1537-1540<\/p>\n
Notre Dame, Paris.<\/p>\n
In 1921, Roy (republication Roy, 1929, 143) mentioned, without citing any specific documents, that Rosso had worked with the woodcarver Scibec de Carpi and the metal caster Gilles Jourdain on a choir screen (cl\u00f4ture) for Notre Dame in Paris.1<\/sup><\/a>\u00a0 The documents of this project were published and fully considered by Catherine Grodecki, 1975, 99-115.\u00a0 What follows is derived from her article, the conclusions of which she had presented in a paper delivered in 1972.\u00a0 All the documents have been checked and newly transcribed here.<\/p>\n The choir screen that Rosso designed closed the east end of the Choir of Canons of Notre Dame, separating it from the sanctuary of the cathedral.\u00a0 At the very end of 1518, the fourteenth century stone choir screen – the \u201cclausuram lapideam que est inter chorum et altare\u201d – was ordered demolished by Francis I in order to provide more room for a ceremony celebrating a treaty between the French and English.\u00a0 After remonstrances from the canons, the king assured them that it would be replaced at his own expense by a choir screen of even finer workmanship.2<\/sup><\/a>\u00a0 Between 1519 and 1521 the bronze caster (\u201cfondeur de cuivre\u201d) Etienne Barillet was paid for the making and installation of a choir screen that, because no other artisans are paid for work on this project, would seem to have been made entirely of bronze.\u00a0 The final settlement with Barillet, on 17 April 1521, indicates he was paid 1,224 \u201clivres tournois\u201d for his work.3<\/sup><\/a>\u00a0 Thirteen years later, on 13 June 1534, the king donated another 1500 \u201clivres\u201d to be used \u201c\u00e0 la perfection de la closture de lasdite esglise,\u201d which had been demolished for the ceremony to celebrate the treaty made between France and England twenty years earlier:<\/p>\n Paris, Arch. nat., J. 96110<\/sup> no. 14 (Roole des expeditions Command\u00e9es par le Roy).\u00a0 \u201c… Pour ladite somme de quinze cens livres estre convertie et employ\u00e9e \u00e0 la perfection de la closture de ladite esglise [Notre Dame de Paris] qui a est\u00e9 autreffoys rompue en une solempnit\u00e9 faicte par ledite Seigneuer avec les ambassadeurs d\u2019Angleterre \u00e0 cause de l\u2019appoinctement faict entre les deux roys.\u201d; on the verso<\/i> of the document: \u201cfaict \u00e0 Paris le XIIIe<\/sup> jour de juing mil VC<\/sup> XXXIIII\u201d (mentioned by Grodecki, 1975, 100, 104, n. 10, 112, with incorrect reference to the Actes de Fran\u00e7ois Ier<\/sup><\/i>).<\/p>\n On 26 September 1537 Rosso became a canon of Notre Dame, and attended a meeting of the chapter in the cathedral for the first time on 19 November 1537 (see DOCS.31-35, 37-41).\u00a0 But already on 27 October 1537 the Chapter of Notre Dame asked him to make a design for a bronze choir screen:<\/p>\n Paris, Arch. nat., LL 140, p.120: \u201cRogabunt domini decanus et de Faulcon ex parte capituli dominum de Rossis, canonicum parisiensem, quatinus sibi placeat facere protractum clausure cupree choire ecclesie\u201d; in the margin: \u201c= pro clausura chori\u201d (Grodecki, 1975, 112, Doc. V.(II.) 23).<\/p><\/blockquote>\n On 7 December 1537 the chapter charged him, the dean, and the penitentiary to attend to the execution of the choir screen in bronze:<\/p>\n Paris, Arch. nat., LL 140, p.148.\u00a0 \u201cDomini decanus, penitenciarius et Roussi providebunt facienda clausure cupree chori ecclesie\u201d; in the margin: \u201c=clausura chori\u201d (Grodecki, 1975, 112, Doc. V.(II.) 24).<\/p><\/blockquote>\n In the middle of the following year, on 10 May 1538, the chapter approved an agreement that Rosso had made with the woodcarver Scibec de Carpi for the execution of the choir screen:<\/p>\n Paris, Arch. nat., LL 140, p.234.\u00a0 \u201cVisa in capitulo et lecta per Martin et Borreau, notariis castalleti parisiensis, minuta transactionis facte cum Carpy, lignifabro, super factura clausure chori ecclesie, placuit dominis in forma, et domini decanus, penitentiarus et de Rossis providebunt huic negocio prout eorum discretia suadebit\u201d; in the margin: \u201c= Carpy pro clausura chori\u201d (Grodecki, 1975, 112, Doc. V.(II.) 25, and 104, n. 15, where it is stated that the minute of this agreement has not been found).<\/p><\/blockquote>\n Three months later, on 30 August 1538, the chapter approved the agreement that Rosso had made with the metal caster of the region of Saint-Martin (identified below as Gilles Jourdain) for the execution of the choir screen:<\/p>\n Paris, Arch. nat., LL 140, p.323.\u00a0 \u201cAudito domino de Rossis super conventione facta, sub beneplacito capituli, cum certo fusore commoran[ti?] in vico sancti Martini parisiensi, pro facto clausure chori ecclesie perficiende, domini ad hoc deputati huic negocio vigilanter intendant\u201d; in the margin: \u201cclausura chori\u201d (Grodecki, 1975, 112, Doc. V.(II.) 26).<\/p><\/blockquote>\n On 4 December 1538 two canons were charged to look at the work of wood and bronze that had been made, and to search for some very fine black marble:<\/p>\n Paris, Arch. nat., LL 140, p.384.\u00a0 \u201cVidebunt domini penitenciarius et Courthon opus tam ligneum quam cupreum clausure chori eccte posthac advisabitur super[?] pecuniis tradendis ejus artificibus per eos respectus petitis et inquirat idem dominus Courthon super bono marmore nigro propter hoc habendo\u201d; in the margin: \u201c= clausura chori\u201d (paraphrased by Grodecki, 1975, 112, Doc. V.(II.) 27).<\/p><\/blockquote>\n Just a little more than a month later, on 10 January 1539, Rosso was asked by the chapter to look diligently for the black marble:<\/p>\n Paris, Arch. nat., LL 140, p.405.\u00a0 \u201cDominus Rossius faciet diligenciam perquirendi marmor nigrum pro clausura chori et de precio illius cum mercatoribus conveniendi\u201d; in the margin: \u201c=marmor pro clausura\u201d (Grodecki, 1975, 113, Doc. V.(II.) 28).<\/p><\/blockquote>\n Nine months later, on 22 October 1539, the chapter accepted a new design (by Rosso as will be seen below) for a certain part of the choir screen:<\/p>\n Paris, Arch. nat., LL 140, p.582.