DOI Page / Citation link:
https://doi.org/10.11588/diglit.1398#0044
PLATE 113.
A PORTION OF HEREFORD SCREEN.
HAVING- shown the antiquity of the use of screens for the purpose of keeping the congregation
separate from the officiating priests, we will proceed to notice some of the best existing
examples which have escaped the vicissitudes of war, of religious and of civic strife. It is
unnecessary here to enter into the question of the advisability of screens in a Protestant church,
nor to notice how, in ancient times, the chancel-screen became a sub-base for the rood-loft,
in the centre of which were placed the great crucifix and rood, with attendant images; a passage
being formed over the screen, in -which various solemn services were performed, and to which
access was obtained by staircases, carried up in the thickness of the wall, or inclosed within
picturesque angle-turrets, sometimes open, as at St. Btienne du Mont, Paris, and the parish
church of Lanbader, in Brittany. Many stone rood-lofts still remain in England, and are now
used as organ-lofts.
Screens may be divided into three classes: the plain open ones of the early churches, Roman
and Greek; the richly-decorated ones of the Mediaeval epoch; and the inclosed ones of the
great capitular and collegiate churches, the two latter being generally combined with a rood-loft.
Two of the most interesting and perfect examples remaining to us in the Romanesque style,
are those of San Clemente, and St. Nereus and Achilles, at Rome: the marble inclosure of the
choir of the first is about four feet high; the floor of the choir, however, is raised above the
floor of the nave, and is ascended by steps, so that the figures of the officiating priests are
not so much hidden as might be supposed. The screen of the second is formed by a high
panelled marble wall, within which the platform is raised; and the ambones, candelabra, &c, are
well preserved. These screens are generally ornamented externally with carving in relief,
foliage and emblematic figures, surmounted by open cut stone-work in panels; the ambones,
candelabra, lecterns, &c, are frequently richly ornamented with inlaid glass mosaic patterns.
Perhaps the finest existing screen which may be taken as the type of those in use during the
Romanesque period, including the famous one in the old Church of St. Peter, outside Rome, is
that of San Marco at Venice, consisting of a low arcaded and panelled wall, on which rest marble
columns, supporting an entablature surmounted with statues of the Apostles, and the great crucifix:
these last, however, being additions of a much later date. During the prevalence of the Pointed
style of architecture, we meet with a vast number of most ornamental screens, generally connected
with rood-lofts, and forming indeed complete architectural designs, rather than mere railings or
cancelli. Such are the beautiful screens in the Marienkrrcke at Lubeck, where the five open archways
as well as the whole choir are filled in with light brass-work of a very beautiful character. A
very fine screen in the St. Katharinen's Church in the same town is also ornamented with brass-
work of light and good design. Of the same description, but of later date, is the very beautiful
open brass screen, about thirty-six feet long, in the Church of St. Bavon, at Haarlem, exquisitely
wrought and chiselled, and resting on a low richly-carved stone plinth. This is probably the
finest existing complete example of a brass screen in Europe. Elanders and North Germany
throughout the Mediasval period were particularly rich in works executed in brass. In the
Church of St. Sauveur, at Brussels, are still preserved some brass screens; but we are sorry
to say that screens of this class, of any importance, are difficult to be found in Holland,
North Germany, or Belgium, where they were once in great vogue, especially during the 15th
century. Pine examples of stone and wood screens, inclosed and open, are preserved throughout
Europe, including our own country. In the Cathedral at Brunswick, a magnificent screen of
the Transition period is preserved; and at Hildesheim is a remarkable stone screen and rood-loft
of the same epoch. The inclosed stone screen at Oberwesel is one of the finest in Germany.
Very elaborate and picturesque also is the screen in St. Elizabeth's Church, at Marburg. Spain
is rich in screens of all kinds, chiefly inclosed : many of these are to be seen in Villa AmiPs
great work on Spanish Monuments.
How far respect for the screened portion of the church had been lost in the 17th century
is curiously illustrated by the following extract from Parton's " History of St. Giles-in-the-Pields,"
with which Pugin closes his account of screens in England:—"Also, we, the auditors of this
account, doe find that the accomptant, Edward Gerrard, was commanded by ordinance of Parliament,
to take down the screen in the chancel, it being found superstitious, which was accordingly done,
and it sold for fortye shillings."
