no church intended for Catholic worship can be -complete without them. 2nd. That their introduction belongs to no -particular period or style, and that their partial disuse was not consequent -on the decline of pointed architecture, but to the decay of -reverence for the sacred mysteries themselves, as I have found screens -of all styles and dates. 3rd. That closed screens are only now suited -to conventual and collegiate churches in this country, the cathedrals -being required for the worship of the people, from whom the view of the -altar has never been purposely concealed. 4th. That those who oppose -the revival and continuance of open screens are not only enemies of -Catholic traditions and practices, but the grounds of their objections -militate as strongly against every symbolic form and arrangement in -ecclesiastical architecture, and, therefore, till they retract their opposition -they are practically insulting the traditions of the church, -impeding the restoration of reverence and solemnity, and injuring the -progress of religion.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_1" id="Foot_1" href="#Ref_1">[1]</a> -The church of St. Eustache, Paris, is a striking example of a pointed church, both -in plan, disposition, and proportion, carried out in Italian detail; but even much later, -the churches of St. Roch and St. Sulpice, in the same city, were constructed on -Catholic traditions, although all trace of the ancient detail has disappeared; they are -<i>cruciform</i>, <i>choral</i>, and <i>absidal</i>, with <i>aisles</i> and chapels, a clerestory, and vaulting supported -by flying buttresses, and the latter has even two great western towers for bells. -Notwithstanding their debased detail, these edifices have still the character of churches, -and are adapted by their <i>arrangement</i> for the celebration of Catholic rites.</p> - -<p class="nodent"><a name="Foot_2" id="Foot_2" href="#Ref_2">[2]</a> -I trust to be able before long to put forth an impartial statement relative to the -destruction of Catholic edifices and ornaments consequent on the change of religion -in England. After the most patient investigation, I have been compelled to adopt the -conclusion, that the most fearful acts of destruction and spoliation were committed by -men who had not only been educated in the ancient faith, but who were contented -externally to profess its doctrines. I had originally fallen into popular errors on these -matters in some of my early publications, and it is but an act of justice to affix the -odium of the sacrilege on those who were really guilty. I feel quite satisfied that one -of the most urgent wants of the time is a real statement of the occurrences connected -with the establishment of Protestantism and the loss of the ancient faith; of course, I -have to treat the subject in an architectural view, but still I trust to bring forward -many facts that may lead to a better understanding and more charity on both sides, -for we may all exclaim, "Patres nostri pecaverunt et non sunt, <i>et nos iniquitates eorum -portavimus</i>."</p> - -<p class="nodent"><a name="Foot_3" id="Foot_3" href="#Ref_3">[3]</a> -I have been credibly informed, that an amphitheatre was deliberately proposed, a -few years since, as the best form of a Catholic church for London.</p> - -<p class="nodent"><a name="Foot_4" id="Foot_4" href="#Ref_4">[4]</a> -These enclosures were also to prevent the distraction which large bodies of people -moving about the church might occasion to the ecclesiastics.</p> - -</div> - -<div class="pagenum"><a name="Page_14" id="Page_14">{14}</a></div> - -<h2>OF THE ENCLOSURE OF CHOIRS,</h2> - -<p class="center">FROM THE EARLY AGES OF THE CHURCH DOWN TO THE PRESENT TIME.</p> - -<p><span class="smcap">It</span> is most certain (writes the learned Thiers) that in the three first -centuries there were churches, that is to say, places set apart for the -faithful to meet in prayer and assist at the holy sacrifice; but we have -no record respecting the internal arrangements of those places, which -often were mere rooms in private houses, hence it is impossible to say -whether any separation existed in them between the people and the -clergy.</p> - -<p>But from the time of Constantine's conversion, it is beyond doubt -that the choirs were divided off from the other portion of the church -by veils or screens. Eusebius describes the choir of the Church of -the Apostles, erected by Constantine at Constantinople, as enclosed by -screens, or trellis-work, marvellously wrought.—"Interiorem ædis -partem undique in ambitum circumductam, <i>reticulato opere</i> ex ære -et auro affabre facto convestivit."</p> - -<p>The same writer thus speaks of the choir of the Church of Tyre, -built and consecrated by the Bishop Paulinus:—"Porro sanctuario -hoc modo absoluto et perfecto, thronisque quibusdam in altissimo loco -ad Præsidum ecclesiæ honorem collocatis, et subselliis præterea undique -ordine dispositis, decore eximieque exornato, altarique undique tanquam -Sancto Sanctorum in medio sanctuarii sito, ista rursus, ut a -plebe et multitudine eo non posset accedi, cancellis ex ligno fabricatis -circumdedit, qui adeo artificiosa solertia ad summum elaborati sunt, -ut mirabile spectaculum intuentibus exhibeant."</p> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">{15}</a></span> -The emperor Theodosius divides the church into three parts:—"Sacro -sanctum Altare <i>Cancellis Clausum</i>, quadratum Templi oratorium -murorum ambitu circumseptum, et locum residuum usque ad ecclesiæ -fores exteriores." And St. Paulinus, Bishop of Nola, describes -three doors in the screens of the Church of St. Felix.</p> - -<p>Trinaque Cancellis currentibus ostia pandunt.</p> - -<p>Among the decrees of the Second Council of Tours, in 557, it is -ordered that lay persons are not to enter the chancel which is divided -off by screens, except to receive the holy communion:—"Ut Laici -secus altare, quo sancta mysteria celebrantur, inter Clericos, tam ad -vigilias, quam ad Missas, stare penitus non præsumant; sed pars illa -<i>quæ a Cancellis versus Altare dividitur</i>, Choris tantum psallentium -pateat Clericorum. Ad orandum vero et communicandum laicis et -feminis, sicut mos est, pateant Sancta Sanctorum."</p> - -<p>St. Germanus, patriarch of Constantinople, thus explains the intention -and meaning of the choir screens:—"Cancelli locum orationis -designant, quojusque extrinsecus populus accedit. Intrinsecus autem -sunt Sancta Sanctorum solis Sacerdotibus pervia. Sunt autem revera -ad piam memoriam <i>Cancelli ænei</i>,<span -class="fnanchor"><a name="Ref_5" id="Ref_5" href="#Foot_5">[5]</a></span> -nequis simpliciter et temere ingrediatur."</p> - -<p>The space enclosed by these screens in those churches where the -aisles extended round the choir was entered by three double gates, -those to the west, at the lower end of the choir, were called "the holy -doors," the others were placed between the choir and the sanctuary, -on the epistle and gospel sides. But in smaller churches, where the -chancel alone forms the eastern extremity, there was only one pair of -gates, or holy doors, at the west, and this most ancient arrangement -has continued down to the present day, even in churches that have -been fitted up with modern iron railings.</p> - -<p><span class="pagenum"><a name="Page_16" id="Page_16">{16}</a></span> -From the authorities above quoted, which are some cited by Father -Thiers, in his treatise, Sur le Cloture des Chœurs, it will be seen -that open screens existed from the earliest erection of churches, and -that they were composed of wood or metal, most frequently brass. -This style of enclosure prevailed universally in all classes of -churches till the end of the twelfth century, when, in the cathedral -and collegiate churches, they were altered into solid walls, in the -manner and for the reasons before described in the introduction to -this work.</p> - -<h3 class="hide">THE CONSTITUTIONS OF S. CHARLES BORROMEO</h3> - -<p>In the "Constitutions" of the great St. Charles Borromeo, which -were of course subsequent to the Council of Trent, are the following -interesting decrees relative to the enclosure of altars:—</p> - -<h4><i>Of the Choir.</i></h4> - -<p>The place of the choir (since it ought to be by the high altar, -whether it surround it from before, as the ancient custom was, or it -be behind, because either the site of the church, or the position of the -altar, or the custom of the place so require) being separated from -the space occupied by the people (as the ancient structures and the -nature of the discipline show) and surrounded by screens, ought -to extend so far, both in length and breadth, where the space of the -site allows of it (even to the form of a semicircle, or some other shape, -according to the character of the church or chapel, in the judgment -of the architect), as to correspond fitly in capaciousness, as well as in -becoming adornment, to the dignity of the church, and the number of -the clergy.</p> - -<h4><i>Of the High Altar.</i></h4> - -<p>The high altar ought to be so placed as that there shall be between -the lowest step to it and <i>the screen-work by which it is, or is to be, -fenced</i>, a space of eight cubits, and even more where possible, and the -size of the church requires it for its proper adornment.</p> - -<div class="pagenum"><a name="Page_17" id="Page_17">{17}</a></div> - -<h3>OF THE JUBÉ, OR ROOD LOFT.</h3> - -<p>It was the custom of the primitive church, and long afterwards, to -sing the Epistle and Gospel from two stone pulpits placed at the lower -end of the choir, from whence they could be conveniently heard by the -people; and from this reason they were termed "ambones." Of these, -many examples are remaining in the ancient basilicas, especially at San -Lorenzo, San Clemente, &c., at Rome. These pulpits were also used -for chanting the lessons of the Divine Office, and from the reader asking -a blessing before commencing with, Jubé Domine Benedicite, they were -commonly called "jubés," which name was retained when those pulpits -were exalted into a lofty gallery reaching across the choir.</p> - -<p>It is difficult to affix the precise period when the transverse jubés, -or rood lofts, were first erected, but they must be of very great antiquity, -as that of St. Sophia at Constantinople was large enough to -enable the emperors to be crowned in it, a function which would -require space for a considerable number of persons.</p> - -<p>The French kings always ascended the jubé of Rheims Cathedral at -their coronation; and on the accession of Charles X., as the ancient -rood loft had been demolished, a temporary one was erected for the -solemnity of his coronation.</p> - -<p>These jubés were usually erected on a solid wall to the choir, and -pillars with open arches towards the nave; and under them there was -usually one or more altars for the parochial mass.</p> - -<p>They were usually ascended by two staircases, either in circular -turrets<span -class="fnanchor"><a name="Ref_6" id="Ref_6" href="#Foot_6">[6]</a></span> -or carried up in the thickness of the wall, which was generally -the case in England.</p> - -<p>Occasionally we find altars were erected in the lofts, under the foot -of the cross; such was the case at Vienne, in the Church of St. -Maurice, where the parochial altar was in the centre of the rood -<span class="pagenum"><a name="Page_18" id="Page_18">{18}</a></span> -loft, and the Blessed Sacrament was also reserved there Sub titulo -crucis.</p> - -<h3>OF THE FURNITURE OF THE ROOD LOFTS.</h3> - -<p>1.—The <span class="smcap">Great Crucifix</span> and <span class="smcap">Rood</span>, with its attendant images, -stood always in the centre of the loft.</p> - -<p>The cross was usually framed of timber, richly carved, painted, and -gilt; at its extremities the four Evangelists were depicted, and frequently -on the reverse the four doctors of the church. The Evangelists -were sometimes represented as sitting figures in the act of writing, but -more frequently under the form of the apocalyptical symbols. The -extremities of the cross usually terminated in fleur-de-lys, and its sides -were foliated or crocketed.</p> - -<p>The Blessed Virgin and St. John were the almost invariable accompaniments -of the crucifix, but cherubim were occasionally added. As -these Roods were of great weight, their support was assisted by -wrought-iron chains, depending from the great stone arch on the -entrance to the choir and chancel, and the staples for these chains are -frequently to be seen in churches from which the Roods have been -removed.</p> - -<p>2.—<span class="smcap">Lecterns</span> for the Epistle, Gospel, and Lessons. These lecterns -were either moveable brass stands, like those in choirs, or marble -desks, forming part of the masonry of the design: these are still left in -many churches on the continent. Those at the Frairi at Venice are -most beautiful, and, to come nearer home, in a rood loft at Tatershall -Church is a curiously-moulded stone desk for the reader of the lessons.</p> - -<p>3.—<span class="smcap">Coronels</span> and <span class="smcap">Standards</span> for <span class="smcap">Lights</span>.</p> - -<p>Coronels of silver or other metal were suspended on all the great -rood lofts, and filled with lighted tapers, on solemn feasts. The -maintenance of the rood lights was a frequent and somewhat heavy -item in the old churchwardens' accounts, as will be seen by extracts -published in this work.</p> - -<p><span class="pagenum"><a name="Page_19" id="Page_19">{19}</a></span> -At Bourges there were twenty-four brass basins, with prickets -for tapers, which the bishops used to supply at their own cost.</p> - -<p>The Blessed Sacrament was usually exposed from the rood loft. -The exposition on the high altar of Lyons Cathedral was mentioned as -occurring for the first time in the year 1701. All the solemn expositions -at Rouen took place from one of the altars under the rood loft, -and there is every reason to believe that the Blessed Sacrament was -usually exposed either on the rood lofts or the altars attached to them; -but these expositions were only at considerable intervals of time, and -only permitted on some great and urgent occasion, and they were -then conducted with the greatest possible solemnity, as may be seen -in the account given by De Moleon of the exposition of the Blessed -Sacrament at the Cathedral, Rouen. Branches of trees were commonly -set up in these rood lofts at Christmas and Whitsuntide, and -they were also occasionally decorated with flowers.</p> - -<p>The principal use of these lofts was for the solemn singing of the -Epistle and Gospel; but, as I have said before, the lessons and the -great antiphons, &c., were also chanted from them. In the Greek -Church, the deacon read the diptychs from the rood loft, and formerly -warned the catechumens and the penitents to depart before the mass, -crying out Sancta Sanctis! The fronts of the old rood lofts were -frequently most richly decorated with paintings or sculptures of -sacred history, divided into panels or niches, surmounted by a rich -bratishing of open tracery-work and foliage.</p> - -<p><span class="smcap">The Rood Beam.</span>—In the generality of wooden screens, the -breastsumer of the screen forms the beam on which the rood is -fixed and tennanted; but there are instances where the beam is fixed -at some height above the top, as at Little Malvern, the intervening -space being filled in with some tracery, or enrichment. The position -of this beam gave rise to a very ludicrous mistake on the part of one of -the recent screen opponents, who cited this church as an example of a -mere beam to sustain a rood without a screen; but unfortunately for his -<span class="pagenum"><a name="Page_20" id="Page_20">{20}</a></span> -argument, the screen itself is still standing beneath, in its original -position. In Italy, at Milan, Sienna, Ovieto, and several of the -larger churches, there is only a beam sustaining the rood, with images -of the Blessed Virgin and St. John. Some of them are ornamental -in design, but I do not think any of them older than the sixteenth -century. There are several examples in France, but all comparatively -modern; but in the Domkirche, at Lubeck, there is a most remarkable -example of a rood beam, that merits a particular description. The -beam itself is composed of a great many pieces of timber, deeply -moulded and carved, and enriched with pendent tracery and -crocketed braces. It stretches across the nave in the westernmost -arch, on a line with transept, the rood screen being across the easternmost -one.</p> - -<p>The cross is covered with open tracery, and crocketed; each crocket -is an expanding flower, from which the bust of a prophet issues, bearing -a scroll with a prophecy relative to our Lord's passion. The same -images are carved at the extremities of the four great quatrefoils, -containing the emblems of the Evangelists. The images of the Blessed -Virgin, St. John, St. Mary Magdalen, and the bishop at whose cost -the work was set up, are placed on the beam: the two latter are kneeling. -Between these, the dead are seen arising from their graves; and -in either angle, on a corbel, an angel of justice and mercy. Beyond -these, on the piers of the church, are two images of Adam and Eve; -and a host of smaller angels and images complete the personages of -this most extraordinary work. Some of the images are rather -barbarous, but the foliage and details are exquisitely wrought, and the -whole design is most striking and original.</p> - -<p>There are rood beams at Nuremberg, but the originality of that in -St. Lawrence's Church is rather doubtful,—though the antiquity of the -rood itself is certain. Each arm of the cross ramifies into three -branches, at the extremities of which are angels, with chalices, and -on the top branch a pelican.</p> - -<p><span class="pagenum"><a name="Page_21" id="Page_21">{21}</a></span> -Gervase, the monk of Canterbury, in his description of that cathedral, -makes the following statement: Under the great tower was -erected the altar of the holy cross, and a screen which separated the -tower from the nave: a <i>beam</i> was laid across, and upon the middle of -this beam a great cross, with images of the Blessed Virgin and -St. John, and two cherubim.</p> - -<p>There is a rood beam of some antiquity at the church of Séran, near -Gisors. It is placed across the westernmost arch of the central tower. -And the same may be remarked in several of the Normandy churches; -but in some cases they stand considerably above the top of the screen; -while in others the screens have been removed at a very recent period, -probably that of the great revolution.</p> - -<h4><i>From the Instructiones Fabricæ of S. Charles Borromeo.</i></h4> - -<p>Under the vaulted arch of the chancel in every church, especially -parochial churches, let a cross, having thereon the image of Christ, -devoutly and becomingly made of wood, or any other material, be -exposed, and conveniently placed.</p> - -<p>But if, on account of the great depression of the arch or vaulting, it -cannot be placed so well there, then let it be put up against the wall, -over the arch, under the ceiling; or let it be placed over the chancel -door.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_5" id="Foot_5" href="#Ref_5">[5]</a> -The custom of using brass for the material of choir screens is to be traced to a very -late period, as at St. Gatier, at Tours; Cathedral, Rouen; and in many of the Flemish -cathedrals.</p> - -<p class="nodent"><a name="Foot_6" id="Foot_6" href="#Ref_6">[6]</a> -The only instance I have found in England of circular staircases to a rood loft, inside -the church, is at Ely, before the old alterations of the choir.</p> - -</div> - -<div class="pagenum"><a name="Page_22" id="Page_22">{22}</a></div> - -<h2>ON SCREENS IN ITALY AND SPAIN.</h2> - -<p><span class="smcap">I commence</span> with Italy, first, because it has been the fountain from -whence Catholic truth has flowed to other parts of Christendom, and -secondly, as I believe it is a very general delusion that screens formed -no part of the fittings of a Roman church.</p> - -<p>As an overwhelming contradiction to this often-repeated error, I -produce a <a href="#Plate-02">representation</a> of the great screen in old St. Peter's, from the -most irrefragable authority,<span -class="fnanchor"><a name="Ref_7" id="Ref_7" href="#Foot_7">[7]</a></span> -from which it will be seen that a <i>double</i> -marble wall was erected, about six feet high, and twelve feet apart, -that on these walls stood twelve porphyry pillars, supporting a transverse -cornice surmounted with standards for lights. Moreover, -at the neck of these pillars, under the cap, rods were extended for -the suspension of lamps, which were kept perpetually burning in -honour of the Apostles, whose relics lay beneath the high altar.</p> - -<p>This altar, as will be seen by the plan, stood considerably within -<span class="pagenum"><a name="Page_23" id="Page_23">{23}</a></span> -the screen, surrounded by pillars, and covered by a ciborium. The back -of the altar is turned towards the nave, with a cross and candlesticks -upon it, and must have effectually concealed the celebrant from the -people; behind all this is seen the great apse, with the cathedra for -the pope, mosaic ceiling, and usual decorations.</p> - -<p>This is the most important authority for the use of screens in the -ancient Roman church; and the dignity and sanctity of the old basilica -of St. Peter was so great, that it would be naturally considered as -the type for other churches; moreover, if we except the details -which belong to the early period of its erection, it is a perfect type of -a Pointed screen,—convert the twelve pillars into shafts, surmount -them with arches, and terminate them by a bratishing, and we have -a work of the mediæval period. It is also exceedingly interesting -to observe that this screen is surmounted by standards for wax tapers, -and many lamps were suspended from it. The most modern screens -of the seventeenth and eighteenth century still preserve these features, -and the traditional arrangement has lasted from the reign of the emperor -Constantine down to our time. It will be seen by the plate which -represents the screen, that the altar is covered with an elevated -ciborium, raised on four pillars, connected by rods, from which veils -of silk and precious stuffs were suspended. It may be useful to remark, -that, although as I have before said, the altar itself was never shut off -purposely from the sight of the people, yet it is most certain that all -altars were provided with these veils or curtains, which were closely -drawn during the consecration. There is especial mention of the gifts of -such curtains by the early popes to the altars of churches in Rome;<span -class="fnanchor"><a name="Ref_8" id="Ref_8" href="#Foot_8">[8]</a></span> -and though this rite has been long disused, yet the lateral curtains, -suspended on rods, which still hang in many continental churches, are -<span class="pagenum"><a name="Page_24" id="Page_24">{24}</a></span> -remains of the ancient reverential practice. It is greatly to be -desired that these ciborium altars were more generally revived in our -times, especially for the reservation of the holy sacrament. Their -vaulted coverings are not only most majestic in appearance, but they -are practically useful in preventing the deposition of dust on the altar -and tabernacle. In all cases, side curtains should be retained for -altars in lateral chapels, as they preserve the celebrant from distraction, -and protect the tapers, &c., from currents of air. But to answer -these ends, it is essential that the curtains should be suspended nearly -at right angles to the reredos, and not expanded flat against the walls, -as may be seen in some churches of our own time.</p> - -<h3>THE SISTINE CHAPEL SCREEN.</h3> - -<p>This screen, which is still standing, is probably not older than the -sixteenth century. It is composed of an elevated basement of marble, -about five feet high, and divided above this into compartments, by -square pillars of marble, supporting an entablature, and the spaces -between them being filled by a bronze grating of crossing bars, -making a total height of above 12 feet. On the top of the entablature -are metal standards for tapers.</p> - -<p>Father Bonanni, who wrote in the seventeenth century, describes -the chapel as arranged in the following manner:—1. The altar. 2. The -pope's throne. 3. The benches for the cardinals and prelates. 4. An -enclosed space for the religious and officers of the pope's court. 5. A -sort of balustrade which separates these portions from the laity: at the -top of this balustrade are placed four, six, or seven tapers, according -to the solemnity of the time.</p> - -<p>The term balustrade has been usually applied by old writers to -screens, and must not be understood in the modern acceptation, of -signifying a sort of rail hand high; in this instance we have a clear -proof to the contrary, for the screen termed a balustrade is still -standing, and, with the exception of the style of pillars and mouldings, -<span class="pagenum"><a name="Page_25" id="Page_25">{25}</a></span> -is very similar to those erected in Pointed churches. Trevoux, in his -great dictionary, has the following explanation of the word: "Balustre -also signifies those small <i>pillars</i> to shut off the alcove in a room, or -the chancel of a church or chapel. Columellæ, Cancelli, &c." In -this sense they are always to be understood when mentioned by old -writers in reference to church architecture. Low balustrades, or rails, -were unknown to antiquity. The enclosures were always of a -sufficient height to prevent persons getting over them, and the low -rails round altars, are, in England, a pure Protestant introduction, -and originated in the necessity of preventing the gross irreverence -offered by the Puritan party to the holy tables, on which they -frequently sat during the sermon. If the word balustrade as -used by French and Italian writers, be not thoroughly understood, it -must lead to a misconception of the old arrangements. Pistolezi, in -his great work on the Vatican, describes this screen as a balustrade; -his words are as follows:—"La Capella—e divisa in due spartamenti, -il minore, che della Porta alla <i>Balustrata</i> de marmore si estende, -<i>serve per i Laici</i>," &c.</p> - -<h3>THE QUIRINAL CHAPEL</h3> - -<p>Has a wall in the same position as the screen of the Sistine chapel, -about five feet high, surmounted by pillars, bearing candelabra for -large wax tapers, but the spaces between these are open. This was set -up in the pontificate of Pius VI.</p> - -<h3>SAN CLEMENTE.