\u00a0 \u201cAccipiat dominus Courchon, alter provisorum ecclesie, protractum certe partis clausura chori ejusdem ecclesie et super hoc erga quos decebit provideat\u201d; in the margin: \u201cclausura chori\u201d (Grodecki, 1975, 113, Doc. V.(II.) 29).<\/p><\/blockquote>\n On 14 November 1539 the chapter threatened Scibec de Carpi with a lawsuit to force him to meet the obligations of his agreement:<\/p>\n Paris, Arch. nat., LL 140, p.595.\u00a0 \u201cCogat dominus Desaverelles via justicia Franciscum Carpy minutarium clausure chori ecclesie secundum tenozem sue obligationis propter hoc facere que videbitur crastina die in capitulo\u201d; in the margin: \u201c= Carpy\u201d (paraphrased by Grodecki, 1975, 113, Doc. V.(II.) 30).<\/p>\n Early the following year, on 12 January 1540, the chapter decided to ask Gilles Jourdain and Scibec de Carpi to execute the casting and woodwork of the choir screen according to the indications of a new design (by Rosso, as indicated below) that had been presented to the chapter that same day:<\/p>\n Paris, Arch. nat., LL 140, p.635.\u00a0 \u201cDominus Courchon solicitabit Egidium Jourdain, fusorem cupri parisiensem, pro fusione operis clausure chori ecclesie, juxta ordinacionem projecti hic exhibiti, necnon Franciscum Carpi, minutarium ligni\u201d; in the margin: \u201c=clausure chori\u201d (Grodecki, 1975, 113, Doc. V.(II.) 31).<\/p><\/blockquote>\n In the absence of Rosso seven months later, on 18 August 1540, the chapter decided to ask Gilles Jourdain and Scibec to stop their work until his return so that he could give his opinion on the advisability of payment to them:<\/p>\n Paris, Arch. nat., LL 142, p.98. \u201cQuoad operarios clausure chori ecclesie petentes pecunias pro eorum respectivis operibus, cessabunt hujusmodi eorum opera usque dominus de Rossis reverus et super hoc auditus fuerit\u201d; in the margin: \u201c=de clausura\u201d (Grodecki, 1975, 113, Doc. V.(II.) 32).<\/p><\/blockquote>\n On 14 November 1540 Rosso died (see DOCS.42-45).<\/p>\n Shortly thereafter, on 24-26 November 1540, the chapter decided to retain as its own the revenues of Rosso\u2019s prebend as security for the execution of the work of Scibec de Carpi for whom Rosso had been the guarantor:<\/p>\n Paris, Arch. nat., LL 142, p.170.\u00a0 \u201cVideat dominus Morin obligationem Francisci Carpi minutarii pro factura clausure chori ecclesie et juxta tenorem ejusdem, prosequatur eumdem Carpi illam adimplere.\u00a0 Et quia defunctus dominus de Rossis semper respondit pro bona futura dispositione dicte clausure, nec habet dictus Carpi bona in his partibus quia alienigena, ordinatum est quod ponatur grossum prebende dicti defuncti in manibus capituli pro securitate dicte obligationis et responsionis pro dicto Carpi\u201d; in the margin: \u201c= de clausura chori\u201d (Grodecki, 1975, 110, Doc. V.(I.) 11).<\/p><\/blockquote>\n On 26 November 1540 a canon was sent to Machault, which belonged to Rosso\u2019s prebend, to collect its income and hold it until the work on the choir screen was finished:<\/p>\n Paris, Arch. nat., LL 142, p.171.\u00a0 \u201cLevet dominus de Louviers, prebendatus apus Machellum, et maneant in ejus manibus fructus prebende defuncti domini de Rossis, dum viveret ibidem assignate, similiter et omnes distributiones ecclesie quas lucratus est in manibus magistri Nicolai Jourdain, officiarii ecclesie, quousque opus clausure chori dicte ecclesie juxta conventionem inter eum et capitulum propter hoc factam et pro quo dictus de Rossiis semper respondit et proprium suum factum de hoc fecit\u201d; in the margin: \u201c-De Rossis clausura chori\u201d (Grodecki, 1975, 110, Doc. V.(I.) 12).<\/p><\/blockquote>\n Exactly one month after Rosso died, the chapter, on 14 December 1540, filed a suit against Scibec in regard to the unfilled contract that had been made between him and the canons on the execution of the choir screen.\u00a0 The document of this suit is not known, but it is mentioned in another concerning a judgment before the prevost of Paris on 5 February 1541 (modern style; see below).\u00a0 Here Scibec\u2019s attorney gives a defense of the woodcarver\u2019s position by relating the entire account of his involvement in the project of the choir screen for Notre Dame.\u00a0 He states that shortly after Scibec made his contract with the canons (the document of which is not known unless it refers back to the approval by the canons of 10 May 1538 of Rosso\u2019s agreement with Scibec), Rosso furnished Scibec with a drawing for the choir screen.\u00a0 From this drawing Scibec did a large part of the project; there remained only the making of the portal and the assembling onto the choir screen of the bronze and black marble parts that were to be supplied by the chapter.\u00a0 Then Rosso gave Scibec a second drawing – this would be related to the document of 22 October 1539 – which required twice or more work than the first one.\u00a0 This the woodcarver executed except for the last finishing touches and varnishing and the incorporation of the bronze and marble parts.\u00a0 At this point Rosso gave Scibec a third drawing indicating changes to the columns and to the entrance, a project that was very much more costly than the other ones.\u00a0 This drawing would be related to the document of 12 January 1540.\u00a0 The chapter had not yet furnished the bronze and black marble parts that they were now required to supply.\u00a0 The document of 5 February 1541 (modern style) is:<\/p>\n Paris, Arch. nat., L 538 (4) parchemin.\u00a0 \u201cA tous ceulx qui ces presentes lectres verront, Jean d\u2019Estoville chevalier, seigneur de Villebon la Gastine Blanville Boislandry Fretigny Vientes, cappitaine bailly de Rouen, conseiller du roy notre sire gentillhomme ordinaire de sa chambre, cappitaine de cinquante hommes d\u2019armes des ordonnances du roy, garde de la prevost\u00e9 de Paris.\u00a0 Salut.