A PORTION OF HEREFORD SCREEN.
HAVING- shown the antiquity of the use of screens for the purpose of keeping the congregation
separate from the officiating priests, we will proceed to notice some of the best existing
examples which have escaped the vicissitudes of war, of religious and of civic strife. It is
unnecessary here to enter into the question of the advisability of screens in a Protestant church,
nor to notice how, in ancient times, the chancel-screen became a sub-base for the rood-loft,
in the centre of which were placed the great crucifix and rood, with attendant images; a passage
being formed over the screen, in -which various solemn services were performed, and to which
access was obtained by staircases, carried up in the thickness of the wall, or inclosed within
picturesque angle-turrets, sometimes open, as at St. Btienne du Mont, Paris, and the parish
church of Lanbader, in Brittany. Many stone rood-lofts still remain in England, and are now
used as organ-lofts.
Screens may be divided into three classes: the plain open ones of the early churches, Roman
and Greek; the richly-decorated ones of the Mediaeval epoch; and the inclosed ones of the
great capitular and collegiate churches, the two latter being generally combined with a rood-loft.
Two of the most interesting and perfect examples remaining to us in the Romanesque style,
are those of San Clemente, and St. Nereus and Achilles, at Rome: the marble inclosure of the
choir of the first is about four feet high; the floor of the choir, however, is raised above the
floor of the nave, and is ascended by steps, so that the figures of the officiating priests are
not so much hidden as might be supposed. The screen of the second is formed by a high
panelled marble wall, within which the platform is raised; and the ambones, candelabra, &c, are
well preserved. These screens are generally ornamented externally with carving in relief,
foliage and emblematic figures, surmounted by open cut stone-work in panels; the ambones,
candelabra, lecterns, &c, are frequently richly ornamented with inlaid glass mosaic patterns.
Perhaps the finest existing screen which may be taken as the type of those in use during the
Romanesque period, including the famous one in the old Church of St. Peter, outside Rome, is
that of San Marco at Venice, consisting of a low arcaded and panelled wall, on which rest marble
columns, supporting an entablature surmounted with statues of the Apostles, and the great crucifix:
these last, however, being additions of a much later date. During the prevalence of the Pointed
style of architecture, we meet with a vast number of most ornamental screens, generally connected
with rood-lofts, and forming indeed complete architectural designs, rather than mere railings or
cancelli. Such are the beautiful screens in the Marienkrrcke at Lubeck, where the five open archways
as well as the whole choir are filled in with light brass-work of a very beautiful character. A
very fine screen in the St. Katharinen's Church in the same town is also ornamented with brass-
work of light and good design. Of the same description, but of later date, is the very beautiful
open brass screen, about thirty-six feet long, in the Church of St. Bavon, at Haarlem, exquisitely
wrought and chiselled, and resting on a low richly-carved stone plinth. This is probably the
finest existing complete example of a brass screen in Europe. Elanders and North Germany
throughout the Mediasval period were particularly rich in works executed in brass. In the
Church of St. Sauveur, at Brussels, are still preserved some brass screens; but we are sorry
to say that screens of this class, of any importance, are difficult to be found in Holland,
North Germany, or Belgium, where they were once in great vogue, especially during the 15th
century. Pine examples of stone and wood screens, inclosed and open, are preserved throughout
Europe, including our own country. In the Cathedral at Brunswick, a magnificent screen of
the Transition period is preserved; and at Hildesheim is a remarkable stone screen and rood-loft
of the same epoch. The inclosed stone screen at Oberwesel is one of the finest in Germany.
Very elaborate and picturesque also is the screen in St. Elizabeth's Church, at Marburg. Spain
is rich in screens of all kinds, chiefly inclosed : many of these are to be seen in Villa AmiPs
great work on Spanish Monuments.
How far respect for the screened portion of the church had been lost in the 17th century
is curiously illustrated by the following extract from Parton's " History of St. Giles-in-the-Pields,"
with which Pugin closes his account of screens in England:—"Also, we, the auditors of this
account, doe find that the accomptant, Edward Gerrard, was commanded by ordinance of Parliament,
to take down the screen in the chancel, it being found superstitious, which was accordingly done,
and it sold for fortye shillings."