</h3> - -<p>The marble enclosure of the choir is four feet six inches high; the -floor of this choir is two steps above the nave. Between this choir and -the sanctuary is a cross wall of marble, six feet high, with an opening -in the centre, through which only the back of the altar can be -discerned, as the basilica is turned to the west. It will be readily perceived -by these arrangements, that although no ornamental screen-work -<span class="pagenum"><a name="Page_26" id="Page_26">{26}</a></span> -existed, yet, practically, the sanctuary is far more shut out than -in Pointed parochial churches, where the solid panelling rarely exceeds -three feet six inches; and it must be admitted, that, if the first few -feet were built up solid, as at San Clemente, it is a matter of little -consequence, as regards facilities of seeing, whether this base is -surmounted by open work, or terminated by a cornice.</p> - -<p>The original fittings and choral arrangements of the greater part of -the ancient churches at Rome have been entirely modernized, with a -view to their embellishment, during the revived Pagan period. -Indeed, this city has been singularly unfortunate. During the -prevalence of Christian art, it was almost deserted, and even the Popes -resided at Avignon, in a pointed palace of stupendous dimensions and -design. But on their return, the new and corrupt ideas of art had -arisen, and so much money was expended in rebuilding and altering -the ancient edifices, that Rome possesses far less interesting ecclesiastical -buildings than many comparatively small cities of Italy, and it is -impossible to form the least idea of the beauty of Italian mediæval -art, without visiting those places that have had the advantages of -poverty and neglect, and the consequent preservation of the ancient -and appropriate fittings.</p> - -<h3>THE BASILICA OF ST. NEREI AND ACHILLE, ROME.<span -class="fnanchor"><a name="Ref_9" id="Ref_9" href="#Foot_9">[9]</a></span></h3> - -<p>This remarkable <a href="#Plate-03">screen</a> is of marble, about seven feet high, cut like -a panelled wall. A flight of steps ascends on each side behind the -screen, to an elevated platform, from which rise the steps and -ciborium of the altar; on this same level the Epistle and Gospel were -sung by the deacon and sub-deacon, from marble desks enriched with -carvings, and fixed on the entablature of the screens. There are two -twisted candlesticks for tapers, and it is probable that originally there -were a greater number. The altar, as usual, has its back turned -<span class="pagenum"><a name="Page_27" id="Page_27">{27}</a></span> -towards the people; so that this truly ancient and interesting church -is in diametrical opposition to the all-seeing principle of modern times.</p> - -<p>I have <a href="#Plate-03">figured</a> a curious example of an iron screen from a painting in -the cathedral of Sienna, by Pinturicchio. I imagine this sort of -metal trellis screens to have been very common in the Italian -churches.<span -class="fnanchor"><a name="Ref_10" id="Ref_10" href="#Foot_10">[10]</a></span></p> - -<p class="gap-above">We next proceed to Florence, where the remains of mediæval architecture -are far more extensive and interesting than at Rome. The -choir of the cathedral is immediately under the dome; an octagon -subasement supported a screen of the Doric order, covered with sculptures -and bas-reliefs. This was only removed a few years since, and, -in consequence of its removal, the canons, in order to preserve -themselves from the cold air, usually officiate during the winter -months in a glazed chapel, very like a large counting-house, that has -been erected on the north side of the church. It is, I believe, practically -impossible to keep choir in this church without a screen.</p> - -<h3>SANTA CROCE.</h3> - -<p>In this church many of the old screens yet remain. They are for -the most part composed of metal trellis-work, supported by wrought -uprights, and terminated by open bratishing. Those on the north -side are quite perfect, and evidently coeval with the fabric.</p> - -<h3>SAN MICHELE.</h3> - -<p>The altar of the church San Michele, which was erected in a building -originally a corn-market, out of devotion to a picture of our Blessed -Lady, that was depicted against one of the pillars. It is surrounded by -a superb screen of marble and bronze, which will be better understood -by referring to the <a href="#Plate-04">plate</a>, on which it is figured. The execution of the -sculpture of this altar is most admirable, and the minutest details are -<span class="pagenum"><a name="Page_28" id="Page_28">{28}</a></span> -finished with extreme delicacy and care, and many of the panels are -enriched with precious stones and jaspers. The upper part of the -screen supports a richly-moulded brass trough, to receive the drippings -of the numerous tapers offered upon this altar, and for which -standards with prickets are disposed above each mullion or division of -the screen. The whole is in the most perfect state, and offers a -splendid example of mediæval Italian art.</p> - -<h3>SAN PETRONIO, BOLOGNA.</h3> - -<p>The nave of this gigantic and noble church is alone completed. -The choir at the eastern end is therefore but a temporary erection in -the two last bays. Several of the side chapels are enclosed by -Pointed screens, coeval with the erection of the church. They are -composed partly of wood, and partly of marble and metal; but they -are elaborate and lofty, and quite of the same character as those of -the northern churches.</p> - -<h3>PADUA.</h3> - -<p>The church of San Antonio has a large screen and rood loft, of -cinque-cento-work, at the entrance of the choir, which is also -surrounded by screen-work, and another screen, of a much older date, -with open arches and tracery-work executed in marble, divides off the -chapel of S. Felice from the main body of the church. The arrangement -of the choir of this remarkable church is very similar to that -which prevailed in the French cathedrals; and some of the churches in -Venice bear a very close resemblance to the Flemish ecclesiastical -buildings.</p> - -<p>The chapel of Santa Maria dell' Arena, in the same city, remains -nearly in its original state, and exhibits a very curious example of -choral arrangement. The stalls partly return on each side of the -entrance, and are backed by stone walls about four feet high on the -inside, and seven on the outside; the space between them is ascended -<span class="pagenum"><a name="Page_29" id="Page_29">{29}</a></span> -by steps, and forms a platform or ambo for the chanting of the Gospel -and Epistles, for which purpose an iron and a marble desk, both of -the fourteenth century, still remain. These form a screen to the choir, -and serve as dosells or reredoses to two altars which are placed against -them. There are no appearances of there ever having been any screen-work -above these, but all above a solid wall seven feet high is of small -consequence as regards facilities of seeing for those in the nave. This -chapel was not, however, parochial, but erected for the use of a -confraternity.</p> - -<h3>VENICE.</h3> - -<p>The screen of S. Mark has been so often depicted, that it has not -been thought necessary to give a plate for its illustration; but it is a -very fine example of an early Italian screen. Some writers have commonly -described it as Byzantine, but it differs entirely from Greek -screens, which are invariably solid, and entered by three doors; -whereas that of S. Mark is open above the subase, and has only one -pair of doors in the centre. It is a very remarkable work of the -period, and decorated with several marble images above the entablature, -executed by early Pisan sculptors. The images are of a much -more recent date than the screen itself, which is one of the most -ancient and best preserved examples of screens now remaining in Italy.</p> - -<p>The church of Frairi, or Santa Maria Gloriosa, contains a very -remarkable choir screen, which I have <a href="#Plate-04">figured</a> among the plates. It is -composed of marble, and quite solid; the front is divided into -compartments representing the prophets, boldly designed, and carved -in bas-relief; at each end are the ambones for the Epistle and -Gospel, with an angel for the book-bearer.</p> - -<p>Beneath the corbels which support these ambones are the four -Evangelists represented seated and writing the Gospels. The corbels -themselves are beautifully wrought with cherubims and angels. The -choir stalls within this screen are of elaborate Gothic-work, and -<span class="pagenum"><a name="Page_30" id="Page_30">{30}</a></span> -ornamented with skilful inlay. Altogether, this church is another -most striking example, out of multitudes of others, of the extreme -fallacy and absurdity of the modern notion that Pointed architecture is -unsuited to Italy and the south; and yet we hear this continually put -forth in the most positive manner; and instead of men importing the -grand ideas and spirit of those Italian artists who flourished in the -mediæval era, we are inundated with the wild eccentricities of Bernini, -or the more insipid productions of an even later school.</p> - -<p class="gap-above">Not having visited Spain, I am not able to give any account of the -church fittings from personal observation, but I have had an opportunity -of inspecting several accurate drawings made on the spot, and -from them it appears that huge screens of ornamental iron-work, -reaching to a vast height, and elaborate in detail, are by no means -uncommon. I have <a href="#Plate-11">figured</a> one on a small scale from the cathedral of -Toledo, and I have little doubt that they greatly resemble the choir -<a href="#Plate-11">screens</a> of St. Sernin at Toulouse, which I have given to a larger -scale. This city partakes most strongly of a Spanish character, which -strengthens my supposition regarding the similarity of the screen-work.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_7" id="Foot_7" href="#Ref_7">[7]</a> -Ciampini, de Sacris Ædificiis, p. xvi. Fontana, Templum Vaticanum, p. 89. Pistolezi, -Il Vaticano Descritto, vol. 7, p. 57. From Professor Willis's History of Canterbury -Cathedral:—"Screen of old St. Peter's, at Rome.—In front of the steps were placed twelve -columns of Parian marble, arranged in two rows; these were of a spiral form, and decorated -with sculpture of vine leaves: the bases were connected by lattice-work of metal, or -by walls of marble breast high. The entrance was between the central pillars, where the -cancelli, or lattices, were formed into doors, which gave access to the presbytery as well as -the confessionary. Above these columns were laid beams, or entablatures, upon which -were placed images, candelabra, and other decorations; and, indeed, the successive Popes -seem to have lavished every species of decoration in gold, silver, and marble-work upon this -enclosure and the crypt below. The entire height, measured to the top of the entablature, -was about thirty feet; the columns, with the connecting lattices and entablatures, formed, -in fact, <i>the screen of the chancel</i>."</p> - -<p class="nodent"><a name="Foot_8" id="Foot_8" href="#Ref_8">[8]</a> -Anastasius, in his Lives of the Popes, mentions Sergius I., Gregory III., Adrian I., -Leo III., Pascal I., Gregory IV., Sergius II., Leo IV., and Nicholas I., as munificent -donors of costly veils for the altars of various churches in Rome, as may be seen at length -in Thiers's Traité des Autels, chap. xiv.</p> - -<p class="nodent"><a name="Foot_9" id="Foot_9" href="#Ref_9">[9]</a> -There are five illustrations of this church in an interesting Italian work, entitled -Monumenti della Religione Cristiana.</p> - -<p class="nodent"><a name="Foot_10" id="Foot_10" href="#Ref_10">[10]</a> -These pictures are all engraved in a work entitled Raccolta delle più celebri Pitture di -Sienna.</p> - -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-02" id="Plate-02">Plate II.</a></p> - </div> - <a href="images/pl-02-large.jpg"> - <img src="images/pl-02-thumb.jpg" width="251" height="350" alt="plate 02"/> - </a> - <div class="caption"> - <p class="cursive">Elevation of Screen of Old S<span class="sup">t.</span> Peters Church at Rome.</p> - <p class="small"><i>REFERENCES</i></p> - <p class="small">A. <span class="cursive">Ciborium of the High Altar.</span></p> - <p class="small">B. <span class="cursive">The Holy Gates.</span></p> - <p class="small">CCC. <span class="cursive">Metal lattices.</span></p> - <p class="small">EE. <span class="cursive">Marble Basement.</span></p> - <p class="small">GG. <span class="cursive">Rods for Suspending Lamps & offerings in honour of S<span class="sup">t.</span> Peter.</span></p> - <p class="small">HH. <span class="cursive">Standing Candlesticks for great feasts.</span></p> - <p class="small">PLAN: <span class="cursive">Gates.</span></p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-03" id="Plate-03">Plate III.</a></p> - </div> - <a href="images/pl-03-large.jpg"> - <img src="images/pl-03-thumb.jpg" width="350" height="270" alt="plate 03"/> - </a> - <div class="caption"> - <p class="small cursive">Marble Screen in the Basilica of SS Nerei and Achille, at Rome.</p> - <p class="small cursive">Iron Screen from an ancient Painting at Sienna representing<br /> - the life of Pius the second, by Pinturicchio.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-04" id="Plate-04">Plate IV.</a></p> - </div> - <a href="images/pl-04-large.jpg"> - <img src="images/pl-04-thumb.jpg" width="350" height="273" alt="plate 04"/> - </a> - <div class="caption"> - <p class="small cursive">Marble Screen in the Church of the Frairi, Venice.</p> - <p class="small cursive">Detached Altar of S<span class="sup">t.</span> Michele, Florence, with its Brass Screen.</p> - </div> -</div> - -<div class="pagenum"><a name="Page_31" id="Page_31">{31}</a></div> - -<h2>ON SCREENS IN GERMANY AND FLANDERS.</h2> - -<h3>SCREENS AT LUBECK.</h3> - -<p>The churches of this ancient city have preserved all their internal -fittings as perfectly as those of Nuremberg, although the Catholic -rites have ceased within them for nearly three centuries. The -minutest ornaments remain intact, and but very trifling additions or -alterations have been made in the original arrangement; accordingly, -we find splendid examples of screens, which I have figured in the -adjoining plates.</p> - -<p>The first is in the <a href="#Plate-06">Dom</a> or cathedral. It originally consisted of -three moulded arches, springing from slender quatrefoil shafts, supporting -an open gallery. The choir was entered by two doors under -the side arches, while an altar was erected in the centre compartment, -and this arrangement is almost universal in the German screens, -reversing the custom of France and England, of placing the entrance -in the centre, with two lateral altars. This screen received a considerable -quantity of enrichment in the way of imagery and tabernacle-work -in the fifteenth century; the original arches are probably as old as -the early part of the thirteenth. In Lutheran times, a clock has been -added on the epistle side of this screen, which completely destroys its -symmetry and appearance.</p> - -<p>Two bays westward of this is a gigantic rood, on a beam, described -under rood beams.</p> - -<p>Each lateral chapel is enclosed by open screens, most artificially -wrought in brass, and of great variety of design.</p> - -<p>The next most important screen at Lubeck is in the <a href="#Plate-05">Marienkirche.</a> -<span class="pagenum"><a name="Page_32" id="Page_32">{32}</a></span> -This screen consists of five bays, or compartments, with crocketed -labels and images in the spandrels; the masonry is of the fourteenth -century, but the upper panels, containing images and paintings, are -not older than the fifteenth. As this was always a parochial church, -the arches are all open, and filled with light brass-work. I examined -them most carefully, and they evidently had been open according to the -original design, nor were there any marks of altars ever standing under -them as at <i>the cathedral</i>. The whole choir of this church, as well as -the side chapels, are enclosed with light and beautiful brass screens, -and a very elaborate screen of carved oak, surmounted by open -bratishing, and basins for tapers, divides off the Lady chapel.</p> - -<p>The Katherinen Kirche contains a most beautiful <a href="#Plate-07">rood screen</a> of very -original design.</p> - -<p>The church belonged formerly to religious, and the choir is raised -some eighteen or twenty feet above the level of the church floor, -supported by three ranges of vaulting resting on dwarf marble pillars, -and forming a sort of above-ground crypt. Immediately over the -front of these arches, rises the rood loft, fronted by carved panels, -most beautifully painted with sacred images, and terminated in a very -bold floriated bratishing of admirable execution; in the centre is -the great rood, with the Evangelists in floriated quatrefoils, and the -attendant images of our Blessed Lady and St. John, on octagonal -pedestals. At the eastern end of the lower church is an enclosed choir, -divided off by three light metal screens from the parishioners, so the -religious and people had distinct altars, and were entirely separated in -the same church—a most singular and beautiful arrangement.</p> - -<p>The great <a href="#Plate-06">Hospital</a> is constructed like a church, with beds and -chambers, open at top, under three vast roofs, covering a nave and -aisles. The entrance to this is like a fore choir or antechapel, and -dedicated for divine worship. It contains no less than five altars, -three of which are under the arches of three screens, the stonework of -which is probably the oldest in Lubeck, and to which I should assign -<span class="pagenum"><a name="Page_33" id="Page_33">{33}</a></span> -the date of the middle of the thirteenth century. The upper part -of the loft, consisting of carved panels and paintings, is a work of -the fifteenth century.</p> - -<p>It is worthy of remark that, although the Lutheran religion has -exclusively prevailed in this city for several centuries, many of the -branches set up to burn tapers in front of the images in this and other -churches bear the date of 1664, and even later.</p> - -<p>St. James's church contains several wooden screens of a remarkably -early date. They are certainly not later than the middle of the -thirteenth century, and are most exquisitely carved with heads of -saints, stringcourses, bratishing, images of doctors and evangelists in -quatrefoils, and in style of art corresponding to the early work in -Wells cathedral.</p> - -<p>As this treatise is devoted to the subject of screens, I have confined -my remarks to them, but I must add that I consider the churches -of Lubeck to be the most interesting, as regards fittings and details, -of any ecclesiastical buildings remaining in Europe. There are -examples of metal-work, early painting, and wood-carving, of the -thirteenth, fourteenth, and fifteenth centuries, and the finest monumental -brass in the world, most probably by the same artist as produced -the famous one at St. Alban's, but much larger and more -elaborate.</p> - -<h3>MUNSTER.</h3> - -<p>The churches of this city having been completely sacked during the -usurpation of the infamous John of Leyden, present few traces of the -ancient furniture, and they are for the most part fitted up in the -vilest possible taste. But the cathedral has by some good fortune -retained its ancient screen and choir, which, with the exception of the -high altar, remains in its original state. The <a href="#Plate-05">screen</a> is of stone, most -richly carved, and composed of five bays, the centre one elevated over -the others; under this is an altar, according to German custom, with -<span class="pagenum"><a name="Page_34" id="Page_34">{34}</a></span> -two doors leading into the choir on each side. In the two external -compartments there are two other altars, but these I conceive to be -modern additions.</p> - -<p>The eastern elevation of this screen, towards the choir, is most -beautiful; there are three richly-canopied stalls at the back of the -altar, and the loft, which is very spacious, is ascended by two openwork -spiral staircases, of most elaborate design. The present rood is -modern, and by no means commensurate in beauty with the screen; -but there are evident marks of the former existence of a very large -rood, partly supported by iron ties from the vaulting.</p> - -<p>The lateral screens of the choir are solid, as is universally the case -in cathedral churches; but those which enclose the side chapels are -composed of brass and marble, and were erected in the <i>seventeenth -century</i>, at the cost of the then bishop. Altogether, this choir is one -of the most perfect in Germany, and, happily, restored for Catholic -worship, without suffering any modernization.</p> - -<h3>BRUNSWICK.</h3> - -<p>Though a very unpromising name to Englishmen, who are accustomed -to associate it with very modern times and places in their own -country, is a most interesting ancient city, full of fine mediæval -remains, and curious domestic architecture. The Dom (Lutheran) -contains the remains of a rood screen and loft, with a central altar; -but in a church now disused for worship, and of which I was unable -to ascertain the name, a most elaborate screen, partly of stone, and -partly of wood, is still standing uninjured; the style verges on the -cinque-cento, but all the traditional forms and enrichments are preserved, -and altogether it is a magnificent and imposing work.</p> - -<p>The other churches have been much modernized in adapting them -to Lutheran worship, which appears to vary in different places and -countries to a very considerable extent; for while at Lubeck and -Nuremberg the Catholic fittings remain intact, at Brunswick and -<span class="pagenum"><a name="Page_35" id="Page_35">{35}</a></span> -other places they have nearly disappeared, and been replaced by -modern abominations. Perhaps the preservation of these fine remains -is principally owing to the want of funds in the cities whose commerce -has decayed; they have not had the temporal means to spoil them. -This is strikingly observable in remote parish churches in England, -where no rates could be raised for their repairs, for they are usually in -a very perfect state; while in large and populous towns, the churchwardens -have had so much to expend, that they are completely gutted -and ruined.</p> - -<h3>HILDESHEIM.</h3> - -<p>The cathedral, though it has suffered most severely from extensive -alterations in the seventeenth century, has still preserved a most -curious <a href="#Plate-07">stone rood loft</a>, debased in style, but still carrying out the -principles of the old traditions. It was approached by two flights of -steps, the choir being elevated over a crypt, which gives it a most -imposing appearance. On the top of the first platform is an altar, -and immediately over it a stone pulpit, with a brass lectern, on the -left side, in the form of an eagle, doubtless for the deacon to sing the -holy Gospel to the people. On either side of this are doors, with gates -of open metal-work; above are five arched canopies, which contain -sculptures in alto-relief, representing the sacrifice of Abraham; bearing -the cross; entombment of our Lord; Jonas and the whale; and under -the foot of the rood, in the centre, Moses setting up the brazen serpent -in the wilderness; an appropriate type of the great reality, our Lord -lifted up on the cross, or rood, which is, as usual, sculptured with the -attendant images of St. John and the Blessed Virgin. There are two -Byzantine coronæ for lights still suspended in this church, and many -of the details of the choir, crypt, &c. are exceedingly interesting.</p> - -<h3>BREMEN.</h3> - -<p>This cathedral has been much modernized by the Lutherans, but -the ancient rood loft, though removed from its original position, is -<span class="pagenum"><a name="Page_36" id="Page_36">{36}</a></span> -still standing in the church, as a sort of gallery. The sculpture is of a -very superior description, and it may be ascribed to the early or middle -part of the fifteenth century. In the centre part of the aisle are some -exceedingly curious fragments of stall-work, as old as the thirteenth -century, which doubtless formed a portion of the original choir fittings. -They are very remarkable in design and execution, being cut out of -huge oak planks, several inches thick, and, though somewhat rude, -have a fine, bold, and severe character.</p> - -<h3>BASLE.</h3> - -<p>This cathedral, now used for Lutheran worship, has a very fine -close screen, with the remains of a central altar, and two side -doorways.</p> - -<h3>FRIEDBERG AND GELNHAUSEN.</h3> - -<p>Have the same arrangement, as may be seen by the <a href="#Plate-08">plates</a>.</p> - -<h3>MARBURG.</h3> - -<p>The screen is a decorated wall, entirely shutting off the choir, with -an altar in the centre. See <a href="#Plate-08">plate</a>.</p> - -<h3>HALBERSTADT.</h3> - -<p>Has a fine rood loft, of the end of the fifteenth, or beginning of the -sixteenth century.</p> - -<h3>ULM.</h3> - -<p>The central altar, surmounted with screen and canopy-work, is still -remaining; but the connecting work between it and the stalls has -been removed, probably about the middle of the last century, and an -iron railing substituted. This church, which is one of the finest in -Germany for its elevation and interesting details, is now used for the -Lutheran worship, but, with the exception of this screen, the original -fittings remain perfect.</p> - -<div class="pagenum"><a name="Page_37" id="Page_37">{37}</a></div> - -<h3>S. LAWRENCE CHURCH, NUREMBERG.</h3> - -<p>Here the great rood is supported by an arched beam, over the -entrance of the choir, and as it is some years since I visited this -church, I am not prepared to state positively if this is the ancient -arrangement; but as I have never seen a corresponding example in a -Pointed church where the fittings are coeval with the date of the -edifice, I should greatly doubt it; especially as it is most certain that -this portion of the building has undergone considerable alterations in -adapting it to the Lutheran rites.</p> - -<p>The ancient arrangement of these German screens, with the central -altar and side doors, is often depicted in pictures by the early masters. -I may mention one remarkable instance at the Gallery of the -Academy, Antwerp. The background of a small picture of our -Blessed Lady represents the interior of a church. The screen is -depicted as of grey marble, supported on porphyry pillars. The holy -doors, of perforated brass-work, are closed, and the whole is surmounted -by a rood and accompanying images. The arms of the cross -are supported by elaborate metal chains, descending from the -vaulting.