\u00a0 Savoir faisons que le jourdhuy, dacte de ces pr\u00e9sentes, comparans en jugement devant nous ou chastellet de Paris, maistre Nicole Lallement, procureur des doyen et chapitre de l\u2019\u00e9glise de Paris, demandeurs et soustenant la requeste contenue en leur adjournement libelle faict contre maistre Francisque de Carpy, menuisier, le quatorziesme jour decembre dernier pass\u00e9, et maistre Jehan Peron, procureur du dic m(aistr)e Francisque de Carpy, deffendeur, qui a dict qu\u2019il soustenoit ses deffences et offres baill\u00e9es par escript au dict Lallement ou dict nom, et que incontinent ou tost apr\u00e8s le dict march\u00e9 pass\u00e9, luy avoit est\u00e9 baill\u00e9 par feu m(aistr)e Rouce Le Roux, aultrement dict Jehan Baptiste, en son vivant chanoyne de la dict eglise et painctre et ymager du Roy nostre Sire, ung pourtraict de la decte closture, selon lequel des lors le dict deffendeur auroit besongn\u00e9 et faict grande quantit\u00e9 d\u2019icelluy pourtraict; et ne restoit a faire de la dicte closture que le portal et entr\u00e9e, ensemble a fournir par les dicts de chappitre le cuyvre et marbre noir qu\u2019il convenoit mettre et assembler en la dicte closture et saincture.\u00a0 Et encores depuis ce, le dict deffunct Le Roux, autrement dict Jehan Baptiste, auroit et a bailly\u00e9 au dict deffendeur ung aultre et second pourtraict, tellement qu\u2019il auroit et a convenu au dict deffendeur de faire deux foys autant ou plus de besongne qu\u2019il y avoit au dict premier pourtraict.\u00a0 Et y a le dict deffendeur besongn\u00e9 et faict besongner, et ne reste plus que a y assembler le cuyvre et marbre noir, et ce faict, reparer la dicte besongne et la vernir.\u00a0 Et que encores depuis, luy a est\u00e9 baill\u00e9 ung troisiesme pourtraict par le dicte deffunct Le Roux pour changer les pilliers et le portal de la dicte closture, qui est beaucoup de plus grant coustz que les autres; et se seroit le dict deffendeur rapport\u00e9 a m(aistr)e Jacques Merlin, p\u00e9nitencier de la dicte eglise et maistre Jacques Du Drac, doyen d\u2019icelle, et au dict deffunct Le Roux pour ce qu\u2019il estoit homme congnoissant au dict estat; et ne s\u2019en feust rapport\u00e9 au dict Du Drac et Merlin n\u2019eust est\u00e9 le dict Le Roux.\u00a0 Et au moyen de ce que les dicts de chappitre ne fournissent qu dict deffendeur du dict cuyvre et marbre, auroit et a gros dommaige et interestz, et auroit et a plusieurs serviteurs qui sans riens faire [?].\u00a0 Et en livrant le quel cuivre et marbre noir, il offre parachever sans discontinuacion la dicte saincture, et icelle fournir en luy donnant delay compectant, et le payant de la totalit\u00e9 au dict de gens en ce congnoissant, sur ce desduict ce qu\u2019il a receu.\u00a0 Et a ceste fin, a requis les dicts de chappitre estre condempnez a luy fournier et livrer lesdites pi\u00e8ces de cuyvre et marbre noir et en deffault de ce faire qu\u2019ilz soiont condompnez es despens, dommiages et interestz, qu\u2019il a estim\u00e9 et estime a la somme de mil livres par(isis) ou telle autre somme que de raison.\u00a0 D\u2019autre part, apr\u00e8s ce que le dict Lallement a persev\u00e9r\u00e9 em sa requeste et deny\u00e9 le dire et plaidoy\u00e9 du deffendeur.\u00a0 Nous, parties oyes en leur plaidoy\u00e9, icelles avons appoinct\u00e9 et jour a elles assign\u00e9 aux premi\u00e8res sentences que par nous seront donn\u00e9es et prononc\u00e9es audit chastellet a estre de nous d\u00e9 lib\u00e9r\u00e9 de faire droit aus dictes parties, ou autrement les appoincter comme de raison sera sur le plaidoy\u00e9 faict entre elles qu\u2019elle bailleront par advertissement devans huictaire et demandent et en deffendant par dracune desdites parties et pouront informer par devant notre am\u00e9 m(aistr)e Jehan Bonnet, examinateur de par le Roy nostre seigneur ou dict Chastellet cum adjuncto qui vauldra enqueste; et pouront les dictes parties faire interogier l\u2019une d\u2019elles l\u2019autre par le dict examinateur sur articles et interogatoires pertiens, qui leur seront comunicquez(?) avant que sur iceulx respondre et affin de despens, dommaiges et interestz.\u00a0 En tesmoing de ce, nous avons faict mectre a ces presentes le seel de la dicte prevost\u00e9.\u00a0 Ce fut faict par noble homme et saige maistre Jehan Jacques de Mesmes, conseiller du Roy nostre seigneur et lieutenant civil de la dicte prevost\u00e9, le samedi cinquiesme jour de fevrier l\u2019an mil cinq cens quarante\u201d (Grodecki, 1975, 106, Doc. I).<\/p><\/blockquote>\n In spite of the action against Scibec, the chapter decided on 25 February 1541 to carry out the castings by Gilles Jourdain and to seek the opinion of a certain \u201cmaster Dominic\u201d on the wood carving that had been executed:<\/p>\n Paris, Arch. nat., LL 142, p.232.\u00a0 \u201cContinuabit opus cupreum clausure ecclesie Egidius Jourdain, fusor ejusdem, et sibi tradat dominus Morin pecunias necessarias, si quas pro hoc habeat.\u00a0 Domini vero archidiaconus Brye, Courchon et dictus Morin videbunt opus lignifabri dicte clausure, et viso, super aptitudine et convenientia futura ejusdem conferent cum quodam nomine magistro Dominico, et eum consulent quid sentiat super illo\u201d; in the margin: \u201c= clausura chori\u201d (Grodecki, 1975, 113, Doc. V.(II.) 33).<\/p><\/blockquote>\n A second court hearing took place on 22 August 1541, at which the chapter demanded from Scibec the drawing or drawings by Rosso in his possession so that copies could be made of them for its use, after which the original drawing or drawings would be returned to Scibec:<\/p>\n Paris, Arch. nat., L 538 (5) parchemin.\u00a0 \u201cA tous ceulx qui ces presentes lettres verront, Jehan d\u2019Estouteville, chevalier, seigneur de Villebon…, garde de la prevost\u00e9 de Paris, salut.\u00a0 Savoir faisons que le jourdhuy, dacte de ces presentes, comparans en jugement devant nous ou chastellet de Paris, maistre Nicole Lalemant, procureur des doien et chappitre de l\u2019eglise de Paris, demandeurs et deffendeurs d\u2019une part, et maistre Jehan Peron, procurer de maistre Francisque Carpy, menuisier du Roy, deffendeur et demandeur d\u2019aultre part : apres que le dict Lalement a declair\u00e9 ne voulloir respondre au responsif dernier du dict Peron et requis appoinctement de faire enqueste, et aussi requis que le dict Carpy fut tenu mectre es mains du commissaire commis en la cause d\u2019entre les dictes parties le portraict ou portraictz que le dict Carpy a dit avoit en sa possession et luy avoir est\u00e9 baill\u00e9z par les dicts de chappitre ou feu maistre Jehan Baptiste Rossius de Rossiis, en son vivant chanoine de la dicte eglise, pour faire la closture et sainture du cueur d\u2019icelle, pour les dicts pourtraitz estre communicquez aus dictz de chappitre et a leurs tesmoings, et si mestier estoit, en avoir et faire faire de pareilz, et a ceste fin, que le dict Carpy soit tenu se purger par serment de ce qu\u2019il a des dictz portraictz, nous disons que le dict Carpy sera tenu mectre par devers le comissaire donn\u00e9 en la cause les dictz portraict ou pourtraictz de la dicte saincture du cueur de l\u2019eglise de Paris, et ce purger par serment par devant le dict commissaire de ce qu\u2019il a des dicts portraictz, pour iceulx portraictz estre communicquez aus dictz de chappitre et a leurs dictz tesmoings par les mains du dict commissaire, et si bon semble au dict chappitre, en avoir et faire faire des portraictz.