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The rood screen of the cathedral - 1/2

During the restoration of the choir & high choir between 2009 and 2011, a printed tarpaulin had been installed in front of the choir, allowing to imagine what was the former rood screen of the cathedral.
Here are all the keys to understand the history of the rood screen – with some little known pictures…

About the rood screen of the cathedral

When entering the doors of Notre-Dame, the visitor is struck by the length of the vessel: more than 100 meters to the high altar, located at the back of the choir. This is to forget that when the building was built, a ‘screen’, more than five meters high, blocked the entrance to the choir. As the iconostasis still does in the liturgy of the Orthodox Churches, the rood screen preciously enclosed the essence of the mass, the mysterious aspects of which were to be emphasized. Its very name comes from one of the few words that were pronounced – in Latin – to all those present, from the platform that covered it: “Order, Lord, to bless”… The rood screen of Chartres (c. 1230-1240) was therefore not an exception, but it was probably one of the most beautiful…

The Council of Trent, in the 16th century, ordered that the celebrations be made accessible to all participants – so that the glory of God could be expressed in the pomp and circumstance and that this glory could lead to true emotion. This is the time when the Eucharistic adoration was born: it is necessary to see all the gestures of the cult, in particular at the time of the consecration of the host and the wine. The rood screen suddenly became completely out of step with the times. In Chartres, as in the majority of episcopal sees (Bourges, Amiens…), it was not until the middle of the 18th century that the decision was made to demolish it, on the occasion of a total reorganization of the sanctuary – in keeping with current tastes. In April 1763, the bishop approved the demolition project proposed by the canons, who also pointed out the risks of a collapse: the rood screen eventually showed signs of fragility. It was replaced (1767-1769) by an important iron and copper gate with gilding, framed by two sculpted massifs (all installed on the first floor of the south tower).

to be continued…

Engraving known as 'of Larmessin', putting in scene some high facts of the history of the sanctuary. « L’église Notre Dame veue par dedans à l’entrée de laquelle est le baron du Brueil qui veint offrir à la Vierge le boulet de canon dont il a esté frappé sans estre blessé ».
The rood screen is clearly visible, in front of which is the statue of Our Lady of the Pillar on the left side.
Print dated 1723, engraved by Le Roux on a drawing by Petit, published by Moquet « au soleil d’or, rue des trois maillets », in Chartres. « Figure des cinq grosses cloches de l'Eglise cathédralle de Nostre dame de Chartres fondues dans le mois de septembre 1723, sous l'auguste reigne de Louis XV et du pontificat de Charles François de Merinuille Evesque de Chartres ». Detail of the rood screen.
Engraving of the coronation of Henri IV, published in the last years of the 16th century. « Cérémonies du sacre et couronnement d’Henri IV qui furent faites en l’église cathédrale de Chartres le dimanche 27 février 1594 ».
At the bottom of the engraving, a cartouche is entitled « Procession faite après le couronnement d’Henri IV ». The rood screen serves as a backdrop for the uninterrupted line of different priests and royal dignitaries.
Engraving signed Jean-Baptiste Rigaud, and dating from the middle of the 18th century. This representation of the rood screen can be compared with an extract from the plan of Félibien, dating from the end of the 17th century. These are the documents that, together with the fragments found in the cathedral, have allowed several archaeologists to propose a drawing reconstituting the ancient rood screen.
Hypothesis of the German art historian Hermann Bunjes - around 1943.
Working document, kept at the Bibliothèque de l'architecture et du patrimoine, probably from the archives of the chief architect Jean Maunoury - around 1950.
Proposal of the collaborators of the art historian Louis Grodecki, on request of Jean Taralon, general inspector of historical monuments - 1952.
Reconstruction by Jean Mallion (1964) whose doctoral thesis was devoted to the rood screen of the cathedral.
The restitution of the rood screen, carried out for the duration of the works of the choir, at the initiative of Mr. Jean-Pierre Blin, regional curator of the Historic Monuments, with the assistance of Mr. Patrice Calvel, chief architect of the Historic Monuments.
We will take the time to appreciate the beautiful floral arrangements, made by Mrs. Odile Steinmetz, then florist of the cathedral. A contribution as always noticed to the liturgy and the beauty of the cathedral.