</p> - -<h3>THE GREAT CHURCH AT OBERWESEL.</h3> - -<p>Has one of the most perfect, as well as the most beautiful screens -in Germany (see <a href="#Plate-09">plate</a>); but in its arrangement it resembles the French, -rather than the German types, as the entrance to the choir is in the -centre, and there are two side altars in the vaulted space under the -loft. The details of this screen are most beautifully wrought, and the -mouldings are of the purest form. This church was served by -religious, and the screen is therefore solid, and panelled, to correspond -with the division of the pillars. The screen is not the only interesting -object in this church. The stalls are finely wrought, and the high -altar is surmounted by a splendid triptych, richly painted and gilt. -The sacristy remains in the original state; there are several incised -<span class="pagenum"><a name="Page_38" id="Page_38">{38}</a></span> -slabs and mural paintings, and altogether it is a church of very great -interest.</p> - -<h3>HAARLEM.</h3> - -<p>The Dutch churches have, for the most part, been completely gutted -of their ancient Catholic fittings, but S. Bavon, at Haarlem, is a fortunate -exception. It has preserved the brazen screens of its choir; -they are of wrought work, exceedingly open, and very similar in -design and execution to those at Lubeck. There can be no doubt that -all the churches were provided originally with similar screen-work, -the traces of which may be frequently discerned in the piers and pillars. -I have been informed of some brass screens yet remaining in the more -northern part of Holland; but not having personal knowledge of them, -I can give no description of their dates or design. There is, however, -quite sufficient to establish the great fact, that in Catholic times the -Dutch churches were in no way inferior in this respect, but that -screens were as usual in them as in other parts of Christendom.<span -class="fnanchor"><a name="Ref_11" id="Ref_11" href="#Foot_11">[11]</a></span></p> - -<p class="gap-above">The finest example of a Pointed screen remaining in Belgium is at -Louvain; but even this has been sadly modernized, and its use and -symbolical signification both destroyed. It consists at present of -three open arches, through which people can pass into the choir. -Within the memory of many persons yet living, the side arches were -filled by two altars and reredoses, and the centre one closed by two -gates of open metal-work. The removal of this beautiful and essential -furniture for the screen was coeval with the destruction of the sedilia, -the demolition of the ancient high altar, and the substitution of a -Pagan design in marble, and a variety of other enormities, by which -the whole character and ecclesiastical arrangement of the choir was -destroyed; and what is most lamentable, all this was brought to pass -by those very ecclesiastical authorities who ought to have been -foremost in preserving the ancient traditions.</p> - -<p><span class="pagenum"><a name="Page_39" id="Page_39">{39}</a></span> -But to return. The upper part of the screen and rood loft is still, -happily, perfect, and is surmounted by the original rood, with its -attendant images. The details of the cross are admirably executed, -and the whole effect is most striking and devotional. The cross is -gilt, and relieved in colour; the images are also painted. The arms -of the cross are supported by wrought-iron chains, fixed to the stonework -of the great arch, on the rood loft. The three staples to sustain -these chains may yet be discerned in most of the Belgian churches, -and point out the ancient position of the rood, which modern innovation -has removed.</p> - -<h3>DIXMUDE.</h3> - -<p>Has a very late florid screen and rood loft. It is divided like that -of Louvain, into three compartments. The altars, which, however, -have been much modernized, are still remaining. The decorations, as -well as the reredoses, are of the seventeenth century. The loft is -surmounted by a rood.</p> - -<h3>AERSCOT.</h3> - -<p>The rood loft in this church is of the same date as that of Dixmude, -and most probably designed by the same artist; the side altars here -are also remaining, but covered with decorations of the seventeenth -century, in very bad taste.</p> - -<p>The rood, crucifix, Blessed Virgin, and St. John are still remaining.</p> - -<h3>LOUVAIN.</h3> - -<p>S. Gertrude.—The screen was much injured by alteration in the -seventeenth century; but, though modernized, it retained a great deal -of its original character, till the monstrous idea was conceived, about -three years ago, of suppressing the return stalls, and throwing open the -whole choir. This has been very lately carried into execution, and the -church has suffered most materially, not only in its church arrangements, -but in the general effect of the building.</p> - -<p><span class="pagenum"><a name="Page_40" id="Page_40">{40}</a></span> -The Dominican church had a fine rood and screen, of which there -are still some remains, though greatly injured by the widening of the -choir entrance.</p> - -<h3>TOURNAI.</h3> - -<p>A huge rood screen of black and white marble, erected in the -seventeenth century, surmounted by a crucifix, and decorated with -sculptures. Although erected at a very debased period, it still retains -all the old traditional arrangements.</p> - -<h3>BRUGES.</h3> - -<p>S. Salvator's.—A black and white marble screen and loft of the -seventeenth century. It is divided into three arched compartments, -but without altars; the side spaces are filled with open brass-work, -and the choir gates, or holy doors, are of the same material.<span -class="fnanchor"><a name="Ref_12" id="Ref_12" href="#Foot_12">[12]</a></span></p> - -<p>Notre Dame.—A screen of a very similar description, only of a -plainer character. It is remarkable for having the altar erected in the -centre of the loft, out of which grows the great rood, supporting the -crucifix.</p> - -<p>S. Giles's church has a very curious screen of the seventeenth -century, exceedingly rich in carving, and supporting a rood loft. It -is designed in perfect conformity to the ancient traditions, although -the detail is necessarily of a debased period.</p> - -<h3>THE CHURCH OF HAL, NEAR BRUSSELS.</h3> - -<p>Must have had a very fine rood loft originally, but being a place of -pilgrimage, it became most unfortunately very rich from offerings, -<span class="pagenum"><a name="Page_41" id="Page_41">{41}</a></span> -which were employed (with the best possible intention) to destroy the -ancient furniture of the church; the great rood itself, elaborately -carved, hangs up on the south side of the great tower, and is a fine -specimen of what the beauty of the loft must have been in the old -time.</p> - -<h3>ANTWERP.</h3> - -<p>This great cathedral was completely sacked by the Calvinists, in the -latter part of the sixteenth century, previous to which its fittings were -in perfect unison with the edifice. But, unfortunately, when it was -restored to Catholic worship, the spirit of Paganism had entered into -the arts, and the new furniture exhibited all the marks of debasement. -However, the old traditions still ruled the mind as regarded principles, -and it will be seen, by reference to the <a href="#Plate-10">plate</a>, that the screens were -conceived in the old spirit; and although the introduction of altars -against the nave pillars was a great and distressing innovation, yet -they were still protected by elevated screen-work, and not left open for -profanation. There is a most striking correspondence between this -screen-work and that round the altar of S. Michele, at Florence. The -whole of these fittings have disappeared, partly during the occupation of -the French, and partly by injudicious repairs. The choir is now being -lined with stalls, some of the details of which are deserving of great -commendation, but they have been designed in utter contradiction to -ecclesiastical tradition. If this is to be made a cathedral church, the -choir should be enclosed; but if it is to serve a parochial purpose, -instead of the lofty canopies, and solid back, the choir should have been -enclosed with open metal screens, like those at Lubeck, and an open -rood loft across the choir; at present it is neither one thing nor the -other. The whole entrance of the choir is open to the public, who -crowd up to the high altar, and the stalls are filled with the first -comers; the whole arrangement is disgraceful, unecclesiastical, and -irregular, and loudly calls for reform. Frequented as this church is by -such masses of people, the screen should certainly be an open one, and -<span class="pagenum"><a name="Page_42" id="Page_42">{42}</a></span> -the back, above the stalls, should correspond. There are two enormous -canopies, over nothing, that stand against the pillars; at first I imagined -they indicated the seat of some dean or dignitary, but I soon found they -projected only over a vacant space, by which the stalls were ascended, -and were simply placed there as a vehicle for exhibiting a great -assemblage of pinnacles and buttresses, and expending a sum of money -unhappily, that would have half built the rood loft. The authority -from which I have taken the representation of the old screen, &c., is -a picture by Peter Neefs, preserved at Bicton, the seat of Lady Rolle.</p> - -<p>All the churches in Antwerp have been wofully modernized; but -there is something like a screen at S. James's: two huge masses of -marble wall, projecting from each of the great pillars, at the entrance -of the choir. It is a work of the seventeenth century, heavy, and -ill-contrived; and for a parochial church, most unsuitable.</p> - -<h3>GHENT.</h3> - -<p>The cathedral of S. Bavon has two projections of a similar description, -leaving the space open in the centre for an entrance to the choir. -These form lofts at top, and are ascended by staircases. On Sundays -and festivals, I regret to add, they are filled with <i>fiddlers</i>! Were -they joined at top, this would form a regular rood loft, but as it stands -at present, it is a most anomalous pile of marble-work, effectually shutting -out half the choir, without any attempt at beauty or symbolism.</p> - -<p>The old Dominican church has a remarkable screen of the seventeenth -century; it is overloaded with sculpture and ornament of a -very bad period; but it has a rood and loft, and it separates the choir -from the nave of the church, which, like the usual Dominican -churches, consists of a long parallelogram, with side chapels, gained -out of the projection of the buttresses. The building itself is of the -fine, severe Pointed style that prevailed in the fourteenth century; but -all the fittings, erected probably at the same time as the screen, are of -very debased character. It may be proper to remark that all the side -<span class="pagenum"><a name="Page_43" id="Page_43">{43}</a></span> -chapels of the great Belgian churches are enclosed by marble screens, -intermixed with perforated brass-work. These are mostly the work of -the early part of the seventeenth century, and no doubt replaced the -more ancient oak and metal screens that were mutilated or destroyed -by the Calvinists in the devastating religious wars of the Low Countries. -They are an existing proof that the traditional principles of enclosure -and reverence outlived the change of style of architecture; for, -although all these are of debased Italian design, they are constructed -principally on the old arrangement, and are usually surmounted by -standards for tapers.</p> - -<p>The custom of screening off these side chapels was universal. We -find them in Italy at a very early period (see Bologna), and many -beautiful pointed examples, both in wood and stone, exist in Germany, -France, and England; they are subsequently found of every date and -style. In the eighteenth century they were usually constructed with -elaborate wrought-iron-work, and in our time of a simple form in the -same material; but the principle still remains in every part of -Christendom, excepting some of the most modern Italian churches, -where all tradition seems to have been lost, or abandoned by their -artists and architects.</p> - -<p class="gap-above">This account of screens in Germany and Flanders is necessarily very -incomplete; but it is sufficient to illustrate the intention of the work, -and anything like a complete list would be both too voluminous and -tedious to the reader.</p> - -<p>Chancel screens appear to be very general in the old timber churches -of Norway, and I have figured one in the <a href="#Plate-14">church</a> of Urnes, near Bergen, -which is exceedingly interesting; and though it is by no means easy to -affix dates to these rude productions, there is every reason to suppose -this to be a work of considerable antiquity. This church is now used -for Lutheran worship, but, like every ancient edifice erected for -Catholic rites, it bears indelible evidence of the enclosure of the chancel -and the erection of the rood.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_11" id="Foot_11" href="#Ref_11">[11]</a> -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.</p> - -<p class="nodent"><a name="Foot_12" id="Foot_12" href="#Ref_12">[12]</a> -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.</p> - -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-05" id="Plate-05">Plate V.</a></p> - </div> - <a href="images/pl-05-large.jpg"> - <img src="images/pl-05-thumb.jpg" width="350" height="257" alt="plate 05"/> - </a> - <div class="caption"> - <p class="small cursive">Rood Screen of the Marienkirche, Lubeck.</p> - <p class="small cursive">Rood Loft, Cathedral, Munster.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-06" id="Plate-06">Plate VI.</a></p> - </div> - <a href="images/pl-06-large.jpg"> - <img src="images/pl-06-thumb.jpg" width="350" height="276" alt="plate 06"/> - </a> - <div class="caption"> - <p class="small cursive">Screen in the Dom Kirke, Lubeck.</p> - <p class="small cursive">Screen & Rood Loft, Hospital, Lubeck.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-07" id="Plate-07">Plate VII.</a></p> - </div> - <a href="images/pl-07-large.jpg"> - <img src="images/pl-07-thumb.jpg" width="350" height="283" alt="plate 07"/> - </a> - <div class="caption"> - <p class="small cursive">Screen & rood Loft Dom, Hildesheim.</p> - <p class="small cursive">Rood Loft S<span class="sup">t.</span> Katherine's church, Lubeck.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-08" id="Plate-08">Plate VIII.</a></p> - </div> - <a href="images/pl-08-large.jpg"> - <img src="images/pl-08-thumb.jpg" width="350" height="277" alt="plate 08"/> - </a> - <div class="caption"> - <p class="small cursive">Gelnhausen; Choir.</p> - <p class="small cursive">S<span class="sup">t.</span> Elisabeth's Church at Marburg; Choir.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-09" id="Plate-09">Plate IX.</a></p> - </div> - <a href="images/pl-09-large.jpg"> - <img src="images/pl-09-thumb.jpg" width="350" height="262" alt="plate 09"/> - </a> - <div class="caption"> - <p class="small cursive">Screen at Oberwesel.</p> - <p class="small cursive">Plan of the Jubé. Cathedral, Metz.</p> - <p class="small cursive">Plan of the Jubé. Cathedral, Toul.</p> - <p class="small cursive">Screen of S<span class="sup">t.</span> Nicholas church, Lorraine.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-10" id="Plate-10">Plate X.</a></p> - </div> - <a href="images/pl-10-large.jpg"> - <img src="images/pl-10-thumb.jpg" width="350" height="253" alt="plate 10"/> - </a> - <div class="caption"> - <p class="small cursive">From an Old Picture by Peter Neefs.</p> - <p class="small cursive">The Rood Screen, Cathedral, Antwerp. 17 Century.</p> - <p class="small cursive">One of the Altars, erected against the nave Pillars, with its Brass - Screen work.</p> - </div> -</div> - -<div class="pagenum"><a name="Page_44" id="Page_44">{44}</a></div> - -<h2>ON SCREENS IN FRANCE.</h2> - -<h3>CATHEDRAL OF AMIENS.</h3> - -<p>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 <i>not till -then</i>, 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.</p> - -<p>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.</p> - -<p>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 <i>simplicity</i> and <i>cleanliness</i>! Such were the ideas of -<span class="pagenum"><a name="Page_45" id="Page_45">{45}</a></span> -the men under whom the great churches of France were mutilated -and disfigured.</p> - -<p>"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."</p> - -<h3>ABBAYE DE S. BERTIN, S. OMERS.</h3> - -<p>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.</p> - -<p>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 -<i>totally demolished under the Restoration</i>!</p> - -<h3>S. QUENTIN.</h3> - -<p>The choir of this church was enclosed by sculptures representing the -<span class="pagenum"><a name="Page_46" id="Page_46">{46}</a></span> -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.</p> - -<h3>CATHEDRAL OF LYONS.<span -class="fnanchor"><a name="Ref_13" id="Ref_13" href="#Foot_13">[13]</a></span></h3> - -<p>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:—</p> - -<p class="center x-small">QUOD . BELL . CIVIL LICENTIA.<br /> -FOEDE . DISIECTUM FUERAT<br /> -D.O.M. PROPITIO . CAN . ET COM.<br /> -LUG REST . CC . AN . MD.LXXXV.</p> - -<p>This screen was entirely demolished in the revolution of 1790.—Thiers's -Dissertation sur les Jubés.</p> - -<h3>CATHEDRAL OF ORLEANS.</h3> - -<p>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.</p> - -<h3>ABBEY OF S. DENIS, NEAR PARIS.</h3> - -<p>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.</p> - -<p>From this description it is evident that this screen, with the exception -of the cross, must have been of wretched design; still there is -<span class="pagenum"><a name="Page_47" id="Page_47">{47}</a></span> -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.</p> - -<h3>NOTRE DAME DE MANTES.</h3> - -<p>"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 (<i>retable</i>) 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 (<i>à la Romaine</i>). 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.</p> - -<h3>ABBAYE DE FONTENELLE, OR S. WANDRILLE.</h3> - -<p>"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 -<span class="pagenum"><a name="Page_48" id="Page_48">{48}</a></span> -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.</p> - -<h3>CONVENTUAL CHURCH OF THE GRANDS AUGUSTINES, PARIS.</h3> - -<p>"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.</p> - -<h3>CHURCH OF THE MATHURINS, PARIS.</h3> - -<p>"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.</p> - -<h3>RHEIMS.</h3> - -<p>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.</p> - -<p>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 -<span class="pagenum"><a name="Page_49" id="Page_49">{49}</a></span> -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 <i>Gothique</i>, 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.</p> - -<h3>S. NICAISE, RHEIMS.</h3> - -<p>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.</p> - -<h3>S. GATIEN, TOURS.</h3> - -<p>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.</p> - -<h3>THE CHURCH OF SOUVIGNY, IN THE BOURBONNAIS.</h3> - -<p>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.</p> - -<h3>ABBAYE DE S. OUEN, ROUEN.</h3> - -<p>The splendid screen and rood loft that once decorated this most -glorious church is figured in Dom Pomeraye's history of this famous -abbey.</p> - -<p><span class="pagenum"><a name="Page_50" id="Page_50">{50}</a></span> -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:</p> - -<p>"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."</p> - -<p>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 <i>progress of their waggons through the -choir</i>!</p> - -<p>The following notice of the screen occurs in the text:</p> - -<p>"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 -<span class="pagenum"><a name="Page_51" id="Page_51">{51}</a></span> -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.<span -class="fnanchor"><a name="Ref_14" id="Ref_14" href="#Foot_14">[14]</a></span></p> - -<h3>ROUEN CATHEDRAL.</h3> - -<p class="center">Langlois, Notice sur l'Incendie de la Cathédrale de Rouen:—</p> - -<div id="rouen"> - -<p>"1467. The stalls of the choir erected. The ancient jubé was probably -built at the same time.</p> - -<p>"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.</p> - -<p>"1562. Pillage of the cathedral by the Calvinists, the jubé defaced, -and the brass screens carried off and melted.</p> - -<p>"1639. A new altar, dedicated to the Blessed Virgin, was erected -under the screen, in consequence of a vow made during -a pestilence.</p> - -<p><span class="pagenum"><a name="Page_52" id="Page_52">{52}</a></span> -"1642. A new altar, dedicated in honour of S. Cecily, erected under -the screen.</p> - -<p>"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)."</p> - -</div> - -<p>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.</p> - -<h3>CATHEDRAL OF AUXERRE.</h3> - -<p>"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.</p> - -<p>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.</p> - -<h3>CATHEDRAL OF CHARTRES.</h3> - -<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.</p> - -<p>This screen was only demolished in 1772, and then not with a view -<span class="pagenum"><a name="Page_53" id="Page_53">{53}</a></span> -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.</p> - -<p>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.</p> - -<p>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!</p> - -<p>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.</p> - -<h3>CATHÉDRALE D'ALBI.</h3> - -<p>The jubé of this cathedral is fortunately still standing, and nearly -<span class="pagenum"><a name="Page_54" id="Page_54">{54}</a></span> -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.</p> - -<h3>CATHÉDRALE D'AUTUN.</h3> - -<p>"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.</p> - -<h3>CATHEDRALE DE SENLIS.</h3> - -<p>The ancient jubé was demolished during the revolution, and the -present screen is a miserable erection of <i>this century</i>. I have figured -it as a specimen of a <i>modern French screen</i>, combining every objection -that has been raised by the ambonoclasts of our days, without possessing -any of the beauties of the ancient works.</p> - -<h3>CATHEDRAL OF TOULOUSE.</h3> - -<p>This screen, which I have <a href="#Plate-09">figured</a> 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.</p> - -<h3>CHURCH OF S. SERNIN, TOULOUSE.</h3> - -<p>The choir of this church is enclosed by iron screens of remarkable -design and beautiful execution, <a href="#Plate-11">figured</a> in the plates.</p> - -<p>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 -<span class="pagenum"><a name="Page_55" id="Page_55">{55}</a></span> -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.</p> - -<h3>CATHEDRAL OF AUCH.</h3> - -<p>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.</p> - -<h3>CATHEDRAL OF RODEZ, LANGUEDOC.</h3> - -<p>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.</p> - -<h3>CATHEDRAL OF TROYES.</h3> - -<p>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.</p> - -<p>The following notice respecting the jubé occurs in the records of the -cathedral:—</p> - -<p>"En 1382, le chapitre fit marché pour la construction du jubé avec -Henri Nardau et Henri de Bruxelles, moyennant cinq sous par jour, -<span class="pagenum"><a name="Page_56" id="Page_56">{56}</a></span> -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.</p> - -<p>"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:—</p> - -<p>"'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.'"</p> - -<p>This screen remained perfect till 1793, when it was destroyed by the -revolutionists.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The great relics of the Sainte Chapelle, at Paris, were reserved in a -<span class="pagenum"><a name="Page_57" id="Page_57">{57}</a></span> -similar loft behind the high altar, and the circular staircases, of -beautiful design, have been recovered, and restored to their original -destination.</p> - -<h4><i>Account of the Jubés formerly standing in the Churches of Troyes.</i></h4> - -<p>That of the cathedral already described.</p> - -<p>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.</p> - -<p>The jubé of the Cordeliers' church was of stone, supported by Doric -pillars, and enriched with gilt ornaments. Demolished with the -church in 1793.</p> - -<p>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.</p> - -<p>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 the <i>eighteenth</i> century.</p> - -<p>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.</p> - -<p>The subjoined account, as well as the foregoing details, is taken from -Mons<span class="sup">r</span>. Arnaud's Voyage dans le Département de l'Aube.<span -class="fnanchor"><a name="Ref_15" id="Ref_15" href="#Foot_15">[15]</a></span></p> - -<div class="pagenum"><a name="Page_58" id="Page_58">{58}</a></div> - -<h3>VILLEMAUR.</h3> - -<p>A most interesting jubé, constructed of wood, and erected in the -sixteenth century, is still remaining in the parish church of Villemaur. -<span class="pagenum"><a name="Page_59" id="Page_59">{59}</a></span> -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.</p> - -<h3>S. GERMAIN DE L'AUXERROIS, PARIS, PARISH CHURCH.</h3> - -<p>"The jubé is admirable.<span -class="fnanchor"><a name="Ref_16" id="Ref_16" href="#Foot_16">[16]</a></span> -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.</p> - -<p>This screen was demolished in the great revolution.</p> - -<h3>S. ETIENNE DU MONT, PARIS, PARISH CHURCH.</h3> - -<p>"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.</p> - -<p>This screen, erected at the end of the sixteenth century, is still -standing.</p> - -<h3>BOURGES.</h3> - -<p>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.</p> - -<p>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.</p> - -<div class="pagenum"><a name="Page_60" id="Page_60">{60}</a></div> - -<h3>NOTRE DAME, PARIS.</h3> - -<p>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.</p> - -<p>"The great rood which is over the entrance of the choir, is all of -one piece,<span -class="fnanchor"><a name="Ref_17" id="Ref_17" href="#Foot_17">[17]</a></span> -and a chef-d'œuvre of sculpture.</p> - -<p>"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.'</p> - -<p>"On the north side, opposite the Porte Rouge, is an image of a -man kneeling, with the following inscription on a label:</p> - -<p>"'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.'"