\u00a0 Ce faict, les dictz portraictz ou portraict seront renduz au dict Carpy.\u00a0 Et au surplus dedens ung moys prochainement venant, les dictes parties feront et parferont leurs enquestres par devant le dict commissaire sur les faictz par chacune d\u2019elles articullez ou dict procez.\u00a0 En tesmoing de ce, nous avons faict mectre a ces presentes le scel de la dicte prevost\u00e9 de Paris.\u00a0 Ce fut faict le lundi vingt deuxiesme jour d\u2019aoust, l\u2019an mil cinq cens quarente ung\u201d (Grodecki, 1975, 106-107, Doc. II).<\/p><\/blockquote>\n Then on 11 January 1542 the chapter decided to have transported to the choir of Notre Dame the wood carvings by Scibec de Carpi to see if they could be used according to Rosso\u2019s design:<\/p>\n Paris, Arch. nat., LL 142, p.445.\u00a0 \u201cAfferri faciat domini archidiaconus de Josayo et Hurtault sumptibus ecclesie ad chorum ejusdem minutariam clausure dicti chori quam fecit Franciscus Carpy, videndam si utiliter conveniat secumdum protractum sibi per defunctum dominum de Rossis, datos ut inde prout fuerit rationis ordinetur\u201d; in the margin: \u201c=de clausura chori\u201d (Grodecki, 1975, 113, Doc. V.(II.) 34).<\/p><\/blockquote>\n Twelve days later, on 23 January 1542, the chapter asked that Scibec de Carpi and Gilles Jourdain finish the choir screen:<\/p>\n Paris, Arch. nat., LL 142, p.455.\u00a0 \u201cDomini archidiaconus de Josayo et Hurtault alloquentur Carpy minutarium et Jourdain fusorem cupri clausure chori ecclesie ut hujusmodi opus perficiant et habeat iste Jourdain de pecunius arche thesauri xxti<\/sup> scuta super his que sibi deberi possint et debebuntur de qua summa rembursabitur dictus thesaurarius, quamqui dem summam exinde recepit dictus Jourdain\u201d; in the margin: \u201c=De clausura chori ecclesie\u201d (paraphrased by Grodecki, 1975, 114, Doc. V.(II.) 35).<\/p><\/blockquote>\n On 28 February 1542 the chapter approved the agreement putting an end to the suit against Scibec:<\/p>\n Paris, Arch. nat., LL 142, pp.483-484.\u00a0 \u201cPlaceat dominis hic recitata transactio facta per dominos archidiaconum de Josayo, Verjus et Hurtault cum Francisco Carpy, tam super expensis ejus processus contra capitulum, quam opere perficiendo clausure chori ecclesie, et hoc mediante summa mille II C l.t., comprehensa summa IIII C l.t. jam sibi tradita, salva majori si posthac recepisse comperiatur\u201d; in the margin: \u201cCarpy pro clausura chori ecclesie\u201d (Grodecki, 1975, 114, Doc. V.(II.) 36).<\/p><\/blockquote>\n A week later, on 8 March 1542 (modern style), the chapter and Scibec made arrangements for the completion and setting up of the choir screen according to the last specifications and drawing made for it.\u00a0 The woodcarver was assigned the making of the molds for the use of the caster.\u00a0 He also became responsible for all the expenses of the woodwork and whatever else was necessary prior to the completion of the casting with the exception of the expenses of any masonry, cut stone, or ironwork that was missing.\u00a0 Where marble was meant to be used in the choir screen Scibec was now to substitute blackened wood (painted black?).\u00a0 He was also to varnish the choir screen.\u00a0 Furthermore, Scibec was to instruct the canons, or one of them, in how to dismantle the choir screen and remove it without damaging or demolishing it.<\/p>\n Paris, Arch. nat., Minutier central, \u00c9tude VIII, 61 (Claude Boreau), fol. IIIIC<\/sup> LXXVIIv<\/sup> – IIIIC<\/sup> LXXVIIIv<\/sup>.<\/p>\n \u201cMessieurs les doyen et chappitre de Paris d\u2019une part, et messire Francoys de Carpy. menuizier du Roy demourant a Paris, en son nom, d\u2019aultre part : disans les dictes parties que pour raison de la closture et fermeture de la traverce du cueur de la dicte \u00e9glise et siege \u00e9piscopal, que le dict Carpy a par cy devant prins et promis a faire, fournir et asseoir en la dicte \u00e9glise, ils ont est\u00e9 en proc\u00e8s par devant monsieur le pr\u00e9vost de Paris ou son lieutenant, duquel proc\u00e8s et deppendances ilz ont transig\u00e9 en la maniere qui s\u2019ensuit.\u00a0 C\u2019est assavoir, que le dict Carpy a promis et promect faire et parfaire la dicte closture de menuizerie selon qu\u2019elle est commanc\u00e9e, mesmement selon le dernier divis et portraict de ce faict, sign\u00e9 par le dict de Carpy et paraph\u00e9 des dictz notaires a leur requeste, lequel divis est demour\u00e9 au dict de Carpy pour luy servir a asseoir et parfaire la dicte closture.\u00a0 Et pour ce faire, fournir les mousles au fondeur et faire de son estat tout ce qui est et sera necessaire a faire auparavant que d\u2019avoir et asseoir la fonte.\u00a0 Lesquelz mousles le dict Carpy promect faire et fournir a ses despens au fondeur en si bonne diligence que par faulte d\u2019iceulx, le dict fondeur ne chommera; et commenceza a bailler et fournir partie des dictz mousles au dict fondeur dedans la sepmayne prochainement venant au plus tard, et continuera sans discontinuer jusques a ce qu\u2019il ayt parfaict.\u00a0 Et laquelle closture le dict Carpy promect asseoir bien et deuement en son lieu ainsi qu\u2019il appartient selon le dict divis et pourtraict dernier.\u00a0 Et fournir a ses despens de tout boys et aultres choses qui y seront necessaires, sauf et reserv\u00e9 la ma\u00e7onnerie et pierre de taille et ferrure si aulcune y en fault.\u00a0 Davantaige, promect le dict Carpy que ou lieu ou il convenoit par le dict patron mectre du marbre noir en la dicte closture, y mectre du boys qui sera noyrcy, qui servira ou lieu du dict marbre, deuement noircy, varny et mis en bon ordre.