</p> - -<p>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-work -<span class="pagenum"><a name="Page_61" id="Page_61">{61}</a></span> -of 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 -at <a href="#Plate-12">Sens</a>, &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.</p> - -<p>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.</p> - -<h3>ABBEY OF FECAMP.</h3> - -<p>"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.</p> - -<h3>CATHEDRAL CHURCH OF BAYEUX.</h3> - -<p>"The screen worked in Caen stone was a gift of the late Mons<span class="sup">r</span>. 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.</p> - -<p>N.B. The original screen was irreparably injured by the Calvinists, -<span class="pagenum"><a name="Page_62" id="Page_62">{62}</a></span> -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.</p> - -<h3>S. RIQUIER, NEAR ABBEVILLE.</h3> - -<p>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 have <a href="#Plate-14">figured</a> this in the plates as a curious specimen -of the period.</p> - -<h3>S. WULFRAN, ABBEVILLE.</h3> - -<p>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.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_13" id="Foot_13" href="#Ref_13">[13]</a> -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.</p> - -<p class="nodent"><a name="Foot_14" id="Foot_14" href="#Ref_14">[14]</a> -<i>Extrait de l'Histoire de S. Ouen, de Rouen.</i></p> - -<p class="nodent">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.</p> - -<p class="nodent"><a name="Foot_15" id="Foot_15" href="#Ref_15">[15]</a> -"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."</p> - -<p class="nodent"><a name="Foot_16" id="Foot_16" href="#Ref_16">[16]</a> -This is Sauval's description.</p> - -<p class="nodent"><a name="Foot_17" id="Foot_17" href="#Ref_17">[17]</a> -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.</p> - -</div> - -<div class="pagenum"><a name="Page_63" id="Page_63">{63}</a></div> - -<h2>ON SCREENS IN BRITTANY.</h2> - -<h3>S. FIACRE LE FAOUET.</h3> - -<p>This remarkable rood loft, which I have <a href="#Plate-13">figured</a> in 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.</p> - -<p>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.</p> - -<p>There are several very curious carvings in the frieze, among which -the popular subject of the mass of S. Martin is easily distinguished.</p> - -<p>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.</p> - -<h3>LAMBADER.</h3> - -<p>This <a href="#Plate-14">screen</a>, 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 of -<span class="pagenum"><a name="Page_64" id="Page_64">{64}</a></span> -stone construction; but the front of the loft is elaborately carved with -tabernacle-work and imagery.</p> - -<h3>FOLGOET.</h3> - -<p>This <a href="#Plate-13">screen</a>, 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.</p> - -<p>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.</p> - -<p class="gap-above">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.</p> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-11" id="Plate-11">Plate XI.</a></p> - </div> - <a href="images/pl-11-large.jpg"> - <img src="images/pl-11-thumb.jpg" width="350" height="271" alt="plate 11"/> - </a> - <div class="caption"> - <p class="small cursive">Iron Screen, at Toledo.</p> - <p class="small cursive">Iron Screen, Choir of S<span class="sup">t.</span> Sernin, Toulouse.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-12" id="Plate-12">Plate XII.</a></p> - </div> - <a href="images/pl-12-large.jpg"> - <img src="images/pl-12-thumb.jpg" width="350" height="273" alt="plate 12"/> - </a> - <div class="caption"> - <p class="cursive">Screens erected in the 18<span class="sup">th.</span> Century.</p> - <p class="small cursive">Église D'Agnes, Picardie.</p> - <p class="small cursive">Soissons.</p> - <p class="small cursive">S<span class="sup">t.</span> Paul, Trois Chateaux, Dauphiné.</p> - <p class="small cursive">Cathédrale de Sens.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-13" id="Plate-13">Plate XIII.</a></p> - </div> - <a href="images/pl-13-large.jpg"> - <img src="images/pl-13-thumb.jpg" width="350" height="273" alt="plate 13"/> - </a> - <div class="caption"> - <p class="cursive">Screens in Brittany.</p> - <p class="small cursive">Folgoet.</p> - <p class="small cursive">S<span class="sup">t.</span> Fiacre le Faouet.</p> - <p class="small cursive">Chapelle S<span class="sup">t.</span> Germain, in Ribermont.</p> - <p class="small cursive">Plan of Jubé, Notre Dame de Lépine.</p> - </div> -</div> - -<div class="image-center section"> - <div class="caption"> - <p class="small smcap"><a name="Plate-14" id="Plate-14">Plate XIV.</a></p> - </div> - <a href="images/pl-14-large.jpg"> - <img src="images/pl-14-thumb.jpg" width="350" height="278" alt="plate 14"/> - </a> - <div class="caption"> - <p class="small cursive">Lambader Brittany.</p> - <p class="small cursive">Iron Screen at S<span class="sup">t.</span> Riquier. 18th Century.</p> - <p class="small cursive">Wooden Screen in the Church of Urnes, near Bergen.</p> - </div> -</div> - -<div class="pagenum"><a name="Page_65" id="Page_65">{65}</a></div> - -<h2>ON SCREENS IN ENGLAND.</h2> - -<p>There is no country in Christendom where so many screens are still -preserved and standing, as in England. Till within a very recent period, -every cathedral church had retained its ancient separation between -the nave and choir; but sad to relate, one of the most venerable of our -churches is now denuded of this most essential and ancient portion of -the fittings of a cathedral. I refer to Durham: where choir and nave -are thrown into one great vacant space, and all the dignity and -reverence of choir worship, suited to a capitular body, destroyed. -Although the screen was of most debased design, and erected by a -Pagan architect (Inigo Jones), at a Pagan period; yet, being placed in -the old and proper position, and having attained a respectable colour, -through age, it did its work, and was ten times preferable to the -modern vacuum caused by its removal. Indeed, all the alterations at -Durham are so many enormities. For centuries the western doors of -the cathedral were closed, a chapel built outside them, termed the -Galilee, and an altar, dedicated in honour of the Blessed Virgin, stood in -the recess of the centre door, but lately, without any reason, for, as I -have before said, no entrance can be obtained to the church from that -end, have these doors been opened, and the remains of the altar removed, -thus destroying one of the most curious traditions belonging to this -venerable cathedral. Even the old Cromwellian Puritans did not -injure the church so much as <i>its present restorers</i>, and it is greatly to -be regretted that there are no means to compel these authorities to desist -from their insane innovations. In the eyes of all true ecclesiologists -Durham has lost half its apparent length, half its grandeur, since it has -<span class="pagenum"><a name="Page_66" id="Page_66">{66}</a></span> -lost its screen, and it has got somewhat of the conventicle. But to -return—York, Lincoln, Southwell, Wells, Exeter, Bristol, Chichester, -Canterbury, Rochester, Chester, Norwich,<span -class="fnanchor"><a name="Ref_18" id="Ref_18" href="#Foot_18">[18]</a></span> -have all their old screens -and rood-lofts standing. These are too well known amongst persons -interested in this subject to need detailed description, but I may -observe that they nearly all are ascended by staircases in the thickness -of the eastern walls, rising up on each side, and that lateral altars in -the screens were not so common as on the continent. The roods, in -all cases, have been replaced by organs, which are badly placed both -as regards the chanters and the effect of the building. The only -instance I have ever met with the remains of a rood is at Columpton, -near Exeter, where a large block of oak, carved like rock-work, with a -skull and bones, evidently intended to represent Calvary, is still left, -and in its upper part a deep mortice to receive the end of the rood.</p> - -<p>Our parochial churches are yet rich in screens; of wooden rood-lofts -we may particularize Sleaford, Newark, Bury St. Edmunds, Fairford, -Tong, Lanryst, Sefton, Ranworth, and Southwold as some amongst -the most remarkable. The countries most abounding in screens, are -Norfolk, Suffolk, Lincolnshire, Cambridgeshire, and Devonshire, but -each county presents many interesting examples, and it must be -distinctly understood that every church, small or great, was originally -provided with a screen.</p> - -<p>In Norfolk, the churches of Cawston, Sall, N. Walsham, Worsted, -Walcot, Trunch, Happisburgh, Bacton, Paston, Lynn, Ranworth, Cley, -Castle Acre, Cressingham, Snetisham, and Ackle, &c., have all fine -screens. Many of them are richly painted, and the lower panels -filled with images of saints on gold and diapered grounds. The best -preserved are those at Ranworth and Cawston. About five different -painters were employed in the decoration of these, as the various styles -may be distinctly traced over various parts of the country. Some of -<span class="pagenum"><a name="Page_67" id="Page_67">{67}</a></span> -them exhibit far greater skill than others, but all have a deal of -quaint character, and the images fill up the spaces in which they are -placed, by the adjustment of drapery, &c.</p> - -<p>There is a great deal of fine screen-work in Suffolk, at Woolpitt, -Elmswell, Thurston, Lavenham, Long Melford, Brandon, Southwold, -Blythburgh, Hawsted, and many other churches.</p> - -<p>In Lincolnshire there are splendid screens at Winthorpe, Ingoldmills, -Orby, Burgh, Croft, Boston, Hackington, Swineshead, Tattershall, -Ewerby, Newark, Grantham.</p> - -<p>In Devonshire the screens have been generally preserved, and on -many of them the painted panels with saints and imagery are quite -perfect. They are mostly constructed on one principle, with projecting -wooden ribbed-work crossing the rood-loft; at Honiton, Feniton, -Bradwinch, West Buckland, Columpton, Dartmouth, Kenton, Pinhoe, -Plymtree, Tollaton, Tiverton, Atherington, Dawlish, &c., are screens -surmounted by rood-lofts; but at Bridford, Burlescombe, Clayhanger, -Dartington, Hempston, Plymstock, West Ogwell, &c., there are only -screens without lofts, but of exceedingly elaborate design, and for the -most part richly painted and gilt, some with saints in the lower panels, -like those in Norfolk. A very numerous list, indeed, might be -made of churches in this country, where screens of some kind are to -be found; they are not always of the same material, for the examples -of stone are numerous, as at Totness, Culmstock, Colyton, and Paignton, -&c., this latter being monumental, and containing family tombs, -introduced in the screen-work. Although the counties above mentioned -are those which abound the most in fine examples of screen-work, -yet most numerous and interesting specimens may be found in -every county.</p> - -<p>Sefton church, in Lancashire, has a splendid rood and side screens -enclosing the chancel, of a later period, but most elaborate detail.</p> - -<p>The parish church at Lancaster contains some very magnificent -screen and canopy-work of the time of Edward I. The treatment of -<span class="pagenum"><a name="Page_68" id="Page_68">{68}</a></span> -the crockets is quite peculiar, as they are joined together, forming a -sort of solid enrichment on the gablets.</p> - -<p>The priory church of Hexham is rich in carved fittings. The stalls -and screen-work of the choir are perfect, and though rude in execution -are extremely interesting; this being a conventual church, the screen-work -is quite solid. If we proceed further north, we shall find the -same system of enclosure of choirs and chancels by screens. The rood-loft -at Glasgow is still perfect, and though the Scotch churches have -been horribly mutilated, the ancient position of the enclosures is to be -traced in most of them.</p> - -<p>The churches in Wales were mostly furnished with rood-lofts. The -screen and loft at Lanryst are most elaborate in carved enrichments; -they were probably erected in the beginning of the fifteenth century, -and it is worthy of remark that in this, as well as others, there is a -striking similarity between the screens in Wales and Brittany.</p> - -<p>Were it not tedious, I could supply a long list of fine screens yet -remaining in every part of the country, but there are few of an older -date than the thirteenth century, as so many of these churches have -been rebuilt or refitted since that period. There can be no doubt -that even the Saxon churches were provided with some enclosure across -the arch which divided off the chancel. Indeed, so natural and right -does it seem to have this separation, that the principles of screens -survived the Reformation, as will be mentioned hereafter. But not -only do we find the cathedrals and parochial churches to have been -furnished with screens, but also chapels in private houses and hospitals -for the poor. The archbishop's chapel at Croydon is divided by a -plain but very substantial and effective screen, figured in the first -volume of Pugin's examples.</p> - -<p>Browne's hospital at Stamford, Bishop Bubwith's almshouses at -Wells, S. John's hospital at Sherburne, the bede-houses at Northampton -and Leicester, the Vicar's chapel at Wells, have all screens in -their chapels, and some of them of most elegant design. In the -<span class="pagenum"><a name="Page_69" id="Page_69">{69}</a></span> -private chapel of an ancient mansion at Cothele, on the banks of -the Tamar, is an open screen of perpendicular work. In short, I -do not imagine that any building dedicated to divine worship was -considered complete, unless furnished with a suitable screen.</p> - -<p>In the reign of Edward VI., the roods, with their attendant images, -were removed, and it is probable that the lofts were stript at the same -time of the candlesticks and basons of latten, wherein the lights were -set up. But the screens themselves do not appear to have suffered, -and indeed, in accordance with the decree that the chancels were to -remain as in time past, the screens were absolutely necessary. Considering -the great number of screens yet standing, it is evident that -those which have been removed, were demolished, through the ignorance -or indifference of the authorities during the repairs that the -buildings have undergone, and I am personally acquainted with several -instances which corroborate this fact. There are several examples of -post-Reformation screens, one at Gedington church, of a simple but -good character, and another at Martham church, Norfolk, which is -painted and gilt.</p> - -<p>The choir of Wimborne Minster, Dorsetshire, was fitted up in the -beginning of the seventeenth, or end of the sixteenth century, quite -after the old traditions, as regards screen-work and arrangement, -though the details were of course debased.</p> - -<p>The collegiate chapels of the universities present several remarkable -examples of post-Reformation screens, as Wadham, Baliol, Lincoln, -the old screen of Magdalene, before the recent alterations, at Oxford; -and Peterhouse, Caius college, Clarehall, at Cambridge; even the -screen of King's college chapel itself was not erected till after the -schism, as the initials of Anna Boleyn occur in its decorations.</p> - -<p>I have been informed of a screen in one of the churches at Leeds, -erected in the seventeenth century; and an oak screen of a still later -date is standing in the church of St. Peter, upon Cornhill, London. -Lady Dudley, a most pious lady, in the time of Charles I. set up a -<span class="pagenum"><a name="Page_70" id="Page_70">{70}</a></span> -screen in the church of St. Giles-in-the-fields, which was afterwards -destroyed by the Puritan faction. The whole transaction is so -illustrative of the spirit of those times, and so applicable to the -fanatics of our own days, that I have printed it at length at p. 74.</p> - -<p>From these instances it will be seen that the principle of screening -off chancels has been retained in the church of England since its -separation from Catholic unity, and the partial discontinuance in the -eighteenth century was purely owing to extreme ignorance of ecclesiastical -traditions, which prevailed throughout the members of this communion -at that period, remarkable only for debased taste, and a total -disregard of the wonderful productions of Catholic antiquity.</p> - -<p>To this brief account of screens in England, I have subjoined some -interesting extracts from churchwardens' accounts and other documents, -printed in Nichol's illustrations, which will illustrate their history and -decoration.</p> - -<h3>ACCOUNTS OF ST. MARGARET'S, WESTMINSTER.</h3> - -<p class="nodent">"1510.</p> - - <p class="english">"Item. The said wardens, now accomptants, received of Mrs. Elizabeth - Morley, widow, towards the new making of a - Rood, Mary, and John, in the roodeloft, at the time the - parish be of power and substance, to build and make - the same rood loft, the sum of £10. 0<span class="sup">s.</span> 0<span class="sup">d.</span></p> - - <p class="english">"Item. Received of the gift of Watir Gardynar, to the making of - the rode-loft in the middle isle within the church, as - more plainly appeareth by acquittance made by the said - churchwardens to the said N. Watir, dated the ... day - of October, the 9<span class="sup">e</span> yere of the reign of King Henry VII., - £38. 0<span class="sup">s.</span> 0<span class="sup">d.</span>"</p> - -<p>The next item occurs in the reign of Edward VI.—</p> - - <p class="english">"Paid to Thomas Stockdale, of XXXV ells of cloth for the frunte of the - rood-lofte, whereon the commandments be written...."</p> - -<p><span class="pagenum"><a name="Page_71" id="Page_71">{71}</a></span> -It appears from this, that the commandments were set up originally -in the rood lofts, and not over the altars. But in the succeeding reign -of Mary, this cloth, on which the commandments were painted, was -turned to a different purpose, for in 1557, we find the following item:</p> - - <p class="english">"For making iii serplys of the cloth that hung before the rode loft, - written with the commandments, 2<span class="sup">s.</span> 0<span class="sup">d.</span>"</p> - -<p>In 1559, the rood was destroyed, and in a barbarous manner, for we -find the following items:</p> - -<p class="english">"Paid to John Rial for his iii days' work to take down the roode, - Mary, and John, 2<span class="sup">s.</span> 8<span class="sup">d.</span></p> - -<p class="english">"Item. To the same for cleaving and sawing of the rood, Mary, - and John, 1<span class="sup">s.</span>"</p> - -<p>In 1561, "Paid to joyners and labourers about the taking down -and new reforming of the rood loft, as by a particular -book thereof made doth appear, £37. 10<span class="sup">s.</span> 2<span class="sup">d.</span>"</p> - -<p>This is the last item which occurs respecting the rood loft of this -church.</p> - -<h3>S. LAWRENCE, READING.</h3> - -<p class="center x-small"><i>From Coate's History of Reading.</i></p> - -<p class="nodent">"1499.</p> - - <p class="english">"It. Rec. at Alhalow-tyde for the rode light x<span class="sup">s.</span> - iiii<span class="sup">d.</span></p> - - <p class="english">"It. Payed for xliii.-li. of ire wark, on the south end of the rode - loft to stay the lyght, the li. ii<span class="sup">d.</span> Sm<span class="sup">a.</span> - vii<span class="sup">s.</span> ii<span class="sup">d.</span></p> - - <p class="english">"It. Payed for xxvi. li. of irewark on the north syde or end of the - same rode loft to stay the same lyght, pic le li., ii. - Sm<span class="sup">a.</span> iiii<span class="sup">s.</span> iiii<span class="sup">d.</span></p> - - <p class="english">"It. Payed for lyne to draw the curtens in the same lofte, - iii<span class="sup">d.</span></p> - - <p class="english">"It. Payed for scouring of the laten bolls in the said loft, - iiii<span class="sup">d.</span></p> - - <p class="english">"It. Payed for six laten bolls on the north side of the rode loft, - viii<span class="sup">s.</span></p> - -<p class="nodent">"1506.</p> - - <p class="english">"It. Paied for settyng up of the said rode, Mary, and John, for the - <span class="pagenum"><a name="Page_72" id="Page_72">{72}</a></span> - remouing of the organs, and for making y<span class="sup">e</span> - sete for y<span class="sup">e</span> - player of y<span class="sup">e</span> same organs, xx<span class="sup">d.</span></p> - - <p class="english">"It. Paied to Henry Blanksten, paynt for gilding the rode, Mary, - and John, in the rode loft, xiiii<span class="sup">s.</span>"</p> - -<h3>EXTRACTS FROM THE CHURCHWARDEN'S ACCOMPTS OF ST. MARY -HILL, LONDON.</h3> - -<p class="center x-small"><i>Costs paid for penting of the roodes, -with karvying, and oder costs also.</i></p> - -<p class="nodent">"1497.</p> - - <p class="english">"Item. To Sir John Plomer, for makying of the fyugyrrs of the - roode, £0. 1<span class="sup">s.</span> 8<span class="sup">d.</span></p> - - <p class="english">"Item. To the karvers for makyg of iii. dyadems,<span - class="fnanchor"><a name="Ref_19" id="Ref_19" href="#Foot_19">[19]</a></span> - and of oon of - the Evangelists, and for mendyg the roode, the crosse, - the Mary and John, the crown of thorn, with all odir - fawts, £0. 10<span class="sup">s.</span> 0<span class="sup">d.</span></p> - - <p class="english">"Item. To Undirwood, for peynting and gyldyng of the roode, the - crosse, Mary and John, iiii. Evangelists, and the iii. - dyadems, with the nobills that I owe to him in money, £5.</p> - - <p class="english">"Item. For makyng clene of standards, candlesticks, braunches, - with the bolls of laten upon the beame of the rodeloft, - anenst the fest of Est., A.D., 1486."</p> - - -<h3>EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF THE PARISH -OF ST. HELEN'S, ABINGDON.</h3> - -<p class="nodent">"1555.</p> - - <p class="english">"Payde for making the roode and peynting the same, - £0. 5<span class="sup">s.</span> 4<span class="sup">d.</span>.</p> - - <p class="english">"For making the roode lyghtes, £0. 10<span - class="sup">s.</span> 6<span class="sup">d.</span>.</p> - - <p class="english">"For the roode lyghtes at Christmase, £1. 3<span - class="sup">s.</span> 2½<span class="sup">d.</span>.</p> - -<p class="nodent">"1557.</p> - - <p class="english">"Received of the paryshe for the roode lyghts at Christmas. - Payde for peynting the roode of Marie and John, and - the patron of the churche, £0. 6<span class="sup">s.</span> 8<span class="sup">d.</span>.</p> - - <p class="english"><span class="pagenum"><a name="Page_73" id="Page_73">{73}</a></span> - "For the roode, Marie, and John, with the patron of - the church, £0. 18<span class="sup">s.</span> 0<span class="sup">d.</span></p> - -<p class="nodent">"1561.</p> - - <p class="english">"To the somner, for bringing the order for the roode loft.</p> - - <p class="english">"To the carpenter and others for taking down the roode - lofte, and stopping the holes in the wall, where the joices - stoode, £0. 15<span class="sup">s.</span> 8<span class="sup">d.</span></p> - - <p class="english">"To the peynter, for writing the scripture where the roode - loft stoode, and overthwarte the same isle, £0. 3<span class="sup">s.</span> - 4<span class="sup">d.</span>"</p> - -<h3>EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF HEYBRIDGE.</h3> - - <p class="english">"Payde for waxe for the roode-lofte light agenst Chrystemas last - paste, pryce the pounde 10<span class="sup">d.</span>, - £0. 4<span class="sup">s.</span> 2<span class="sup">d.</span></p> - - <p class="english">"A cloth of the Passyon to hang in the roode lofte in Lente."</p> - -<h3>EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF -WALBERSWICK.</h3> - - <p class="english">"Item. Paide to Robt. Bungyng, for helpyng of oon borde in the - roode lofte, £0. 0<span class="sup">s.</span> 2<span class="sup">d.</span></p> - - <p class="english">"Item. Payd for mendyng and staying y<span class="sup">e</span> roodeloft, in hale, - £0. 0<span class="sup">s.</span> 2<span class="sup">d.</span></p> - - <p class="english">"Item. To ye said Stephin, for mendyng y<span class="sup">e</span> - herne wark in y<span class="sup">e</span> rode - lofte, £0. 0<span class="sup">s.</span> 4<span class="sup">d.</span>"</p> - -<h3>WOODBRIDGE.</h3> - -<p>"Hic jacet Johannes Albred quondam Twelewever, istius ville. Ob. -primo die Maii, 1400, et Agnes uxor eijus.</p> - -<p>"This Twelewever, with Agnes, his wife, were at the charges -(people of all degree being, as then, forward to beautifie the house of -God), to cut, gild, and paint a rood loft or partition betwixt the body -of the church and the quire, whereon the pictures of the crosse and -crucifixe, the Virgin Mary, of angels, archangels, saints and martyrs -are figured to the life: which how glorious it was when it was all -<span class="pagenum"><a name="Page_74" id="Page_74">{74}</a></span> -standing, may be discerned by that which remaineth. This, their -work of pietie, was depensild [painted] upon the fabricke, of which -so much as is left.</p> - -<p>"'Orate.—Johannes Albrede et Agnetis—Soluerunt pro pictura -totius hujus operis superne:—videlicet, crucis crucifixi, Marie, -archangelorum et totius candeleb.'</p> - -<p>"The names of some of the saints pourtraied upon the worke and -yet remaining, are these, S. Paul, S. Edward, S. Kenelm, S. Oswald, -S. Cuthbert, S. Blaze, S. Quintin, S. Leodegare, S. Barnaby, -S. Jerome."—From Weever's Funeral Monuments.</p> - -<h3>ACCOUNT OF THE SCREEN IN THE CHURCH OF ST. GILES-IN-THE-FIELDS.</h3> - -<p>"The said church is divided into three parts: the sanctum sanctorum -being one of them, is separated by a large skreene in the -figure of a beautiful gate in which is carved two large pillars and -three large statues: on the one side is Paul with his sword; on the -other Barnabas with his book; and over these, Peter with his keys; -they are all set above with winged cherubims, and beneath supported -by lions.</p> - -<p>"This screen, which was erected by the pious munificence of Lady -Dudley, about ten years previous, was demolished by the Puritans -in 1644. We find a party in the parish in 1640, exhibiting articles -to Parliament against the rector, Dr. Heywood. It was stated -that, in the parish church were set up crucifixes, and divers -images of saints, and likewise organs with other confused musicke, -hindering devotion." The screen given by Lady Dudley was also -decreed as superstitious, and in 1644 is the following memorandum -respecting it: "Also, we, the auditors of this account, doe find that -the accomptant, Edward Gerrard, was commanded, by ordinance of -Parliament, to take down the screene in the chancell, it being found -<span class="pagenum"><a name="Page_75" id="Page_75">{75}</a></span> -superstitious, which was accordingly done, and it sold for fortye -shillings;</p> - -<p>"Also, out of the receipt for church goods, were paid the bricklayer -for mending the walls on both sides the chancel, where the -screen stood."—From Parton's History of St. Giles-in-the-Fields.</p> - -<p>It is remarkable what a similarity of feeling against screens is to be -found among Puritans and Paganisers.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_18" id="Foot_18" href="#Ref_18">[18]</a> -Till very recently there were distinct traces of the side altars under this screen, but -they have been removed, and modern tracery put in their place.</p> - -<p class="nodent"><a name="Foot_19" id="Foot_19" href="#Ref_19">[19]</a> -<i>Diadem</i>, the old English word for Nimbus.</p> - -</div> - -<div class="pagenum"><a name="Page_76" id="Page_76">{76}</a></div> - -<h2>OF THE FOUR CLASSES OF AMBONOCLASTS.</h2> - -<h3>THE CALVINIST AMBONOCLAST.</h3> - -<p>When we now behold the city of London, with its narrow lanes, -lined with lofty warehouses and gloomy stores, leading down to the -banks of the muddy Thames, whose waters are blackened with foul -discharges from gas-works and soap-boilers, while the air is darkened -with the dense smoke of chimneys rising high above the parish -steeples, which mark the site of some ancient church, destroyed in the -great conflagration, it is difficult to realize the existence of those -venerable and beautiful fabrics where the citizens of London assembled -in daily worship, and whose rood lofts shone so gloriously on Easter -and Christmas feasts. But this great and ancient city was inferior to -none in noble religious buildings; and in the sixteenth century the -traveller who approached London from the west, by the way called -Oldbourne, and arriving at the brow of the steep hill, must have had -a most splendid prospect before him; to the right the parish church of -S. Andrew's, rising most picturesquely from the steep declivity, and -surrounded by elms, with its massive tower, decorated nave, and still -later chancel; on the left the extensive buildings of Ely-house, its -great gateway, embattled walls, lofty chapel and refectory, and -numerous other lodgings and offices, surrounded by pleasant gardens, -as then unalienated from the ancient see after which it was called, it -presented a most venerable and ecclesiastical appearance. Further in -the same direction might be perceived the gilded spire of S. John's -church of Jerusalem and the Norman towers of S. Bartholomew's -<span class="pagenum"><a name="Page_77" id="Page_77">{77}</a></span> -priory. Immediately below was the Fleet river, with its bridge, and -the masts of the various craft moored along the quays. At the -summit of the opposite hill, the lofty tower of S. Sepulchre's, which -though greatly deteriorated in beauty, still remains. In the same -line, and over the embattled parapets of the Newgate, the noble -church of the Grey Friars, inferior in extent only to the cathedral of -S. Paul, whose gigantic spire, the highest in the world, rose majestically -from the centre of a cruciform church nearly seven hundred -feet in length, and whose grand line of high roofs and pinnacled -buttresses stood high above the group of gable-houses, and even the -towers of the neighbouring churches. If we terminate the panorama -with the arched lantern of S. Mary-le-Bow, the old tower of -S. Michael, Cornhill, and a great number of lesser steeples, we shall -have a faint idea of the ecclesiastical beauty of Catholic London. But -to return to our more immediate subject, each of these fine churches -was provided with its screen and rood. Numerous are the entries in -the old churchwardens' accounts yet remaining of pious offerings made -by the citizens to beautify the devotional sculptures which decorated -them, and to provide tapers and branches to deck them for the -returning festivals. There were veils for Lent, when the glory of our -Lord was partially obscured by his approaching Passion; and there -were garlands for Easter, and paschal lights, and crowns, and diadems. -The old parish church of S. Mary-at-Hill was inferior to none in the -beautiful partition of its chancel; it was principally the work of a -pious citizen, who, on the decay of the older work, renewed the same; -or, as the old chronicle expresses it:—"For the love he bore to Jesu -and his holy Modir did sett up at his own proper costes and charges, -and most artificially dispensil, the image of Christ, Mary, and John, -and many saynts and aungels, with the loft whereon they stood: -and for the due maintainyng of a perpetual light to hang brenyng -before the same, and for a priest to synge at his anniversary he also -left two tenements in the paryshe of Barkynge; and when he died -<span class="pagenum"><a name="Page_78" id="Page_78">{78}</a></span> -he was buried under a grey stone, over and against the holy doors of -the chancel, and till the sad time of the civil wars, was his portraieture -in brass, and that of his wife, and 3 sons and 5 daughters -at their feet, and his shield of mark, and the arms of the honourable -Company of the Fishmongers, and round the bordure, with an -Evangelist at every corner, was this inscription: '✠ Good Christen -people, of your charitie pray for the soulys of John Layton, citizen -and fyshemonger of London, who deceeded on the feast of -S. Stephen, in the yeare of our Lorde 1456, and of Margaret his -wyffe, on whose sowlys and the sowlys of Christen men may Jesu -have mercy. Pater, ave, Amen.'" And on the brestsumer of the -rood loft were carved divers devices, such as S. Peter's keys for his -Patron, and dolphins and sea-luces salterwise for the Company, and -scrolls, with <b>Lays</b> coming out of tuns for the founder, and above all -was a most artificial bratishing, with large bowls of brass, with -prickets for tapers on great feasts, and there was a staircase of freestone, -closed by an oak door, set up on the south side of the aisle, for -the convenience of ascending to the same; and on each of the lower -panels of the holy doors and of the bays of the screen were pictures of -saints and martyrs, on grounds of gold diaper, each with their legend. -For nearly a century this goodly work had stood the pride and delight -of the parishioners, who bestowed much cost on sustaining its lights -and ornaments, as the church books yet testify. But a sad and -fearful change was approaching—new and heretical doctrines were -circulated and even heard at Paul's Cross; men became divided in -heart and mind; the returning festivals exhibited no unity of joy and -devotion; many gloomily stayed away; and it was currently reported -that nocturnal meetings were privately held at some citizens' houses, -where preachers from beyond sea taught novel opinions, and inveighed -against altars and priests, and sacred images and ancient rites; and -soon there was a quest to examine into the ornaments of the churches, -and many a goodly pyx, and chalice, and chrismatory were seized by -<span class="pagenum"><a name="Page_79" id="Page_79">{79}</a></span> -the sacrilegious spoilers for the state; and shortly after the ancient -service was interrupted by scoffers and infidels, and they who adhered -to the old faith of England's church were filled with sorrow and -dismay, and they worshipped in fear and sadness, and every day -brought new troubles and greater sacrilege.</p> - -<p>It was late in the evening, or rather the early part of the night, that -a number of persons, evidently of very varied ranks and conditions, were -crowded into a back chamber in the habitation of a citizen notoriously -disaffected to the ancient religion; they were listening with considerable -earnestness of attention, to the exhortations, or rather ravings, of -a man of sour aspect, whose dress and gestures announced him as -belonging to the class of unordained preachers called the New -Gospellers. The subject of his discourse was the extirpation of -idolatry; the triumphs of the Jewish people over the unbelieving -nations was the principal source from whence he drew his denunciations. -The texts relating to the destruction of the heathen idols he -transferred to the ancient images of the church, and succeeded in -rousing the passions of his hearers to the utmost frenzy. "But why," -he exclaimed, "do we waste time? Let us lay the axe to the root of -the tree; the famous rood of S. Mary-at-Hill standeth hard by, to -the shame and reproach of Christian men. Let us pluck it down -and utterly deface it, so it perish and be seen no more." Some of -the most zealous of the fanatics instantly acted on this suggestion. -Descending to the street, they soon surrounded the residence of the -aged sacrist (who still retained his office, though the duties were sadly -curtailed), and rousing him from his rest, demanded the keys of the -church. Alarmed by the uproar, many casements were opened; but -the numbers of the clamouring party appeared so considerable, and the -prospect of any assistance from the watch (which was then only -perambulatory) so remote, that none ventured down to the assistance -of the old clerk, who, terrified by the menaces of his assailants, and -without any companion except a lad who acted as his servant, at -<span class="pagenum"><a name="Page_80" id="Page_80">{80}</a></span> -length surrendered the keys. A few links had by this time been -procured, and by their smoky and lurid light the southern door was -opened, and the whole party tumultuously crowded into the venerable -edifice. The lamp so liberally provided by John Layton had ceased to -burn for some time; its revenue had been sequestered as superstitious, -and the chancel was shrouded in impenetrable darkness. Against this -gloomy background the rood and its attendant images stood out in red -reflected light, but the Jews themselves that scoffed on Calvary's -mount were not more bitter in their scorn than the New Gospellers, -who uttered loud shouts and cries as they beheld the object of their -sacrilegious vengeance. The sound of hollow blows echoes through the -church, the lower door is forced: ascending footsteps are heard on the -staircase; then the rebounding tread of heavy feet on the loft itself, -torches appear—axes gleam—heavy blows fall thick; some cleave, -some pierce, some shout, and with one great crash it totters and falls—images, -cross—all lie a ruin on the ancient pavement. The work of -destruction now proceeds: some wrench the extended limbs from the -sculptured cross; broken and dismembered, the sacred image of the -Redeemer is dragged down the nave; while others deface and cleave -the evangelistic symbols, tossing the fragments in wild derision; some -curse, some spit, some foam, others exclaim, "Into the fire with it!" -and a glare of light striking through the western window, showed that -the suggestion had been followed; it crackled in the garth, and now -the mangled images are piled on the roaring mass, while furious cries, -"Away with it! Destroy it utterly!" break through the stillness of -the night, and scare the affrighted parishioners, who behold this -horrible spectacle from their gabled residences. Nearly three hundred -years have elapsed, and the rood was again raised in glory in this very -city, and the cry "Away with it!" was again heard. Came it from -the blaspheming Jews? No. Came it from the bitter Calvinists? No. -Came it from the incarnate fiends? No. It proceeded from a <i>modern -Catholic ambonoclast</i>!!!!</p> - -<div class="pagenum"><a name="Page_81" id="Page_81">{81}</a></div> - -<h3>THE PAGAN AMBONOCLAST.</h3> - -<p>Louis de Chantal was born in France, of noble parents, about the -middle of the eighteenth century; being a younger brother, he was -destined from his earliest years to the ecclesiastical state, but on -arriving at a maturer age, his tastes and inclinations were so adverse -to the sacred functions, that he proceeded no further than receiving the -tonsure, which enabled him to hold the rich ecclesiastical preferment -in the gift of his family, and entitled him to the appellation of -Monsieur l'Abbé de Chantal. He soon became commendatory abbot of -two once great religious establishments, then languishing under a sad -decay of zeal and discipline consequent on the loss of a regular head. -The great object of commendatory abbots was to keep the number of -religious to the lowest possible amount, in order to profit the more by -the revenues, which they diverted to their own private benefit and -luxury. At Conques the decay of the temporal kept pace with that -of the spiritual; the buildings which, for the most part, had been -erected during the glorious period of S. Louis, were falling fast to ruin. -The regular portions, now much too large for the habitations of the few -religious that remained, exhibited the desolate appearance of neglect -and emptiness. Verdure luxuriated in the untrodden courts, and sprung -up even in the very cloister, whose vaults had long ceased to echo the -regulated tread and solemn chaunt of the ancient Benedictines. It -was evident that essential repairs could not long be postponed, and -a bull issued by the Pope a few years previous, requiring the conventual -<span class="pagenum"><a name="Page_82" id="Page_82">{82}</a></span> -buildings of France to be substantially repaired out of the -revenues, was still in force. The matter was, however, deferred for a -short time, as our young abbé was about to proceed on his travels to -the more classic ground of Italy, at that period ignorantly regarded -as the great repository and source of all art and taste. The noble -mediæval cathedrals of France were considered by Monsieur de -Chantal as so many specimens of ancient barbarism, but the extravagancies -of Bernini and the distortions of Le Pautre were splendid -achievements in his eyes. It may be readily conceived what class of -objects arrested his attention in his travels: his enthusiasm on arriving -at the Eternal City was boundless—he almost believed that the heathen -mythology was revived, and that he was in the presence of those -divinities whose exploits had been the study of his early youth. The -splendid galleries of voluptuous art, where the metamorphoses and -amatory combats of Ovid were depicted to the life. The marble -goddesses in shady groves, and sporting tritons cooling the air in high -and sparkling jets—the obelisks, the sarcophagi, the endless treasures -of classic art. Then even the churches, they were scarcely to be -distinguished from the exquisite taste of the heathens themselves. -Thinly draperied saints were borne into paradise by hovering Cupids. -Voluptuous female statues reclined on the sarcophagi of bishops and -ecclesiastics,—herculean martyrs writhed like dying gladiators, while -naked angels held aloft the victor's crown. Our abbé was ravished -with astonishment and delight as the eager cicerone drew him from -one far-famed object to another, each more wonderful than the last. -In his perambulations he occasionally passed some venerable looking -sanctuaries, but the usual exclamation of the guide, <i>eh, una porcheria</i>, -was quite sufficient to repress any desire of examining them; and in a -word, he returned from Italy like most of the ecclesiastics of that -period, with a thorough contempt for the ancient traditions of church -architecture, and a determination to Italianize, as far as possible, in -any work with which he might be connected. The time had now -<span class="pagenum"><a name="Page_83" id="Page_83">{83}</a></span> -arrived when the repairs of the abbey of Conques could be no longer -delayed, and accompanied by an architect of the Souflot style, with a -thickly curled wig reaching half-way down his shoulders, he one -morning started from his hotel at Paris, and proceeded thither. -Although only a few leagues distant, the bad roads so delayed their -progress, that it was late in the afternoon when they attained the top -of the descent that led down into the valley where the abbey was -situated. A little to the eastward of the scattered houses which -formed the village, and small but characteristic church, stood the then -lofty and irregular abbatial buildings. High above the rest rose -the long grey mass of the church, surmounted by a high leaden roof, -whitened with age. A forest of pinnacles surrounded the apse, -while buttress and arc buttant continued in regular succession to -surround the vast fabric. At the western end were two towers, but -the southern one alone had been carried up to its intended height, the -other had received a temporary roof, when raised a few feet above the -nave; the abbacy shortly after fell into <i>commendam</i>, and it rose no -higher. A small but elegant leaded spire was placed at the intersection -of the nave and transept, but it was evidently a substitute for some -far grander design in the way of a centre lantern, as might be divined -by the rising of angle masonry left incomplete.</p> - -<p>A dense mass of wood covered the opposite hill with a deep green, -while the warm tints of a westerning sun relieved each turret and -pinnacle in a glowing hue on the verdant background. A rapid -descent soon brought the abbé and his companion to the gates, which -were opened with some difficulty to admit the equipage within the first -court; such vehicles were utterly unknown when these buildings were -raised, and further progress was impossible except on foot. The abbé -then alighted, and was received with much external respect by the few -religious who remained the occupants of a monastery, where more than -a hundred sons of S. Benedict had kept the rule together in older and -better times.</p> - -<p><span class="pagenum"><a name="Page_84" id="Page_84">{84}</a></span> -The next morning the architect waited on Monsieur de Chantal in -his chamber, "Monseigneur," he exclaimed, "j'ai parcouru les bâtimens;—rien -de plus gothique, de plus mauvais; point de règles, point -de principes; ces gens-là ils n'ont jamais connu le beau; il faut tout -démonter, tout démolir." This proposition, however well it might -accord with the tastes of the commendatory abbot, was by no means -agreeable to his intentions, as the proposed demolition and rebuilding -would cost a considerable sum, which he thought might be as well -expended on some new gardens attached to his hotel at Paris, and he -therefore, on a personal inspection, considerably modified the sweeping -intentions of his architect, and confined his operations to indispensable -repairs and the erection of some new offices. These points arranged, -he proceeded at once to the inspection of the church. On entering by -the western cloister door, the venerable fabric appeared nearly in its -original state: the nave was divided into nine bays with light clustered -shafts, the centre one of each running quite up to receive the groin; -the triforium was divided into compartments corresponding to the -mullions of the clerestory windows, and filled with imagery and -devices in painted glass. The upper windows contained the image -of a saint in every light, under a high canopy of rich design. The -lower windows of the aisles had been altered in the fifteenth century, -the tracery was more elaborately ramified and the glass exhibited -a higher degree of pictorial skill, though inferior in severity and style -to the more ancient glazing.</p> - -<p>The ribs of the groining were richly painted at the intersections, with -images in relief on every boss. The pavement was irregularly studded -with incised slabs of benefactors, who were permitted to repose beneath -the floor of that edifice to whose support and glory they had contributed -while living. But the most striking object that presented -itself to the sight, was a most elaborate jubé or rood loft, extending -completely across the entrance to the choir. Eight slender shafts -sustained seven arches, richly crocketted on the labels, with images of -<span class="pagenum"><a name="Page_85" id="Page_85">{85}</a></span> -angels in sexfoils, filling up the spandrils. Between every arch and -over the shafts, was an image standing on a corbel under a projecting -tabernacle; immediately over them were sixteen arched and canopied -recesses, each containing, in high relief, a mystery of our Lord's life -and passion, most artificially wrought in stone, and heightened with -gilding and colours, and over all, in the midst, was a great rood rising -almost to the vault of the church, with most cunning work of leaves -and foliage running up and about it, and sprouting forth at its extremities, -and on it an image of our Lord as it were a king with a -diadem on his head, and a long tunic, all gilt, reaching down to his -feet, with the borders set with crystals, and on either side an image of -our Blessed Lady and S. John, and two cherubims with images of -gold. This rood, which was held in singular veneration by neighbouring -inhabitants, and by them commonly termed Le Bon Dieu de -Conques, found but little favour in the eyes of our refined abbé; "Il -faut démonter cette vieillerie-là," said he, turning to the architect. -"Ah, mon Dieu, oui," was the ready answer, "<i>ça fera du bien</i>; on peut -y mettre une grillage en fer, comme à S. Denis."<span -class="fnanchor"><a name="Ref_20" id="Ref_20" href="#Foot_20">[20]</a></span> -—"C'est une bonne -idée!" cried Monsieur de Chantal, "et je la ferai exécuter." It is -probable that, in carrying out this barbarous and sacrilegious intention, -the abbé meant to <i>improve</i> the church!! Brought up in the principles -of error and paganism, to him nothing was beautiful that did not -savour of classic art. It is probable that he really meant well, as far -as so debased a mind could mean well; let us hope his ignorance -obtained his final pardon, and that he was permitted to expiate in his -doleful end this terrible deed of destruction. The religious of Conques -mourned most bitterly over the demolition of the ancient jubé. Men -who live a religious life are naturally adverse to change: the removal -of an image, a picture, an object on which they have been accustomed -to look with devotion, is to them an irreparable loss, and great were -<span class="pagenum"><a name="Page_86" id="Page_86">{86}</a></span> -the wailings of the little community when they learned their abbé's -decision; remonstrance was, however, useless against such superior -power, and the demolition of the whole was finally decided. But its -destruction was not deplored by the religious only,—the inhabitants -of Conques, a simple-minded but devout race, had, for many generations, -regarded this ancient and edifying imagery with singular veneration. -From their early years, succeeding fathers had taught their -little ones that the great king upon the cross was the son of the king -of kings, who expired on the rood to save them, and there was his -blessed mother weeping at his side, and the beloved disciple to whose -care she was committed; and below all were wonderful mysteries -shown, from the salutation of the angel to the painful bearing of the -cross to Calvary. All these and much more were set forth and most -artificially, and great was the lamentation of the good people of -Conques when they heard that it was to be no more seen.</p> - -<p>Impatient to begin his improvements, the abbé procured some -workmen to commence the demolition before his return to Paris. -Among those who presented themselves was a young man of great -athletic powers, but of a sinister and scornful countenance, and who -appeared to proceed in the task of destruction with singular alacrity -and energy. Several men with ropes and ladders had now ascended -the upper part of the rood, while the young man before mentioned -stood at the foot, and alternately applied a crow and axe to cut away -the mortice in which the base rested and prise it out. Before the men -above had the ropes properly fast to lower all, by a tremendous effort -he forced the foot from its socket, and the cross, inclining to the Gospel -side, fell over, carrying away the image of the Blessed Virgin in -descent, and the whole mass lay broken on the pavement. The movement -was so sudden that it startled the abbé, who was standing near -the man, and a feeling of dread seemed to appal the other workmen as -they gazed on the fallen rood, but the face of the youth was flushed -with ill-concealed exultation, which the abbé remarked, and attributed -<span class="pagenum"><a name="Page_87" id="Page_87">{87}</a></span> -at the time to his successful display of strength; but it came from a -far deeper feeling, as he afterwards discerned to his own destruction.</p> - -<p>The whole screen was afterwards demolished; and by the end of the -succeeding year, when Monsieur de Chantal came to inspect the -alterations, he found, to his great satisfaction, that something of the -character of a Berninian church had been imparted to the ancient choir. -A rococo screen of open iron work, with his own arms in the centre, -had supplanted the ancient screen. Pointed arches had been turned -into round ones by help of plaster; the ancient capitals, luxuriant in -salient foliage and quaint imagery, had been transferred into heavy -Corinthians; most of the painted glass had been removed and replaced -by large square white panes. The shafts of the pillars were marbled -by streaks of paint, and this once perfect choir reduced down to a base -and bad imitation of the corrupt Italian style.