\u00a0 Lesquelz closture et ouvriages le dict Carpy sera tenu et promect de vernir bien et deuement.\u00a0 Et la dicte closture faicte et parfaicte, le dict Carpy sera tenu et promect bailler a mesdictz sieurs ou l\u2019ung d\u2019eulx par memoire la maniere comment on pourra oster et desassembler la dicte closture affin de l\u2019oster, remectre quant besoing sera, sans la gaster ne desmolir.\u00a0 Et ce, moyennant et parmy le pris et somme de douze cens livres tournois, monnoye courant a present, que pour tout ce qui est et pourra estre deu au dict Carpy a cause de ses ouvriages, et aussi pour tout ce qui luy en sera deu quant il les aura deuement faictz et parfaictz, mes dictz sieurs les doyen et chappitre de Paris luy en promectent et gaigent payer a mesure qu\u2019il parfera le dict ouvraige et entreprinse de la dicte closture, sur ce desduict la somme de quatre cens livres tournoys que le dict Carpy a confess\u00e9 et confesse avoir sur ce receue, et aultres sommes si aucune s en a receues.\u00a0 Moyennant laquelle somme, les dictes parties d\u2019une part et d\u2019aultre sont hors de court et de tous proces et ont quict\u00e9 et quictent l\u2019ung d\u2019eulx l\u2019autre de tous despens, dommaiges et interestz, tant tanxez que a tanxer, et de toutes autres choses jusques a huy.\u00a0 Car ainsi…\u00a0 Faict et pass\u00e9, c\u2019est assavoir par les dictz sieurs les doyen, chanoynes et chappitre de Paris deuement assemblez en leur chappitre, le mardi vingt huitiesme et dernier jour du moys de fevrier, et par le dict messire Fran\u00e7oys de Carpy, le mercredi huitiesme jour du mars ensuyvant, tout en l\u2019an mil cinq cens quarente ung.<\/p>\n J. BOREAU\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CL. BOREAU\u201d<\/p>\n \u201cLe dict messire Fran\u00e7oys de Carpy confesse avoir eu et recue ce jourd\u2019huy de mes dictz sieurs les doyen et chappitre de Paris, sur et tantmoins du contenu au blanc la somme de cent escuz d\u2019or au soleil, et ce, oultre et par dessus les quatre cens livres tournois contenues ou dict blanc, par luy receues paravant huy, et autres somme s\u2019aucunes en a receues.\u00a0 De laquelle somme de cent escuz d\u2019or soleil par luy ce dict jour receue, il a baill\u00e9 aultre quictance, laquelle et la presente ne serviront que pour une seulle quictance et acquit d\u2019icelle somme de cent escuz d\u2019or soleil.\u00a0 Promet.\u00a0 …Faict l\u2019an mil cinq cens quarente ung, le mercredi huitiesme jour de mars.<\/p>\n J. BOREAU\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CL. BOREAU\u201d<\/p>\n<\/blockquote>\n (Grodecki, 1975, 107, Doc. III).<\/p>\n Gilles Jourdain declared on 12 September 1542 that he had received from the canons 2732.5 \u201clivres\u201d of bronze to employ in the choir screen and that he had already done a part of it weighing 1550 \u201clivres\u201d and delivered it to Scibec:<\/p>\n Paris, Arch. nat., Minutier central, \u00c9tude XCI, 16 bis (Cl. Hall\u00e9).\u00a0 \u201cHonnorable homme Gilles Jourdain, marchant fondeur en cuyvre, bourgeois demourant a Paris rue Saint-Martin, confesse avoir eu et receu des venerables chanoynes et chapitre de l\u2019eglise de Paris la quantit\u00e9 de deux mil sept cens trente deux livres et demye de cuivre, pour employer es ouvriages qu\u2019il a promis faire pour les dictz chapitre selon le march\u00e9 faict entre eulx paravant huy et pour servir a la closture du ceur de la dicte esglise, et selon les patrons qui luy ont est\u00e9 baillez et seront, si aucuns restoyent a bailler.\u00a0 Et promect le dict Gilles employer es dictz ouvriages les dictz II M VII C XXX II livres et demye le plustot que faire ce pourra.\u00a0 Et oultre confesse le dict Gilles avoir receu des dictz chapitre la somme de deux cens vingt livres tournois, sur et tantmoins de ce qu\u2019il a faict et est tenu faire ou dict ouvriage pour fa\u00e7on.\u00a0 Dont en quict prom. et oblig. et ren.\u00a0 Faict l\u2019an mil cinq cens quarente deux, le mardi XIIe<\/sup> jour de september.\u201d<\/p><\/blockquote>\n On the reverse of this document appears the addition:<\/p>\n \u201cFault mettre au doz ce qui s\u2019ensuit : Nobles et discrettes personnes messires Jehan Moireau, Jacques Verjus et Jehan Heurtault, chanoynes de la dicte esglise, dient et certiffient que le dict Gilles Jourdain a baill\u00e9 et fourny paravant huy a messire Francisque de Carpy, menuisier, pour les dictz de chapitre, portion des dictz ouvriages poisans ensemble quinze cens cinquante huit livres.\u201d\u00a0 (Grodecki, 1975, 107-108, Doc. IV; also published by E. Coyecque, \u201cQuittance du fondeur Gilles Jourdain,\u201d Humanisme et Renaissance. Documents et travaux<\/i>, III, 1943, 20).<\/p><\/blockquote>\n The caster then asked, on 18 December 1542, that his work be weighed, payed for, and transported to the woodcarver, who needed it for inclusion in the choir screen:<\/p>\n Paris, Arch. nat., LL 142, p.687: \u201cPetente fusore cupri clausure chori ecclesie certas petias quas nuper fudit ponderari et de eisdem solvi illasque minutario tradi pro adaptatione earumdem cum suo opere minutarie dicte clausure domini Gontier Verjus et Heurtault huic providebunt\u201d; in the margin: \u201c=De fusore clausure chori ecclesie\u201d (paraphrased by Grodecki, 1975, 114, Doc. 37).<\/p><\/blockquote>\n On 20 February 1543 it was decided that the last work by Gilles Jourdain be weighed and that he be paid accordingly for it:<\/p>\n Paris, Arch. nat., LL 142, p.736.\u00a0 \u201cViso et relato pondere ultime fusionis cupri ad opus clausure chori ecclesie tradetur fusori Jourdain pecunia de archa thesauri secundum estimationem hujusmodi ponderis\u201d; in the margin: \u201c=fusor cupri clausure chori\u201d (paraphrased by Grodecki, 1975, 114, Doc. V.(II.) 38).<\/p><\/blockquote>\n By 18 May 1543 the choir screen was in place when the chapter delegated three canons to look at it in order to decide if the wood and bronze should be gilded and to judge if the planned bronze angels should be replaced by wood candelabra:<\/p>\n Paris, Arch. nat., LL 143, p.316.\u00a0 \u201cVisitabunt domini decanus, archidyaconus Brye et Courchon clausuram chori ecclesie, si conveniat deaurari lignum et cuprum ejusdem, as loco ymaginum angelorum cupri, ponatur candelabra lignea, et referant\u201d (Grodecki, 1975, 114, Doc. V.(II.) 39).