</p> - -<p>About a furlong from the abbey-gate was the old parish church, a -simple and unpretending structure, with its slate-topped steeple and -gilded cock, a most fitting emblem of the exemplary and vigilant -pastor, the Père Duchesne, a venerable priest, who for many years had -most faithfully discharged the sacred duties of his cure; a man of -most retired habits, who devoted that portion of his time that was not -occupied by parochial cares to learned researches and pursuits. He -was deeply read in liturgical lore, and held the ancient traditions and -offices of the church in great veneration. Every Sunday and feast the -most respected of his parishioners assembled round the lectern in the -chancel, where they sang the praises of God in the old plain song, for -no other music was tolerable to the ears of either priest or people. -The interior of the church, though simple, was not devoid of interest. -There were considerable remains of painted glass, especially towards -the eastern end; the high altar was coeval with the erection of the -church itself, and had been traditionally consecrated by a holy bishop, -now numbered among the saints of God. The altar of the Lady -chapel dated from the end of the fourteenth century, and was erected -<span class="pagenum"><a name="Page_88" id="Page_88">{88}</a></span> -by a seigneur who lived in the old chateau on the hill, then in ruins. -The rood loft was remarkable; the front was supported by four pillars, -sustaining three equal arches; the space between these pillars was -enclosed by a sort of iron trellis, set up with the original work, as a -protection to two side altars, the reredoses of which formed a solid -wall for nearly six feet high, and were then divided by mullions into -lights, like a window; these were also secured by bars, and a massive -pair of doors, with rich ornamental iron-work, closed the entrance to -the chancel. I have been thus particular in the description of this -screen, as it is important for a subsequent part of this history. Such -was the church, and such its curé. The Abbé de Chantal, in ordinary -courtesy to the old priest, determined to call at his residence previous -to his departure. On arriving, he was ushered into a small chamber, -where the curé was seated with a folio extended on the table before him. -Somewhat surprised at the sudden entrance of the abbé, and not over -well pleased, as he held such quasi ecclesiastics at the lowest estimation, -he begged to know the reason for so unlooked-for a visit. "Oh, Monsieur -le curé," carelessly exclaimed the abbé, "I have been making -great improvements at the abbey, and I wish to know if you have -seen what has been done?" "I have, indeed, seen what has been -done, or rather undone," cried the old priest with increasing emotion, -"but surely you cannot expect me to approve the destruction of -Catholic antiquity and symbolism, and the substitution of unmeaning -and offensive novelties." "<i>Eh, patience</i>, Monsieur le curé; why -I was going to propose to you to reform your church <i>à l'Italienne</i>, -and to get rid of the monstrous barrack in the middle, <i>on les démonte -partout</i>." At these words, the curé, reddening with indignation, -exclaimed, "Monsieur de Chantal, the present degraded state of -ecclesiastical discipline permits you, a layman in every respect but -in the fashion of your clothes and the form of your peruke, to hold -the highest office in a foundation where, in more ancient and better -days, you would not have been permitted to take part in the most -<span class="pagenum"><a name="Page_89" id="Page_89">{89}</a></span> -menial duties. You have destroyed that which your predecessors -respected; you have defaced and mangled the Temple of God; you -have dressed it out à la mode; and its solemnity is departed for -ever, to the sorrow and disgust of myself and my people. But -allow me to tell you, the parish church is under my care, and while -I live not one stone of that venerable enclosure of the holy place -shall be touched or removed, or its sacred imagery injured." The -abbé, deeply mortified at the reproaches of the curé, endeavoured to -conceal his mortification by diverting the discourse on the times and -his parishioners. The curé, however, turning to his visitor, said in a -sad and solemn tone, "The times are full of sad presage. The riches, -the corruptions, immunities, and extravagant privileges that disgrace -even the highest ecclesiastics of the land, are the subject of -deep and merited murmurs among the neglected people; men -begin to hate religion for the vices of its ministers, and those who -squander in worldly vanity the revenues intended for the service of -religion and Christ's poor, will have to give a fearful reckoning." -The abbé started to his feet: "Nay, hear me," continued the curé. -"You are one of these spoilers; it is true the abbey was given to you as -a heritage, but it was the gift of those who had no power to bestow. -Think of that choir, once filled with a hundred devout servants of God -chanting his praises by night and day, now debased and almost -deserted. The vast refectory in ruins,—its vaulted gateway, where -hundreds partook the hospitality and charity of the house, now -scarcely shelters a single straying mendicant—all is neglect and -decay, and how will it end?" "Ah, mon Dieu," cried the abbé, -"I cannot bear this; how often have I thought and tried for better -things! But no, impossible. My rank, my family honour, all must -be supported." So, hastily departing, he summoned his servants -and carriage.—"To Paris!" he exclaimed. That night the Hotel de -Chantal was a blaze of light, the rendezvous of the <i>élite</i> of the capital; -and among the many cavaliers who escorted the fair dames of Paris -<span class="pagenum"><a name="Page_90" id="Page_90">{90}</a></span> -that graced the mirrored and lustred saloons, none could surpass the -gallantry and devotion of the noble owner of the mansion, the commendatory -abbot of Conques....</p> - -<p>Fifteen years had elapsed since that night of revelry—the Hotel de -Chantal is closed—it has been pillaged of its costly furniture—its -saloons are desolate: some few miserable people live in its upper rooms—a -ferocious <i>sans-culotte</i> has replaced the liveried porter. Where is -its once noble, its wealthy owner? In the corner of a miserable mansard -of the Faubourg S. Germain crouched the figure of a man approaching -the middle age, but whose unshaven visage and neglected state added -several years to his appearance. His dress was that of a labourer, but -the coarseness of his outer garments but ill accorded with his fair and -unworked hands. A small leathern valise was by his side, and he -anxiously listened to every sound. "This was the time he should -have arrived," he exclaimed, "my retreat is only known to him. -Mon Dieu! can he have betrayed me?" At this moment a confused -and increasing sound of cries and snatches of songs was heard in the -street—it is on the staircase—the tramp of ascending footsteps, -mingled with imprecations of vengeance, strikes on the terrified ears -of the unhappy Chantal, for such was the seeming labourer. He -rushed to the window, but it afforded no chance of escape, as the eaves -of the tiles were overhanging the street at a prodigious height, and the -steepness of the pitch precluded all hope of ascending to the top. At -this moment the door was assailed, the feeble fastenings soon gave way, -and a party of men rushed in, among whom De Chantal distinguished -his treacherous servant, who had betrayed his retreat. "Le voila!" -he exclaimed, and in a moment the abbé was in the grasp of men who -never spared an aristocrat. At the same time a red handkerchief held -out of the window, announced to the crowd below that the victim had -been captured and was secured, amid yells of triumph and execration. -A few moments served to drag down the unfortunate abbé to the -street, half filled by a mixed rabble, in which the women were -<span class="pagenum"><a name="Page_91" id="Page_91">{91}</a></span> -conspicuous for their savage exclamations and menaces. "A bas les -aristocrats, à bas les prêtres, à bas les tyrans," were heard on all -sides, while the terrified abbé was forced along, strongly grasped by -two ferocious <i>sans-culottes</i>.</p> - -<p>In a short time they arrived at a small open space; some straw was -scattered on the pavement, and by the side of a common butcher's -block, hastily brought to the spot, stood a man of enormous muscular -strength and lofty stature, a shirt loosely bound round his waist and -a pair of sabots completed his attire, while he wielded a huge chopper -or axe, in savage impatience for his victim. The abbé cast a terrified -look at this popular executioner, and seemed indistinctly to recollect -his ferocious features. "Oh, Jesu, Jesu," he shrieked, in agony of -soul, when the furious infidel, bending towards him, in a voice of -savage irony exclaimed, "<i>Il n'y est plus</i>, Monsieur l'Abbe; <i>nous -l'avons démonté à Conques</i>, ha! ha!"—The executioner and the -youth who cut away the rood were the same.—In a few moments a -badly severed head and a bleeding corpse were tossed to and fro amid -the frantic mob, and exposed to every indignity, till a common cart -removed them and bore them to an unhallowed grave, and no cross -ever marked the spot which held the mutilated remains of the last -commendatory abbot of Conques, the <i>Pagan ambonoclast</i>.</p> - -<div class="pagenum"><a name="Page_92" id="Page_92">{92}</a></div> - -<h3>THE REVOLUTIONARY AMBONOCLAST.</h3> - -<p>Jacques Frénin was the name of the man who so fearfully figured -as the executioner of the abbé. From an early age he had imbibed -those infidel opinions that were too industriously propagated among -the French people for a considerable time previous to the breaking out -of the great revolution. He hated the priests, because he thought -they were rich, and not obliged to labour like himself; for the same -reason he detested the nobility and higher classes. He considered -religion as a mere invention of priestcraft; he was never seen at its -offices, or participating in its rites; it was therefore not surprising -that he assisted at the demolition of the ancient rood of the abbey -with a sort of diabolical satisfaction. "Ma foi," he exclaimed, -"c'était un beau commencement, mais ça ne s'arrêtera pas là;" and -indeed, a few years later the full principles of infidelity developed -themselves in the closing of all the temples of God, and total destruction -of many of the most glorious religious monuments. As soon as -popular fury had made head against all regular government, Jacques -entered the National Guard, and proceeded to Paris, where his great -strength and daring courage soon raised him in the estimation of his -fiend-like associates. He was always the ready destroyer of a cleric or -aristocrat; hence the terrible part he performed at the close of the -last chapter. Through the continual occasions of plunder that -presented themselves in those lawless times, he obtained a considerable -sum of money, and with this he determined on retiring to his -<span class="pagenum"><a name="Page_93" id="Page_93">{93}</a></span> -village, and securing some property. The abbey buildings had been -nearly demolished for the materials, with the exception of the great -western towers, which had resisted destruction, and stood now isolated, -and of immense apparent height. Fragments of shafts, mullions, -ribs, and ashlar-work were piled in heaps for sale, and the area of the -church was one great mound of lime and broken materials. The sad -scene of desolation produced no regret on the mind of the hardened -Jacques, who merely exclaimed, "Ah, c'est fini!" and turned towards -the old parish church, which was still standing. On drawing near he -perceived an affiche announcing it for sale as part of the propriétés -nationales. "Here is a capital chance," he thought; "a store for -wood is what I require, and then if I buy that neighbouring forest -my fortune is made." In a short time the purchase was concluded, -and the venerable temple, which had for some time ceased to echo the -divine praises, was disposed of to become a common wood-store. The -interior of the building had a most desolate appearance; the whole -was denuded of every ornament; the side altars were standing, but -the high altar had been thrown down in a fruitless search for supposed -treasure. An ancient image of our Lady had been removed, -but the corbel remained, and the outline of the figure itself was -traceable on the wall. The floor was strewed with rubbish, and damp -was gathering round the bases of the pillars and chancel steps.</p> - -<p>Jacques viewed his purchase with great satisfaction. Could he but -fill it with wood, what profit he should realize! "But, peste!" he -exclaimed, "with that diable de jubé, it is impossible to get a cart up -near the end. Tu descendras vite." Now Frénin had assisted -during his revolutionary campaigns at the destruction of many a noble -church, and had remarked the expeditious way in which this was -effected by cutting away the bases of the shafts, and propping them -up with pieces of timber, smeared with pitch, which, when fired, were -rapidly consumed, and caused the instant fall of the superincumbent -weight; so that, as one of the writers of that period triumphantly -<span class="pagenum"><a name="Page_94" id="Page_94">{94}</a></span> -explains, "<i>On peut détruire toute une cathédrale dans un petit quart -d'heure.</i>" Having frequently witnessed the success of this plan on -a great scale, Jacques determined to apply it to the pillars of the rood -screen, and with the aid of a mason who had been employed in the -demolition of the abbey, he succeeded in stilting all the shafts on -wooden shores, which he afterwards covered with grease and pitch. -He calculated that in their fall they would bring in the vaulting of the -loft, and, in fine, save all the trouble of pulling down piecemeal. All -being prepared, he entered the church early in the morning, and twisting -the wooden props with straw, he proceeded to ignite them. Those -who have read the last chapter should remember the peculiar construction -of this screen, with its iron trellis-work between the walls, -the solid reredoses towards the chancel. A volume of smoke rose -from each of the four piles of wood, succeeded by fierce crackling -flames, and still denser smoke. Frénin was quickly escaping, when in -the confusion of the moment, he pressed the iron gate from him; -it closed with a spring catch, and with the rebound shot the key far -beyond his reach into the nave. He rushed to the chancel doors, but -they were barred within. In the midst of the increasing flame he frantically -dashed himself now against the door, and now straining at the -iron trellis, he roared with despair and terror; for at that early hour -no one would be near to force the gates and save him. But two little -children, belonging to a devout widow of the village, had been taught -to go and offer their morning prayers before the church doors, though -its portals had been closed for the ingress of the faithful; and, as -usual, they bent their knees before the sacred threshold. Scarcely -had they commenced their orisons, when the crackling sounds within -the building attracted their attention; these were rapidly succeeded -by the shouts of Frénin. Looking through the crevice, they beheld -flames, and ran back affrighted to the village, exclaiming, "Le feu est -à l'église." At this cry the peasants rushed from the houses, and -the smoke, which now escaped from the broken windows of the edifice, -<span class="pagenum"><a name="Page_95" id="Page_95">{95}</a></span> -showed that the alarm was too well founded. Proceeding to the -western doors, which Frénin had closed on entering, they forced them -open by means of a felled tree, swung by their united efforts as a ram.</p> - -<p>On entering, the most horrible spectacle presented itself. The -pillars and arches of the rood screen encircled in fire, and in the midst -of smoke and blaze the gigantic figure of a man whose hair and clothes -were already burning, yelling imprecations; in the agony of despair he -grasped the bars with fruitless efforts to tear them from their faithful -rivets. "Ah, mon Dieu, c'est Frénin," exclaimed the terrified -villagers. "Il est perdu!" cried another voice, and at that instant -the wooden shores, reduced to gleaming embers, gave way, and arches, -vaulting, all fell in crushing weight on the wretched ambonoclast, -who was speedily consumed beneath the burning mass. Water was -now procured, and by the ready help of the numerous villagers who -had been gathered to the spot, all danger to the fabric itself was soon -prevented; but when the smoking ruins had been cleared away, a -few ashes were all that remained of the powerful frame of Jacques -Frénin, the revolutionary ambonoclast.</p> - -<p>At this moment a man of venerable aspect entered the building, -and who, notwithstanding his secular apparel, might still be recognized -as the old curé, the Père Duchesne; for it was him, indeed. -He had been concealed during the Reign of Terror by a neighbouring -farmer, in whose loft the holy rites had often been privately celebrated. -"My children," he exclaimed, "you behold the terrible judgments of -God on those who sacrilegiously deface his holy temples. The -unhappy Abbé de Chantal perished by the hand of that wretched man -of whose awful death you have but just been the terrified spectators." -A cry of subdued horror was heard among the listening people. "Yes," -he continued, "I was an unwilling witness of his murder at Paris, and -it was Frénin who struck the blow. Inured to every crime, a -despiser of God's ordinances and of his ministers, he came at last to -pollute this very temple to profane uses. But divine justice would -<span class="pagenum"><a name="Page_96" id="Page_96">{96}</a></span> -not suffer this enormity; he has perished by his own hands, and his -end was destruction. My dear children," continued the curé, "my -heart bleeds to enter this church where I for so many years united -with you in daily sacrifice and prayer, and from which we have been -so long excluded, to see it so forlorn and desolate; and even now -who knows but by my presence here I may be discovered and -destroyed?" "Ah, mon père, mon père," murmured the villagers, -"we will protect you." "God's will be done!" replied the curé. At -that moment the sound of an approaching horseman was heard. The -women instantly drew near the pastor, while some of the men -hastened to the doors, to ascertain the person who was arriving. In -a few moments they returned with a substantial farmer of the neighbourhood, -covered with dust, who, hastening to the curé, exclaimed, -"Ah, Monsieur le curé, nous sommes sauvés; le premier consul a -restauré le culte," and handed a paper to the venerable priest, who -could scarcely peruse it from emotion. It was, indeed, true; the concordat -with the Holy Father was made, religion was restored. Such -was the exultation of the inhabitants, that they would have had mass -celebrated in the church, if the curé had not explained to them that, -after its recent desecration, and the horrible death of Frénin, it would -require reconciliation before any sacred rites could be performed -within its walls; and for that purpose they must wait either for the -bishop or his authority.</p> - -<p>A procession in thanksgiving was then speedily arranged; and now -with what alacrity long-concealed objects appeared! One good -woman triumphantly produces a cope she had concealed under a quadruple -layer of mattresses; another hastens with the holy water vat, -brightening it up as she came along; half the contents of the ancient -sacristy returned to view as if by magic. But what gave greater joy to the -old curé than all the rest, was the ancient rood, that had been removed -from the jubé and concealed in a roof by a pious parishioner. It came -supported by four of the strongest youths, carried in triumph. The -<span class="pagenum"><a name="Page_97" id="Page_97">{97}</a></span> -voice of the curé, enfeebled by age, and tremulous with overflowing -devotion, could scarcely entone the Vexilla Regis, but it was -instantly taken up by a chorus of voices. With caps in hand, tearful -eyes, and swelling hearts, the villagers of Conques followed the -venerable image of the Redeemer till arrived at the cemetery. The -curé, after an ardent address of exhortation and thanksgiving, -dismissed them with his blessing. One bell yet remained in the old -tower; a rope was soon obtained, and loudly it rang on that happy -day. The church was soon after reconciled, and the holy sacrifice -has been continually offered up ever since. The rood was raised again -on high, with great rejoicings, and Père Duchesne saw that day, and -sang his <i>Nunc Dimittis</i>. He reposes in peace in the adjoining cemetery, -but his spirit lives in his successor, who equally venerates the ancient -traditions of his ancient faith. The rood is now safe from further -profanation. The traces of Frénin's destruction will be shortly effaced -by a perfect restoration; but the frightful end of the ambonoclasts of -Conques will long form the subject of discourse among the inhabitants -of the village.</p> - -<div class="pagenum"><a name="Page_98" id="Page_98">{98}</a></div> - -<h3>THE MODERN AMBONOCLAST.</h3> - -<p>This character is of comparatively recent creation,—none of the -species having been seen about in this country previous to the -consecration of S. George's church. About that time two or three -made their appearance, and, though not by any means in a flourishing -condition, they have somewhat increased. It has been asserted that -their first dislike of screens arose from a desire of literary notoriety, -and that, finding several old women of both sexes had taken a most -unaccountable and inexplicable offence at the ancient division of the -chancel, and the restoration of the crucifix, which had been so wisely -destroyed in the good old days of Queen Bess, they profited by the -occasion to increase the sale of a periodical. But this may be mere -calumny; and, indeed, it is very probable that it is a case of pure -development, as at first they did not exhibit any repugnance to -pointed churches, which they rather lauded, and only took objection to -certain upright mullions and painful images; but they speedily developed -other propensities and ideas, and latterly have exhibited symptoms -almost similar to hydrophobia at the sight, or even mention, of -pointed arches or pillars. The principal characteristics of modern ambonoclasts -may be summed up as follows:—Great irritability at vertical -lines, muntans of screens, or transverse beams and crosses; a perpetual -habit of abusing the finest works of Catholic antiquity and art, and -exulting in the admiration of everything debased, and modern, and -trumpery; an inordinate propensity for candles and candlesticks, -<span class="pagenum"><a name="Page_99" id="Page_99">{99}</a></span> -which they arrange in every possible variety; they require great -excitement in the way of lively, jocular, and amatory tunes at divine -service, and exhibit painful distress at the sound of solemn chanting or -plain song; at divine worship they require to sit facing the altar, and -near the pulpit, and then, if the edifice be somewhat like a fish-market, -with a hot-water pipe at their feet, a gas-pipe in the vicinity, and a -stove in the rear, they can realize a somewhat Italian atmosphere in -cold and cheerless England, and revive some sparks of that devotion -that the gloomy vaulting of Westminster and the odious pillars of a -new rood screen had well nigh deprived them of. It must be, however, -stated, to their credit, that the modern ambonoclasts, unlike their -predecessors, confine their attacks to strokes of the pen; and we do -not believe that they have hitherto succeeded in causing the demolition -of a single screen. Indeed, it is probable that, if the development -of their real character had not proceeded so rapidly, they might -have caused some serious mischief to Catholic restoration; but the -<i>cloven foot</i> is now so visible, that men are looking out in expectation -of the <i>tail</i>, and are already on their guard.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_20" id="Foot_20" href="#Ref_20">[20]</a> -The choir of S. Denis, near Paris, had been modernised a few years previous.</p> - -</div> - -<div class="pagenum"><a name="Page_100" id="Page_100">{100}</a></div> - -<h2>CONCLUSION.</h2> - -<p>It now only remains to make some remarks on the recent revival -of Catholic art and architecture, the difficulties with which it has -to contend in England, and the opposition that has been raised -against it. As the enclosures of the sanctuary can be traced from -the erection of the earliest Christian churches, and as they are -inseparably connected with reverence and solemnity, we might have -hoped, and indeed expected, that the restoration would have been -hailed by all who profess the ancient religion as an evidence of -returning faith. But, alas, we have a class of men to oppose the -revival of ancient symbolism, on whom the examples of fifteen -centuries of Catholic antiquity fail to produce the slightest recognition -of respect. The past is to them a nullity, and they would fain -have us believe that the present debased externals of religion are to be -equally received and propagated as those which were generated during -the finest ages of Christian art. Now, knowing the whole history of -this debasement in religious art, its origin and progress, and the -general decline of Catholic faith and Catholic principles, corresponding -to its increasing influence, it is impossible for us to regard its very -existence otherwise than as an intolerable evil, and we must labour -incessantly for its utter expulsion from our churches. The decline of -true Christian art and architecture may be dated from a most corrupt -era in the history of the church; and ever since that most unnatural -adoption of Pagan externals for Catholic rites, we mourn the loss of -those reverend and solemn structures which so perfectly embodied the -<span class="pagenum"><a name="Page_101" id="Page_101">{101}</a></span> -faith for which they were raised. Bad as was the Paganism of the -fifteenth and sixteenth centuries, it was dressed out in much external -majesty and richness; but now nothing is left but the fag end of this -system; bronze and marble are replaced by calico and trimmings; -the works of the sculptor and the goldsmith are succeeded by the -milliner and the toyshop; and the rottenness of the Pagan movement -is thinly concealed by gilt paper and ribands,—the nineteenth century -apeings of the dazzling innovations of the Medician era. Cheap -magnificence, meretricious show, is the order of the day; something -pretty, something novel, calico hangings, sparkling lustres, paper pots, -wax dolls, flounces and furbelows, glass cases, ribands, and lace, are -the ornaments and materials usually employed to decorate, or rather -disfigure, the altar of sacrifice and the holy place. It is impossible for -church furniture and decoration to attain a lower depth of degradation, -and it is one of the greatest impediments to the revival of Catholic truth. -It is scarcely possible for men to realize the awful doctrines and the -majestic ritual of the Church under such a form; and yet these -wretched novelties are found on the altars of some of the most -venerable temples, equally as in the abortions of modern erection. -They disfigure alike the cathedral of the city and the wayside chapel -of the mountain-pass; they flourish in religious communities, and are -even tolerated in the seminaries for the education of the priests of the -sanctuary. Bad, paltry, miserable taste has overrun the externals of -religion like a plague; and to this state of deplorable degradation -would these new men bind our desires and intellects, as if it were of -God, and on a par with the noble works achieved in times of zeal and -faith, and at a period when all the art and talent of Christendom was -devoted to the one object of increasing the glory and magnificence of -the great edifices devoted to the worship of Almighty God. Moreover, -it is very important to observe the extraordinary similarity of idea that -actuated the artists of all Christian countries during the middle ages. -Making due allowance for climate and materials, the same ruling -<span class="pagenum"><a name="Page_102" id="Page_102">{102}</a></span> -spirit presided over the arts of Italy and England. The same -devout effigies, recumbent and praying, each robed in the flowing -ecclesiastical habits of the order, may be seen in every old Italian -church, as in our own cathedrals. There was no difference then -between a Roman chasuble and an English chasuble, between a Roman -mitre and an English mitre. The same beautiful forms and proportions -reigned universal. Even where the Christians extended their -conquests in the East, in the city of Jerusalem itself, the edifices they -raised were in architecture Pointed and Christian; some of which -even still remain. Everywhere the Catholic might be traced by the -works he raised; but now, alas, excepting by the extreme ugliness, -and deformity, and paltry ornament, that are the usual characteristics -of modern Catholic erections, it would be difficult to distinguish them -from the recent productions of modern sects. Is it not a consideration -that should fill every true Catholic heart with grief, that the propagation -of the faith is no longer attended by the propagation of -ecclesiastical traditions? Every year what zealous missionaries depart -for distant climes, bearing with them, indeed, the true principles of -faith, but with it the most degraded externals possible. The sources -from whence they supply themselves are the magazines of Lyons and -Paris, places filled with objects made entirely on the principle of cheap -magnificence, uncanonical in form and often in material, hideous in -design, utter departures from the beautiful models of mediæval antiquity, -calculated only to please the vulgar and the ignorant, dazzling -in the eyes of savages, but revolting to every man of true ecclesiastical -knowledge and feeling. These things are not only expedited to the -colonies and even to the antipodes to form in any mission a fresh nucleus -of deplorable taste and ideas, but they inundate the sister island itself; -yes, in Ireland, where, even in times considered barbarous, the ancient -goldsmiths wrought exquisitely cunning work for the altar and the -shrine, they now deck out her sanctuaries in Parisian trumpery, and borrow -the model of her churches from the preaching-house of the Presbyterian -<span class="pagenum"><a name="Page_103" id="Page_103">{103}</a></span> -settler; and to such a low ebb is all feeling for ecclesiastical art -and architecture fallen—that when a cathedral is raised after the old -form of the cross of Christ, its very bishop walls off the holy place, and -converts it into <i>a room</i>! Room-worship, where all see, is the modern -shell in which innovators and nineteenth-century men could <i>exhibit</i> -those sacred mysteries for which Catholic antiquity raised those glorious -choirs and chancels, witnesses of their reverence and our degeneracy. -But sad to relate, this principle of room-worship is gradually extending -itself into those majestic edifices of antiquity by the manner in which -they are perverted to the modern system. The month of May is more -especially devoted to the honour of our Blessed Lady, an excellent -devotion, but how is it carried out? All who have had the misfortune -of travelling on the continent during this month must have noticed an -unusual disfigurement of the fabric in the shape of enormous festoons -of red calico or some other material, as the case may be, pendent from -the groining over a catafalque of painted canvass, flower-pots, and glass -cases, surmounted by an image intended for our Blessed Lady herself, -in the most meretricious attire covered with gauze and spangles. This -miserable representation is usually set up in the very centre of the -transept or the last bay of the nave, completely altering the whole -disposition of a church. Great devotion to the blessed mother of our -Lord, was a striking feature in mediæval antiquity. Almost every -cathedral was dedicated in honour of Notre Dame, and where was the -parish church of any size that did not possess its Lady chapel set apart -for her peculiar honour? What beautiful examples have we of these -in England, though, grievous to relate, some of them are converted to -unworthy purposes, and all disused; but in many of the continental -churches it is little better; for, except an occasional mass, Lady chapels, -<i>as such</i>, are no longer kept up. In one of the finest churches of Liege -I saw an altar set up for the month of May, a heap of paltry showy -materials; but on getting to the other side I discovered this gilded front -to be sustained by old packing-cases, trestles, casks, and planks, hastily -<span class="pagenum"><a name="Page_104" id="Page_104">{104}</a></span> -piled up, and not even concealed from those who might penetrate eastward -of the nave. Further on was the real Lady chapel in a very neglected -state, without furniture or decoration: this was undoubtedly the portion -of the church where the devotions of May should be celebrated; -but the nave is more like a <i>room</i>, and is therefore used in preference -to that portion of the fabric which the devout builders had set apart -for the purpose. And what majestic Lady chapels did the old churches -contain! usually the most eastward portion of the church,—the -<i>refugium peccatorum</i>; they displayed in their windows and their -sculptures all those edifying—those touching mysteries of our Lady's -history which are so fruitful for contemplation, and the tryptych altar -unfolded its gilded doors when adorned for sacrifice, with many a saint -and angel depicted on its painted panels, and the office was sung by -our Lady's chaplains, all in their stalls of quire, and the morrow -mass-priest celebrated most solemnly, and many a taper burnt -brightly before her image, and our Lady's chapel was one of the fairest -portions of these fair churches. But now, alas, while these chapels -are in a great measure abandoned to neglect, a wretched piece of -scenery is substituted, and this is set up in the centre of the nave, -to the disguise of the architecture and the impediment of its proper -use. Even making all allowances for the reduced revenues of the -continental churches, it must be admitted that they are for the most -part most miserably neglected, and in a great measure disused. -There are splendid crypts where no rites are ever celebrated. Lateral -chapels turned into confessionals, or what is much worse, into deposits -for lumber; everything is carried on on the smallest scale, and with -the least trouble, and not only are the generality of modern Catholic -churches on the continent most miserable abortions, but every year -sad mutilations are permitted in many of those sacred buildings that -are still preserved for religious purposes.</p> - -<p>Even in the Pontifical States, within a very short period, a fine -church, of mediæval construction, was shorn of both its aisles, by the -<span class="pagenum"><a name="Page_105" id="Page_105">{105}</a></span> -act of the very canons themselves; one they demolished for the -materials, and the other they converted into a custom house and stores. -Indeed, many modern canons have been miserable stewards of the -churches committed to their care, which makes their partial suppression -in the eighteenth century the less to be regretted. As shown -in the course of this work, they were great destroyers of choral -arrangements and painted glass in the latter times; and from a much -earlier period they were accustomed to raise a revenue by permitting -domestic erections against the sacred edifices themselves,—shops and -houses between buttresses and lodgments in porches.</p> - -<p>At the north portal of Rouen cathedral but a few years since, I was -obliged to climb into the roof of a wretched barrack or book-stall, -erected in the seventeenth century, to inspect the unrivalled sculpture -representing the creation of the world and the early Scripture history, -and the very purloins of the roof were held by mortices cut into -images of splendid design, and the rough walls built rudely against -the most elaborate tabernacle-work and bas-reliefs. The tenants of -these miserable shops, which gave the name of the Cour des Libraires -to the northern approach of the cathedral, paid regular rent to the -chapter down to the great revolution. I am happy to state that these -unsightly excrescences have been demolished by the government, and -the whole beauty of the original design is now visible.</p> - -<p>At Aix-la-Chapelle, a city reported, and, I believe, with truth, to be -full of devout persons, the Dom is incumbered with houses and shops -for the sale of snuff-boxes, pipes, and tobacco, between every buttress -of the apsis surrounding the high altar, and the owners of these -habitations are driving their bargains and cooking their victuals -within a few feet of the high altar of a church which is the depository -of the most venerable reliques of Europe. I mention these things to -show how sadly the ancient reverence of sacred buildings and things -has declined in latter times, and most assuredly they are intimately -connected with the screen question. Rites so sacred as those of the -<span class="pagenum"><a name="Page_106" id="Page_106">{106}</a></span> -Catholic church require every watchfulness, both in conduct and in -externals, to preserve them in due veneration; and an irreverent -arrangement in the construction of a church may be the cause of -infinite sin and scandal. Now, therefore, that we are beginning, as it -were, <i>de novo</i>, to restore the churches of God, how important is it -that we should so construct them, that they may by their symbolic -and ancient fashion, set forth the stupendous mysteries for whose -celebration they are raised, and, at the same time, prove them to -belong to that very faith that generated, centuries ago, those great -principles of Christian art which we may rival, but scarcely excel!</p> - -<p>The Catholic body in England is now suddenly become the spectacle -of the world. An immense responsibility has been incurred; how will -it be supported? Our episcopal rulers bear titles which are associated -with the most venerable men and places in the history of the English -church,—names associated with the first planting of Christianity in -this land,—names known far and wide as pertaining to some of the -fairest fabrics that Catholic hands ever raised to the honour of their -Creator,—and names the very possession of which in a manner demand -a conduct and principles in accordance with their import. May we not -then hope, nay, expect, that better times are approaching; that our -spiritual rulers will, in very deed, set forth, if not the full glories of the -ancient men, at least a continuation of their principles, so that, in all -the works undertaken under their auspices, the old spirit and intention -may be evident. Christian architecture must now become a <i>principle</i>, -and not a <i>mere matter of whim and caprice of individuals</i>, or its advocacy -or rejection treated as a mere jest. Architects may suggest and -execute, <i>but the moving power must come from episcopal authority—that -is the legitimate source</i>. The finest churches, unless the ecclesiastics -enter into the spirit of the arrangement and construction, are only so -many evidences of modern degeneracy; and the erection of a choral -church for an orchestral service is a farce, and a prostitution of ancient -symbolism to a profane and irreverent purpose, even more painful than -<span class="pagenum"><a name="Page_107" id="Page_107">{107}</a></span> -when it is carried on in a meeting-house with an altar in it. And as for -those men who would import the debased modern externals of Italy into -this land for religious purposes, whatever their intentions may be, <i>they -can only be practically considered as the greatest and worst enemies with -which we have to contend</i>, for they lower the majesty of religion to the -level of a common show, and degrade the sacrament before the people, -giving occasion for scoffing and ridicule, and putting stumbling-blocks in -the way of our separated countrymen, dressing up the altar of God like -a mountebank's show, and imparting a strange and modern appearance -to that which was indeed the ancient faith of this land. What a mockery -would it be to lead those devout men, (who though separated in position, -have been united in heart with the ancient religion, who have -prayed in deserted aisles and chapels, kissed the prostrate consecrated -stones of ancient sacrifice, and mourned over desecrated shrines and -rifled tombs of holy dead,) up to the threshold of that very gate within -which they fondly hoped for the realization of all those glories on which -they have existed for years, on its being opened, to introduce them into -a sort of drawing-room chapel with a deal altar hung with gauze, lace, -and ribands, surmounted by a <i>chiaro oscuro</i> of an ecstatic friar dancing -a naked Bambino in his arms, and a bason on a neat stool for a font. -"Impostors," they would exclaim, "is this the realization of the ancient -faith? why, the wreck we have left savours more of the old spirit than -this miserable show." But let us reverse the scene, and introduce our -pilgrims into a church, raised after the ancient fashion of those in which -they had been used to worship, but restored to life and beauty. First, -that veiled altar and ardent lamps tell of the divine presence abiding -among men: <i>ecce tabernaculum Dei cum hominibus</i>. What sanctity -this imparts to the whole fabric, and how dead do even the most -stupendous churches appear when denuded of the sacramental presence; -the ground itself in such a place is holy: not only the disposition of the -fabrick itself, but every enrichment, every detail harmonises in setting -forth one grand illustration of the faith. The windows sparkle in -<span class="pagenum"><a name="Page_108" id="Page_108">{108}</a></span> -saintly imagery and sacred mysteries, the very light of heaven enters -through a medium which diffuses it in soft and mellowed hues. What a -perspective is presented to the sight, of successive pillars supporting -intersecting arches, leaving distant openings into aisles and chapels! -Then the chancel, with its stalled quire seen through the traceried -panels of the sculptured screen, above which, in solemn majesty, rises -the great event of our redemption, treated after a glorified and mystical -manner, the ignominious cross of punishment changed into the budding -tree of life, while, from the tesselated pavement to the sculptured roof, -every detail sets forth some beautiful and symbolical design; how -would such a fabric strike to the heart of a devout soul, seeking for -the realization of ancient solemnities! And is it not a case of gross -infatuation for men professing the old faith to reject what we may -truly imagine to be a revelation made by the mercy of God for the -consolation of his servants upon earth, and to turn back to the old -vomit of Pagan design, associated only with the infernal orgies of -false gods and heathen corruptions? Does it not show an utter loss of -all appreciation of the beautiful and the true, and a state of mental -degradation as deplorable, as it is alarming in its practical results?</p> - -<p>Yes, it is mainly to these causes that the reproaches of debasement, -that are so frequently urged against us by Protestants, are to be traced, -nor can we scarcely wonder that those who judge by externals and do -not penetrate beneath the surface, should come to such conclusions, -judging by what is presented before them even under the most glorious -vaults of Christendom. But when we turn to true Catholic art, what -do we behold? the works of men profoundly versed in symbolism and -the holy scriptures: indeed, the great portals of the foreign cathedrals -are <i>Bibles in stone</i>. There we trace the sacred history from the first -moving of the spirit of God on the waters to the creation of all matter -and man himself; there we are led down through the Mosaic history to -the prophets foretelling the redemption of man, each with his phylactery -and appropriate emblem; beside those, all the types of the old law, -<span class="pagenum"><a name="Page_109" id="Page_109">{109}</a></span> -those mystical foreshadowings of our blessed Lord and his passion, -till we come to the realities, and every scene and every mystery connected -with the redemption of man, from the angelical salutation to the -ascension into heaven, are so severely, yet so piously treated, that they at -once address themselves to the inquiring mind of childhood, and draw -tears of devout admiration from mature and reflective age. O, spirit -of ancient Catholic art, how is it that you no longer abide among its -people? What curse, what blight, has deprived us of your aid? Is -it not that the sons of the church have forsaken the old traditions of -faith, and have gone straying after strange forms and gods, and -substituted debased novelties for ancient excellence, and to these -profane and irreverent representations they have given the name of -Christian saints, using the mysteries of religion as a mere peg whereon -to hang their abominable productions.</p> - -<p>This system prevailed to such an extent that, in the sixteenth and -seventeenth centuries, the people, and even the historians themselves, -lost all knowledge of what some of the sculptures of their very -cathedrals represented, and explained the prophecies of scripture and -the histories of the Old Testament by modern legends,<span -class="fnanchor"><a name="Ref_21" id="Ref_21" href="#Foot_21">[21]</a></span> -with which -they were not in the least connected, as may be seen in the histories -of Amiens, Rouen, &c.</p> - -<p>There can be no doubt that in modern art the great and important -mysteries of Catholic truth have been in a great manner supplanted by -the representations of novel devotions and dubious representations.<span -class="fnanchor"><a name="Ref_22" id="Ref_22" href="#Foot_22">[22]</a></span> -<span class="pagenum"><a name="Page_110" id="Page_110">{110}</a></span> -Among these latter, heart painting has a most extraordinary vogue. -Without being wanting in the respect due to the authorized devotion of -the sacred heart, I should be deficient in duty as a Christian artist if I -did not protest most strongly and candidly against the external form -in which it is usually represented. It is quite possible to embody the -pure idea of the divine heart under a mystical form that should -illustrate the intention without offending the sense; but when this -<i>most spiritual idea</i> is depicted by an anatomical painting of a heart -copied from an original plucked from the reeking carcase of a bullock, -and done with sickening accuracy of fat and veins, relieved on a chrome -yellow ground, it becomes a fitting subject of fierce denunciation for -every true Christian artist, as a disgusting and unworthy representation -for any object of devotion. The rage that appears to exist among -many modern communities for hearts, is quite astonishing. To a casual -observer of some of their oratories it would really appear that their -whole devotion consisted in this representation: it is depicted in every -possible form and variety, sometimes <i>revolvant</i> and smoking, sometimes -<i>volant</i>, with a pair of wings growing out of the sides, sometimes <i>ardent</i>, -flaming, fizzing, bursting like an exploding shell, sometimes <i>nayant</i>, -floating in a pool, sometimes in pairs, sometimes in clusters. In fine, -we have them in every possible variety, and they are by no means -dissimilar to the illustrations of those amatory epistles so largely -<span class="pagenum"><a name="Page_111" id="Page_111">{111}</a></span> -circulated in this country about the feast of S. Valentine. Whether -there lingers any association of ideas between these latter and their -more spiritual counterparts in the minds of pious ladies, I do not -pretend to determine, but most certainly these vile caricatures have a -wonderful hold of the fair sex, whose very book-marks generally consist -of such representations. Moreover, the bad and vicious taste that -prevails in the greater part of our religious communities of women, is a -very serious evil;<span -class="fnanchor"><a name="Ref_23" id="Ref_23" href="#Foot_23">[23]</a></span> -many of them are houses of education, and it is -most lamentable that, with the first elements of religion and piety, the -pupils imbibe the poison of bad and paltry taste which, from early -associations, affects them perhaps through life, and vitiates all their -ideas on those subjects connected with the externals of religion. It is -true that, by the blessing of God, the principles of Catholic art are by -degrees penetrating these strongholds of prejudice and bad taste, but -as yet I am not aware of one house of education where there is even a -decent chapel; the great reforms have been effected among the active -<span class="pagenum"><a name="Page_112" id="Page_112">{112}</a></span> -orders of ladies, and I will most fearlessly appeal to their convents, -where trash of every kind has been excluded, where both the needle -and pen reproduce the beautiful ornaments of antiquity, and where -the united voices of the community send forth the old Gregorian tones -from their stalls, as examples of what may be done by those who, even -with slender human means, apply themselves to the revival of true -Catholic art and practices. But this is only in England, and I fear -that, at the present time, nearly the whole conventual system on the -continent is sunk in the production of the veriest trash that was ever -contrived for the desecration of the altar and degradation of ecclesiastical -costume. What an appalling field of labour lies before the missionaries -of Christian art! Yet the very magnitude of the task should -only serve to animate its disciples to heroic exertion in its propagation, -and to rescue the Catholic faith from the external degradation into -which it has fallen, and to reinstate it in all its former majesty, and to -restore the reverend usages of the ancient fabrics, by which the sacred -mysteries of the church may be set forth in a more lively and striking -manner, strengthening the zeal and devotion of the faithful and drawing -to the fountain of truth those souls whom the theatrical choirs and -modern abuses have deterred from uniting.</p> - -<p>If men were but acquainted with the Catholic church as she really -is, in her canons, and her authoritative service books, how differently -would they think and speak of her! The majesty of the language used -in her ritual and pontifical is inferior only to that of the sacred scriptures -themselves, and would almost seem to bear the evidence of inspiration -in the text. How we must admire the appropriate fitness of each -consecration to the peculiar object to be devoted to the service of -Almighty God, from the walls of the temple and altar of sacrifice to -those heralds of solemnity, the bells, whose brazen notes can animate -a whole population with one intention and one prayer! Then if we -consider the divine song of the church, its serenity, its melody, and -indeed its almost sacramental power in infusing faith into the heart as -<span class="pagenum"><a name="Page_113" id="Page_113">{113}</a></span> -its tones flow into the ears of the assistants, while the rhythm most -perfectly expresses the sense of the sacred words thus solemnly -sung, without vain repetitions and distracting fugues, but as is ordered -by the Roman ceremoniale, sit devota, distincta, et intelligibilis, so -that men listen, not to curious sounds, but sing in prayer and with one -voice, glorify God in unison of heart and sound. What majestic, what -consoling services has the church provided for her children! What -happiness, even on earth, might they not realize by fulfilling the -loving intentions of such a mother, and by devoting their means and -energies, carry out the authorized and ancient ritual! But alas, such -is the degenerate spirit of this age, that even among those who profess -the ancient faith in this land, the existence of solemn services is the exception -and not the rule; and while this is the case how can we wonder -at the feelings with which they are regarded by the majority of our -separated countrymen, who from curiosity or better motives of inquiry -attend them? A great portion of the old country missions have usually -a sort of room with a look of chilling neglect, at one end of which a -wooden sarcophagus or quatrefoil box serves for an altar, duly supplied -with some faded artificials and mean candlesticks of a culinary pattern. -A mouldy picture of the bad Italian school, given by some neighbouring -patron on account of its worthlessness to the chapel, hangs above. A -cupboard, painted in marble streaks, serves for a tabernacle; a half-parlour, -half-kitchen, for a sacristy and confessional, damp and neglected; -and a range of benches, with kneeling boards, provided with every description -of carpet patch and moth-eaten cushions, complete the fittings -of these establishments; and here, Sunday after Sunday, is a short said -mass, badly responded by some poor lad, a large amount of English -prayers, with a discourse, &c. &c. This is the only service which the -congregation hear on the greatest festivals; to them the solemn offices -of Holy Week and the alleluias of the Paschal time are equally unknown. -A poor priest, ill supported and alone, without means and persons to aid -in his functions, abandons the glories of religion in despair, and thinks -<span class="pagenum"><a name="Page_114" id="Page_114">{114}</a></span> -himself truly fortunate if he can secure the essential sacraments to -those committed to his charge. But what is the consequence? -Though the old people, from long habit, are content with this state of -things, their children do not imbibe any of that zeal and Catholic -spirit that the glorious offices of the church infuse into the tender -mind,—that love of the house of God and of his service,—that interest -which the succeeding and varied festivals awake in the youthful heart; -and, sad to relate, many of the old congregations are decaying, and -some have already <i>died out</i>. Now, if this state of things was the -result of absolute unavoidable poverty, it would seem cruel to allude -to it; but I grieve to say, many of these sort of places are sustained, -or pretended to be sustained, by old and wealthy families, who, out of -abundant fortunes, dole a