<\/p><\/blockquote>\n On 23 May 1543 the chapter decided to purchase 700 \u201clivres\u201d of bronze to complete the choir screen:<\/p>\n Paris, Arch. nat., LL 143, p.321.\u00a0 \u201cHabeat de Courchon ab archa thesauri ecclesie pecunias ad hoc necessarias et emat VIIC<\/sup> l cupri pro perficiendo opere cupri clausure chori ejusdem ecclesie\u201d (paraphrased by Grodecki, 1975, 114, Doc. V.(II.) 40).<\/p><\/blockquote>\n Three and a half months later, on 5 September 1543, a goldsmith was asked to gild the choir screen:<\/p>\n Paris, Arch. nat., LL 143, p.404.\u00a0 \u201cVenier faciet do(minus)<\/p>\n Ricardi illum aurifabrum de quo hic loquutus est videre clausuram chori ecclesie quantum pro deauratione ejusdem exponeretur\u201d (Grodecki, 1975, 114, Doc. V.(II.) 41).<\/p><\/blockquote>\n Two days later, on 7 September 1543, Scibec was paid all that was owed him but he was asked to furnish instructions on how to dismantle the choir screen:<\/p>\n Paris, Arch. nat., LL 143, p.405.\u00a0 \u201cCapiantur in archa thesauri ecclesie VIXX<\/sup> l. t tradende Francisco Carpy minutario super his que sibi debentur pro clausura chori sed prius tradat modum et instrutionem illam dispertionis ubi et quando opus erit\u201d<\/p><\/blockquote>\n (paraphrased by Grodecki, 1975, 114, Doc. V.(II.) 42).<\/p>\n By the date of this last document it may be assumed that the choir screen designed by Rosso, beginning in the autumn of 1537, was completed and installed just under three years from the time of his death, although the gilding may still have needed to be done.\u00a0 But there are subsequent references to the choir screen in the sixteenth century that tell something more about it.<\/p>\n About four years later, on 15 May 1547, those in charge of the funeral of Francis I communicated to the chapter the necessity of removing the choir screen because of the ceremony that would be attended by twelve cardinals and four bishops:<\/p>\n Paris, Arch. nat., LL 144, p.825.\u00a0 \u201cDominica XVa maii anni predicti decima(?) hora(?) vesperis, convenientibus in vestiario ecclesie dominis decano, cantore, archidyacono Brye succentore, penitenciario Pelourde et aliis in magno numero.\u00a0 Retulit item dominus cantor se cum reverendissimo cardinale Bellayo episcopo parisiensi, dominis nivernensi episcopo, dicto decano et Gontier, hora sexta de mane in choro dicte ecclesie, magistros ceremoniarum pompe funebris funeralium defuncti regis Francisci iuxta eorum promissionem expectasse, super ordine ponendi in hujusmodi funeralibus, presertim, sessionibus in choro dicte ecclesie.\u00a0 Et dominus expectatis et non venientibus, dictum reverendissimum cardinalem dixisse quod in servicio hujusmodi funeralium debebant interesse XII cardinales et ad minus IIII episcopi, pro quorum sessionibus conveniebat auferri clausuram chori ecclesie quo res commodius habeatur, propter quod facta fuerat ipsorum dominorum dicta convocatio.\u00a0 Super quo, prehabita singulorum dominorum deliberatione, conclusum est quod, considerante magnis sumptibus dicte clausure – et id citra jacturam(?) ecclesie – illam non auferri posse; sed ubi vero placeat domino nostro Regi hoc fieri, illam, seu loco illius, aliam, citra expensis ecclesie reponi…\u201d (Grodecki, 1975, 114-115, Doc. V.(II.) 43).<\/p><\/blockquote>\n On 8 June 1547 Scibec de Carpi was paid for his help in taking down the choir screen by furnishing the \u201cclavettes\u201d [keys] necessary for the assembling and disassembling of it without damaging it:<\/p>\n Paris, Arch. nat., LL 144, p.846.\u00a0 \u201cOrdinatum est solvi Franciscum Carpi minutarium de summa IIIIxx<\/sup> l.t. super residuo sui debiti factionis, et directionis lignee et cupree clausure chori ecclesie, liberando les clavettes<\/i> et modum parandi et separandi hujusmodi clausuram quotiens opus citra deteriariocionem(?) ejusdem\u201d (Grodecki, 1975, 115, Doc. V.(II.) 44).<\/p><\/blockquote>\n The chapter then asked the new king, Henri II, on 27 June 1547, for a donation for the remaking of the choir screen that had been \u201cdemolished\u201d for the funeral of Francis I:<\/p>\n Paris, Arch. nat., LL 144, p.865.\u00a0 \u201cScribatur domino de Treszey continente sibi placeat procurar penes dominum nostrum Regi haberi ecclesie aliquam pecuniam pro repositione seu refectione alterius clausure chori que demolita fait in servicio et funeralibus defucti regis Francisci\u201d (paraphrased by Grodecki, 1975, 115, Doc. V.(II.) 45).<\/p><\/blockquote>\n Considering the expense of the choir screen and the damage that it would suffer from not being used, the chapter decided, on 14 January 1549, to have it re-made in place and, to complete it, to order a bishop\u2019s chair of the same material and design:<\/p>\n Paris, Arch. nat., LL 145, p.581.\u00a0 \u201cConsyderatis sumptibus facture clausure chori ecclesie et detrimento ipsius defectu repositionis et reparationis ejusdem, ne tantum opus inutile remaneat, ordinatum est illam reponi et juxta texturam et continuacionem seu compositionem illius fiat cathedra episcopolis\u201d; in the margin: \u201c=clausura chori et cathedra episcopolis\u201d (Grodecki, 1975, 115, Doc. V.(II.) 46).<\/p><\/blockquote>\n Almost two years later the choir screen seems not yet to have been re-erected when, on 7 December 1551, two canons were designated to have it put up without delay:<\/p>\n Paris, Arch. nat., LL 147, p.391.\u00a0 \u201cVideant domini cantor, concellarius et Moreau requestam parrigendam domino nostro regi pro reparatione cathedrarum chori et banilox(?) celi ad deferendum Corpus Christi\u201d; in the margin: \u201c=de cathedris chori\u201d (paraphrased by Grodecki, 1975, 115, Doc. V.(II.) 47).<\/p><\/blockquote>\n Grodecki, in Actes<\/i>, 1975, 115, n. 1, believed that the urgency of this re-erection followed from the damage caused to the canons\u2019 seats by a general procession in the presence of the king that was held on the occasion of the enthroning of the bishop Eustache du Bellay on 18 November 1551 (Paris, Arch. nat., LL 147, pp. 377, 391).<\/p>\n A contract was made on 15 January 1552 for the re-erecting of the choir screen:<\/p>\n Paris, Arch. nat., LL 147, p.414.\u00a0 \u201cOrdinatum est quod magister Guillemus Garlette, clericus fabrice ecclesie, tradat domino Jolivet summam octo scutorum auri ad solem, per conventione per eum facta reponendi clausuram chori\u201d; in the margin: \u201c=clausura chori. mand. clerico fabrice\u201d (Grodecki, 1975, 115, Doc. V.(II.) 48).<\/p><\/blockquote>\n From the many documents that refer to the choir screen that Rosso designed only the vaguest impression can be had of what it looked like.\u00a0 It was designed to close off the east end of the choir of the canons that occupied the center of the three bays of Notre Dame west of the crossing.\u00a0 It would seem to have been placed between the fourth set of piers, counting from the crossing, or immediately to the west of them (No. 12 on plan: Fig.Notre Dame, Paris, Plan<\/a>).\u00a0 It was approximately 26 meters wide; its height was probably about 4 meters.4<\/sup><\/a>\u00a0 The choir screen occupied the site of the medieval stone choir screen that was destroyed in 1518 on the orders of Francis I for the needs of a state ceremony.\u00a0 That choir screen had already been replaced by another of bronze made by Etienne Barillet between 1519 and 1521 at the expense of the king.\u00a0 Barillet was paid 1,224 livres tournois<\/i>.\u00a0 Whether or not he designed this choir screen or was only the caster of it is not known.\u00a0 Then in 1534 Francis I donated another 1500 livres<\/i> for the \u201cperfection\u201d of the choir screen.\u00a0 It was for this project that Rosso provided at least three designs.<\/p>\n Only one month after Rosso himself received his canonicate in the Chapter of the Cathedral of Notre Dame, the canons asked him, on 27 October 1537, to make a design for the choir screen.\u00a0 On 7 December of the same year he was asked to attend to the execution of it, in bronze, as specified at this time.\u00a0 What is not indicated anywhere is whether Rosso\u2019s project was an entirely new choir screen or the completion and elaboration of Barillet\u2019s bronze structure.\u00a0 The documents referring to the latter would seem to indicate that it was complete when it was installed.5<\/sup><\/a>\u00a0 But Francis I\u2019s donation of 1534 was for the \u201cperfection\u201d of it, which could indicate that the canons were to have Barillet\u2019s choir screen completed and elaborated.\u00a0 Perhaps the original intention, in 1534, was somehow to make Barillet\u2019s choir screen a finer and more beautiful one.\u00a0 However, all the documents related to Rosso\u2019s project suggest an entirely new choir screen.\u00a0 Like Barillet\u2019s it was also to be of bronze.6<\/sup><\/a><\/p>\n Nevertheless, this was not to be the sole material of the executed choir screen, for on 10 May 1538 the canons approved an agreement that Rosso had already made with the woodcarver Scibec de Carpi, and his lengthy and major involvement with this project almost certainly indicates that the choir screen was to a large extent planned to be executed in wood.\u00a0 Bronze parts were still included in the design, as is indicated by the documents referring to the participation of the bronze caster Gilles Jourdain, beginning already by 30 August 1538.7<\/sup><\/a>\u00a0 In addition, there were to be certain parts made in fine black marble.\u00a0 As pointed out by Grodecki, the combination of these materials indicates something of the innovativeness of Rosso\u2019s design.<\/p>\n Actually, as the documents make clear, Rosso provided at least three designs for the choir screen that was executed by Scibec and Jourdain.\u00a0 No record exists of any earlier design by Rosso for a choir screen to be made entirely in bronze.\u00a0 The first design given to Scibec would most probably have been made before 10 May 1538, when the canons approved Rosso\u2019s agreement with the woodcarver.\u00a0 Scibec executed all the woodcarving required by this plan except for the portal; he also did not incorporate into the choir screen the bronze and black marble parts, as they had not been delivered to him by the time that he had completed his work.\u00a0 A second drawing by Rosso for part of the choir screen was received by Scibec shortly after 22 October 1539, which, in the woodcarver\u2019s opinion, required twice as much work, if not more.8<\/sup><\/a>\u00a0 It is not specified in any document for what part of the screen this drawing by Rosso was made, but it is likely that it was for the portal that Scibec had not yet executed.\u00a0 Perhaps, then, it was only the portal that required so much more work and not the entire choir screen, the first design of the rest of which might have remained the same.\u00a0 Scibec completed his work for this project except for finishing touches and varnishing and the incorporation of the marble and bronze parts.\u00a0 A third drawing by Rosso was received by the canons on 12 January 1540, who on that same date asked Scibec and Jourdain to execute the choir screen according to it.\u00a0 Scibec stated that it presented a much more costly project and that it indicated changes to the columns and entrance.\u00a0 This drawing, too, could have been only for the portal.\u00a0 It would seem that Scibec executed the carvings for this project but when he was finished the canons had still not provided him the bronze and black marble parts to include in the choir screen.\u00a0 His wood carvings may have been entirely done by the time that Rosso died on 14 November 1540.9<\/sup><\/a><\/p>\n Some of the bronze parts of the choir screen may have been cast by this time, although nothing in the documents specifically indicates this.\u00a0 In any case, on 25 February 1541 the canons decided again to have castings made.\u00a0 On 8 March 1542 Scibec was charged to make molds for the caster, which, it might be assumed, were formed in plaster from wood carvings made as models for the bronze parts, or at least for some of them.10<\/sup><\/a>\u00a0 It was also decided then that the black marble should be replaced by wood painted black.\u00a0 Jourdain\u2019s casts from Scibec\u2019s molds were completed by 18 December 1542 and ready to be transported to Scibec.\u00a0 By 18 May 1543 the choir screen was in place in Notre Dame.<\/p>\n At that time the canons considered whether the wood and bronze of the choir screen should be gilded, and on 5 September 1543 a goldsmith was hired to do some gilding.