much worse pittance to the chaplain than -the butler: and who, to avoid the inconvenience of people coming too -near their habitations, have fitted up an unoccupied stable, or an old -outhouse, for the tabernacle of the living God!! This is no overdrawn -picture, and I draw it to try if public shame can work on these men, -who seem dead to every other. Why, there are estates possessed by -nominal Catholics so broad, that six parochial churches might be -raised, and filled with the faithful; and yet, perhaps in this vast -space is only one wretched room like that described for all the Catholic -community, thus depriving more than two-thirds of the Catholic -population of even the practical means of fulfilling the duties of their -religion! It is a common cry that the Catholic body are poor,—but it -is false: the bishops are poor, the clergy are poor, the masses of town -population are poor; but there is wealth yet in possession of men who -have not altogether renounced the name, although they have the -practice of Catholics (if the world and Satan did not grasp their -hands), to restore religion throughout England, and to place it in such -a position as to be a beacon and a light to all. What, then, must be -the black despair of one of these men, when the world to whom he has -sacrificed all is passing away from him for ever! His gay companions -<span class="pagenum"><a name="Page_115" id="Page_115">{115}</a></span> -of the turf who have cheated him, and fattened on his rents and lands, -have left him to die alone,—not one of these jovial friends are there. -A few mercenary attendants hover round, to watch the last, and -divide what they may. No chapel or chaplain: the priest has long -been driven out to live on a distant portion of the property; the old -chapel is a disused garret, where a few moth-eaten office-books and -unstrung beads tell of the departed piety of the older members of the -family. But many years have elapsed since holy rites or holy men -were there seen or heard. Stupified with disease, the wretched owner -of a vast estate, childless and deserted, draws near his end. He has -wasted a life which might have been one of usefulness and honour. -He has impaired a property which was ample enough to have enabled -him to have placed the religion of his fathers on a noble footing; he -might have founded missions, established schools, encouraged his -tenants, and been the means of bringing numerous souls to God. But -he has done nothing—he has got nothing, but the whitening bones of -some racers that cost him thousands, lost him thousands, and were -shot in an adjoining paddock, and stocks of empty bottles, consumed -in entertaining worthless associates, and a broken constitution now -bearing him to a premature end. It is over. He is no more. -Unrepentant, unshriven, unanealed, his spirit has gone to judgment. -No ministers of God, no rites of holy church, were there to exhort and -strengthen the departing soul. There was not one of all those -mighty consolations which the church has provided for dying Christians -and their survivors. No stoled priests kneel around in prayer and -supplication; no ardent lights show forth the glorious hope of -resurrection; no poor bedesmen receive the funeral dole, and cry, -"May God have mercy on him!" no solemn knell invites the -departing prayer; the chamber of death is close and still: the Protestant -undertaker encloses the festering corpse in costly coffins, -hideous in form and covered with plated devices, but not one Christian -emblem among them all; a huge pile of sable feathers, as if in mockery, -<span class="pagenum"><a name="Page_116" id="Page_116">{116}</a></span> -surmounts the whole; and thus it stands, till, in a few days, it is -committed to moulder in the old vault. Placed on the north side of an -old parish church that had been built for Catholic rites, but now blocked -up with unsightly pews and galleries of uncouth and rude construction, -and denuded of every ancient decoration, the family vault had once -stood within a chantry, but the roof had long disappeared, while the -walls were crumbled into shapeless mounds. In the midst of a small -space, rank with weeds and nettles, was a huge brick tomb railed in -with bar and spike. A slippery way dug out at the lower end showed -a rapid descent to a dark aperture, formed by the removal of a large -stone, piled against the side. Over this stood the clergyman of the parish, -in a loosely fitting surplice ill concealing his semi-lay attire beneath, -attended by a decrepit clerk, who alternately recited the appointed -office. The executor, the lawyer, and the undertaker's men, with -some curious lookers-on, are alone present at this sad and desolate -spectacle. The coffin is lowered down the incline, the heavy mass is -forced into its narrow space, jammed in amongst the mouldering shells -of older interments. The men issue from the vault—the stone is replaced—the -heavy fall of earth clods resound on its hollow surface, and -as the access is filled in, all depart—the executors to the will—the -undertakers to the nearest tavern. Two old men linger on the spot. -"Well," one exclaimed, "I would not have thought the squire would -have died thus." "Alack, alack!" replied his companion, "it was -all along of bad company. I have heard Father Randall say, many -a time, <i>he were a good young man</i>." It was so indeed, <i>he was a good -young man</i>. He was taught and fulfilled his duties, but he never -knew the grandeur or the majesty of the faith in which he was reared. -It was not his pride, his glory. He knew it only as the persecuted—the -contemned religion of his ancestors, to which he was bound to -adhere, but he never felt its power, nor understood it as the fountain, -the source of all that is majestic, true, and ennobling upon earth, and so, -when he heard it laughed at as an old-fashioned jest, and got entangled -<span class="pagenum"><a name="Page_117" id="Page_117">{117}</a></span> -with worldly men, he abandoned its observances by degrees, and sunk -into worldly pleasures and feelings till he became dead to every call of -conscience, even for the most essential duties of religion, and came to -that miserable end. If this illustration be considered unsuitable for -an architectural work, I reply that the revival of true architecture is -intimately mixed up with education and the formation of the minds of -the rising Catholic generation. It is during the first few years of -mental training that the character and feelings are generally formed, -and I maintain the moral part of Catholic architecture, that is to say, -the fitting of the mind to understand and appreciate the external -beauties of religion, and to produce that love of God's service in the -youthful heart, is quite as important, and can only be raised in places -where the offices of religion are solemnly performed, and in suitable -edifices. Now this should be most strictly considered for the education -of both clergy and laity, for while the clergy have to officiate in -these edifices, and carry out their various uses, it is to the laity that -they must look both for the funds for the erection and the necessary -means of support after they are erected. Therefore, it is of paramount -importance that both receive the initiations in this matter, for early -impressions are everything. How truly deplorable are the ordinary -class of chapels attached to bishops' seminaries in France, for the most -part whitewashed saloons, without anything ecclesiastical about them, -except bad pictures, worse even than the walls they cover. Fortunately, -they are usually in the vicinity of some fine old church, where -the ecclesiastical students assist occasionally; but still, all should be -in harmony, the seminary with the cathedral, and the clergy with -both.</p> - -<p>In respect of collegiate chapels we are certainly far in advance in -England, but one great chapel, very nearly completed, yet lingers on -in an unfinished state, when a little effort might render it available for -divine service, and, in the meantime, many students must quit the -college without that true love of ecclesiastical art that is only imparted -<span class="pagenum"><a name="Page_118" id="Page_118">{118}</a></span> -to the soul by a devout assistance at the functions of religion in these -solemn edifices. The mere inspection of them is nothing, it is when -they become associated with the life of divine worship that they -produce the full power and lift the soul in ecstasy. Let us hope and -pray that not only in colleges, but in all places set apart for the education -of youth, suitable chapels may be provided, so as to make the -students love the beauty of God's house. I must confess, with every -wish to preserve my charity, I am moved to indignation when I hear -proposals for erecting great sheds to serve as Catholic churches, places -resembling a depot for railway goods or the housings of a wharf. -What treatment is this for the divine mysteries! what treatment for -the poor, who are brought to worship God in a place little, if any, better -than the union, or market shambles themselves! One of the many -great benefits conferred by church architecture, is its affording the -poor man a glorious edifice where he may enter at will; his position -of course shuts him off from participating in all worldly grandeur or -magnificence, but the portal of the Catholic church is open to him -early and late; there he is no intruder, he may rest on the marble -pavement or kiss the costliest shrine—he is spurned from every other -ground and noble edifice but this—and yet this new system would -bring the churches down to a level with the offices of a parish workhouse, -and deprive him for ever of so great a consolation as the sight -and enjoyment of a solemn pile. No blessing can be expected for -those who erect the temples of God in a sparing and commercial -calculating spirit. It is a positive insult to divine providence to build -a church on such low and niggard principles, calculated to draw down -a curse instead of a blessing. It is contrary to first principles: if we -saw a man pretending to make an offering to us, in which he had -economized in every possible manner, should we be disposed to receive -his gift with the same feelings as for another who poured out his -offering in a heartfelt and abundant manner? From those who have -little it shall be taken away, and it is impossible to conceive any -<span class="pagenum"><a name="Page_119" id="Page_119">{119}</a></span> -blessing attending one of these cast iron shells. It now remains briefly -to consider the actual revival of Christian architecture among the -English Catholic body, and to point out some important practical -principles which are as yet but imperfectly understood.</p> - -<p>In restoring the ecclesiastical architecture of the middle ages, there -are certain modifications and changes which the altered position of -religion renders absolutely necessary; for instance, in erecting a cathedral -or bishop's church it should be so arranged as to <i>be perfectly -available for the public worship of the faithful</i>, and the choir, on that -account, should not be enclosed in a solid manner, but with open screens -like the great parochial churches at Lubeck, and many other continental -cities, and also not unfrequently in England, as at Newark, a -grand parochial church; S. Nicholas, Lynn; Great Yarmouth, Southwold, -and many other such edifices intended for parochial worship.</p> - -<p>These churches may be as spacious and magnificent as cathedrals, -as indeed many of them are, but perfectly adapted for a great body of -people assisting at the sacred rites. It was currently reported that -the learned Père Martin declared that the old screens contributed to -the loss of faith among the people. Now if the reverend father did -make this statement, I have no hesitation in contradicting it, and for this -reason, that in those times when the cathedrals had enclosed choirs, -they were erected and used for the purpose of keeping up a great -choral service, and a worship of Almighty God <i>irrespective of popular -assistance</i>; but coeval with these were multitudes of grand parochial -churches like S. Maclou, at Rouen, relatively as magnificent as cathedrals, -and where there never existed any enclosed choirs at all, but -open ones, as I have shown in this work; it appears therefore that the -assertion of the reverend father has been made hastily, and without -sufficient grounds.</p> - -<p>At the present time, when we are almost on the apostolic system of -the primitive times, a cathedral should be perfectly adapted for parochial -as well as episcopal use, which was indeed the ancient arrangement -<span class="pagenum"><a name="Page_120" id="Page_120">{120}</a></span> -in corresponding times of antiquity when neither churches nor -clergy were very numerous.</p> - -<p>The next important point is the arrangement of the chancels, that -they may be perfectly adapted for the easy access and egress of large -bodies of communicants which have greatly increased since the middle -ages. The chancels of all large town churches should be continued -either like apsidal choirs, or taken out of the body of the church with -the aisles continuing eastward on either side, and terminating in -chapels, thus permitting the free egress of those who have communicated -without returning through the holy doors. This arrangement is -not of any importance in country parishes where the number of -communicants is necessarily limited, and where the elongated chancels -may be retained, but in great towns it is almost indispensable. And this -leads us to another matter of considerable importance. Almost all the -pointed churches that have been erected in towns, have been taken -from examples in the country villages, and although low churches -built of rubble walls with broach spires look most beautiful and -appropriate amid cottages, elm trees, and rural scenery, they appear -quite out of place when transplanted among the lofty mansions and -scenery of a great city. A church has recently been erected in London -the design of which <i>per se</i> is exceedingly pleasing, but instead of the -sky line of the gable roofs we have the attic story and Roman cement -balustrades and hideous chimney-pots of an adjoining terrace rising -above them.</p> - -<p>In all ancient cities where the houses were lofty, <i>the churches were -the same</i>, as at Antwerp, Bruges, Ghent, Lubeck, Ratisbonne, Nuremberg. -There are houses in the old towns whose gables are much -higher than are our first-rate houses, but the churches rise very far -above them, so that when seen from a considerable distance, the -temples of God appear over all surrounding objects. Moreover, internal -grandeur can only be produced by great height; it is a most important -feature, and one which cannot be exaggerated, therefore I hope and -<span class="pagenum"><a name="Page_121" id="Page_121">{121}</a></span> -trust that in future erections, no false economy, will interfere with -this important and symbolic principle. Another point to be considered -in the erection of town churches is the approach or entrance, which, -if it be possible, should be contrived through a cloister or porch, -answering to the ancient atrium. This would not only prevent noise -and break currents of air, but it would serve to prepare the mind of -the worshipper before entering the church itself, as a most devotional -effect might be imparted to the cloister by sculptures and paintings, of -which there are examples in several churches of Cologne and other -cities in Germany. I believe these would be found most advantageous, -not only for these religious reasons, but as completely shutting off the -ingress of external cold air,<span -class="fnanchor"><a name="Ref_24" id="Ref_24" href="#Foot_24">[24]</a></span> -and the church itself might be free from -drafts and yet properly ventilated from above. And it is a great point -for the revival of true church architecture, that it should be practically -convenient both for clergy and people, and that it is quite possible -to preserve an even temperature in the largest buildings is proved at -S. Peter's, Rome, and which really constitutes its greatest—if not its -only merit.</p> - -<p>It is also most essential to erect spacious sanctuaries, and cloisters -for the vesting of the singing clerks, who should not enter the priests' -sacristy, and they should be so contrived as not to be converted to -rooms of passage, or where women could find any excuse for penetrating. -<span class="pagenum"><a name="Page_122" id="Page_122">{122}</a></span> -The sacristies of the old Italian churches are magnificent, -both in dimensions and decorations. They are like second churches; -and, indeed, they should be considered and treated with nearly equal -respect on account of the sacred vessels and ornaments that are reserved -within their ambries. But to erect these noble adjuncts to churches -some considerable funds must be granted, and architects must not be -expected, as has fallen to my lot, to build a sacristy and fittings for -£40, and find some candlesticks into the bargain.</p> - -<p>Our churches should now combine all the beauty and symbolism of -antiquity with every convenience that modern discovery has suggested, or -altered ecclesiastical discipline requires. The revival would then become -a living monument and a true expression of the restoration of religion in -the land. But I grieve to say, from what I see of the majority of pointed -churches now erecting, that they are calculated to inflict greater injury -on the cause than even the Italian abortions, which can only excite -disgust, and drive men to the opposite opinion, and therefore practically -of some service. It is now time that the movement assumed a -regular principle; in the commencement everything was strange and -ill understood; step by step we had to fathom, and works which now -appear easy of execution were then deemed almost impracticable. A -great many errors and failures were the natural consequence, and no -man has been guilty of greater mistakes than myself; some of them -were caused by want of experience in this new and difficult career, -others through total inadequacy of funds. However, I feel certain -that, but a few years ago, even unlimited funds could not have produced -a truly fine work; and now I believe that a very majestic building -could be accomplished at a comparatively moderate outlay. But I am -sorry to say that, as yet, I see no man who has profited by my original -errors. The new churches are more elaborate and full of decoration, -but as convenient buildings are rather a decline from those originally -produced, and much more costly and very unsuitable for their intentions. -There is no distinction between churches intended for religious -<span class="pagenum"><a name="Page_123" id="Page_123">{123}</a></span> -orders and those for parochial purposes, though their use is widely -different. Formerly every order built in accordance with its own -rules, and it is easy, on the mere inspection of these buildings, to -ascertain their origin. The Dominicans were great preachers, and -consequently their churches are like immense naves, with lateral -chapels between the buttresses; the high altar placed against a -reredos, behind which was the choir for the religious. Christian -architecture lends itself perfectly to all these varieties: a Carthusian, -a Dominican, or a Franciscan church may be and <i>were</i> quite in -accordance with true ecclesiastical architecture, and yet most differently -disposed, to suit the various religious rules. Unless Pointed -architecture is carried out on these adaptive rules, which are the old -ones, it is not a living monument. It is quite certain that our present -race of architects, as a body, do not yet understand the language: they -transcribe words, and even sentences, accurately, but it is a dead -imitation of something already done, and not a living creation; and, -consequently, great sums are thrown away in fine and praiseworthy -and well-intentioned attempts, but which will be shortly deplored by -all concerned. I grieve to see this, as, unless it is remedied, it may -be the means of giving the Pagans a <i>temporary</i> triumph. I say temporary, -because their eventual destruction is as certain as that of the -power of the devil himself, but, like him, they have done and may -do a deal of mischief till they are finally bound.</p> - -<p>I therefore most earnestly conjure all those men who profess to -revive true architecture to look to the wants and circumstances of the -time, <i>not to sacrifice principles, but to prove that the real principles -can combine with any legitimate requirement of religion</i>; let the -bishops and clergy practically perceive that Christian architecture -fulfils perfectly all their wants: let there be light, space, ventilation, -good access, with the absence of drafts, which destroy devotion and -excite prejudice against Pointed doorways. Avoid useless and over-busy -detail, and rely on good proportions and solemnity of effect. -<span class="pagenum"><a name="Page_124" id="Page_124">{124}</a></span> -Above all, we must remember that everything old is not an object of -imitation—everything new is not to be rejected. If we work on these -golden principles, the revival would be a living monument, as it was -in days of old; and that God may grant us means to carry it out, that -he will enlighten the hearts of the obdurate, and unite the faithful in -one great bond of exertion for the revival of the long-lost glory of his -church, sanctuary, and altar, is the earnest prayer of the writer of this -book.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_21" id="Foot_21" href="#Ref_21">[21]</a> -In the old histories of Amiens, the bas-relief representing the prophecy of Micheas, -cap. iv., v. 3, "Et concidant gladios suos in vomeres, et hastas in ligones," was commonly -described as representing the ancient manufacture of arms, for which that city was celebrated, -but to which it has not the slightest reference. At Rouen, the history of Joseph -and his brethren, with their sacks, and the cup, with the hanging of the chief butler, was -considered as that of a cheating corn-factor, by the seizure of whose property the portal was -erected; but without the smallest grounds of probability, as shown by the learned Dom -Pomeraye.</p> - -<p class="nodent"><a name="Foot_22" id="Foot_22" href="#Ref_22">[22]</a> -It is worthy of remark that the idea of representing S. Joseph holding our Lord in -his arms is comparatively modern, and in utter opposition to the ancient school of Christian -art, who always ascribed a secondary position to this saint, and never made any -representation of him that would convey the least idea of his entertaining any <i>paternal</i> affection -for our Blessed Lord. I have attentively studied this subject, and never yet found -any ancient representation that does not fully bear out my assertion. This is one of the -many instances where modern art, disregarding ancient traditions, seeking the pretty and -the pleasing, in lieu of the mysterious and sublime, has imparted the externals of -importance to S. Joseph that the church has never recognized. <i>Our Divine Lord as an -infant was always represented in the arms of the Blessed Virgin, and no other</i>, in all ancient -mosaic painting and sculpture, and I believe that these modern images of S. Joseph, which -have such astonishing vogue among devout people, if brought before an episcopal council, -would be condemned as tending towards erroneous opinions.</p> - -<p class="nodent"><a name="Foot_23" id="Foot_23" href="#Ref_23">[23]</a> -The usual description of articles made by nuns in their recreation were produced -by scissors and paste, little gilt paper nick-nacks, fit only to please children of a very -tender age, and, indeed, bad for them, as tending to corrupt their early notions. Every -convent had a glass-case, in which their miserable productions were reserved, and shown -and sold to visitors. I have heard of a very devout man, a member of the English -church, who went to see a convent in the centre of England, imbued with the most -reverent idea of conventual architecture; cloisters, chapter-houses, oratories, dim oriels, -and all the associations of old religious buildings. What, therefore, was his astonishment, -at being driven up to what he conceived, from its external appearance, was a new -parochial union; nor was it lessened on his being shown into a modern-looking, ill-furnished -parlour, containing one of these glass-cases full of trumpery, and invited to become -a purchaser; when, in his confusion, he found himself the fortunate possessor, minus seven -shillings, of a paper donkey and two paniers of sugar-plums, and was glad to make a -speedy retreat, with this singular reminiscence of the modern daughters of S. Benedict. -It is, however, a great satisfaction to know that a better spirit is arising in several -cloistered communities, who now reproduce the sacred vestments in the integrity of form; -and we may hope and trust that the time is not far distant when all the external objects -of these convents will harmonize with the venerable habit they wear, and with that -internal spirit of piety which they have so wonderfully maintained amid degenerate taste.</p> - -<p class="nodent"><a name="Foot_24" id="Foot_24" href="#Ref_24">[24]</a> -The clumsy manner in which the old church-doors were fitted, and their opening -direct into the body of the building, combined with the length of Protestant sermons, -have been the primary cause of pews. In many churches they were almost necessary to -protect the legs and head from cutting drafts; and if these pews are now removed, and -replaced by open seats, without remedying the doors and currents of cold air, the old -partitions will return. The first thing is to remove the cause—the effect will follow. -Long sermons, also, have contributed much to pew-making. A person assisting at an office -where there is frequent change of posture does not attach much importance to his seat, -but when he is fixed for a whole hour's sitting, the case is different; and hence the -comfortable contrivances in the modern English churches where the sermon is everything, -and the divine offices and liturgy but little considered. Pews are essentially Protestant, -but I have seen incipient erections of the sort even in Catholic churches.</p> - -</div> - -<p class="center"><b>Finis.</b></p> - - -<p class="center x-small gap-above">PRINTED BY COX (BROTHERS) AND WYMAN, - GREAT QUEEN STREET, LINCOLN'S-INN FIELDS.</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of A Treatise on Chancel Screens and Rood -Lofts, by A. 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