\u00a0 It is probable that the woodwork, which was varnished, was highlighted with gold like the paneling in the Gallery of Francis I.\u00a0 The bronze parts could have been entirely gilt, or only partially gilt.11<\/sup><\/a>\u00a0 But the choir screen must have had sufficient gold to be referred to in 1587 as \u201cla traverse dor\u00e9e du choeur\u201d and in 1615 as \u201cla cloison dor\u00e9e.\u201d12<\/sup><\/a>\u00a0 Also, on 18 May 1543 the canons considered whether or not the bronze angels planned for the choir screen – and hence, apparently, part of Rosso\u2019s plan – should be replaced by wood candelabra.\u00a0 As a new supply of bronze was bought on 23 May 1543 it could be assumed that they settled upon the angels.\u00a0 However, it is not known that they were actually made.13<\/sup><\/a><\/p>\n From Scibec\u2019s extensive involvement with this project it seems most probable that the choir screen was largely of wood.\u00a0 For one thing, it was he who was to receive the other parts for incorporation into what he had made.\u00a0 Furthermore, on 11 January 1542 the canons decided to have transported to Notre Dame Scibec\u2019s carvings in order to see if they could be used according to Rosso\u2019s design.\u00a0 This was before the bronze parts were cast and the marble (later wood painted black) parts were made.\u00a0 Hence, if it could be erected without the latter parts it would seem that the choir screen was fundamentally of wood.\u00a0 It should also be noted here that the canons were concerned that the choir screen was executed as indicated by Rosso\u2019s design and it might be assumed that the choir screen installed two and a half years after his death did follow his plan.<\/p>\n The choir screen had to be an open structure in order that the canons seated in their choir could see the service taking place just east of it at the high altar of the cathedral.\u00a0 Hence the screen had to have some kind of grill work.\u00a0 This grill work would have at least to have filled the upper half of the choir screen.\u00a0 It might be conjectured that it was this grill work \u2013 perhaps slender balusters \u2013 that was the part of the choir screen made of bronze.\u00a0 It would have been set into the framework of the screen made of wood with carved panels below, and, perhaps, with smaller ones above this grill.\u00a0 The central entranceway, fitted with a door that must also have contained a grill, would have been flanked by columns, carrying presumably an entablature.14<\/sup><\/a>\u00a0 It is likely that the black marble, because of its weight, was planned for the bottom of the choir screen, forming either a continuous base or the bases of the major uprights of the screen.\u00a0 The latter is more probable because the choir screen was designed to be easily dismantled, stored, and re-erected without damaging it.\u00a0 Eventually, however, wood painted black was substituted for the apparently unobtainable black marble.15<\/sup><\/a>\u00a0 References to cut stone, masonry, and ironwork in the document of 8 March 1542 may refer to the various attachments of the parts of the screen and of the attachments to the structure of the church and the stone enclosures of the north and south sides of the choir of the canons.\u00a0 In 1547, when the choir screen was dismantled for the funeral of Francis I, Scibec was paid for certain \u201cclavettes\u201d \u2013 keys, pegs, pins or latches \u2013 that would be used for the assembling and disassembling of it.\u00a0 Already on 8 March 1542 and again on 7 September 1543 Scibec had been asked to give instructions on how to take down and put up the screen.\u00a0 The moveable aspect of Rosso\u2019s design must have been part of its conception from the very beginning, and may also have been a characteristic of Barillet\u2019s project of 1519-1521.\u00a0 But the weight of the latter, made entirely of bronze, may have made it too much of a burden to take down easily and transport for storage.\u00a0 This factor may, then, have prompted Rosso to design his choir screen largely of wood, keeping, nevertheless, some part of it in bronze.\u00a0 The major parts of it would have been lighter, with the heavier elements of bronze and black marble fewer in number but rich in appearance.<\/p>\n No parts of the choir screen are known to have survived and no picture in any media records its appearance.\u00a0 A drawing by Isra\u00ebl Sylvestre in the Louvre (Fig.Sylvestre, Paris, 33009<\/a>), done before 1691, when the artist died and when the choir screen was no longer in place,16<\/sup><\/a> shows the area of Notre Dame where it was located and also depicts somewhat sketchily two large chairs just inside the area of the choir of the canons.\u00a0 One of these is most probably the bishop\u2019s chair ordered on 14 January 1549 in the same material and design as the choir screen.\u00a0 The other chair is of exactly the same design and is either a later copy of the first one or else two chairs were made in the first instance instead of only one that the relevant document mentions.\u00a0 These carved wood chairs, which were probably made not before 1552 and possibly later (see below), are in a style that could reflect Rosso\u2019s and hence something of the appearance of the choir screen.\u00a0 One might be able to recognize in the drawing of the chairs details of strapwork, plaques, reclining animals, and perhaps herms.\u00a0 Such details of Rosso\u2019s decorative vocabulary could have appeared on the screen, but one might also expect there to have been certain religious motifs as well.<\/p>\n Four years after it was erected in Notre Dame (but as yet without its angels) the choir screen was dismantled for the funeral of Francis I.\u00a0 The canons ordered that it be put up in 1549 and again in 1551 and 1552, but when exactly it was re-erected is not known.\u00a0 It may have been only then that the bishop\u2019s chair mentioned in 1549 was made, and perhaps another matching it as well.\u00a0 The choir screen was in place in 1587 and also in 1615.17<\/sup><\/a>\u00a0 There is no record of it after the latter date.\u00a0 It was certainly not standing in 1627.18<\/sup><\/a><\/p>\n <\/p>\n <\/a>1<\/sup> Mentioned also in Am\u00e9d\u00e9e C.L. Boinet, Les \u00e9glises parisiennes<\/i>, Paris, 1958, I, Moyen age et Renaissance<\/i>, 105.<\/p>\n<\/div>\n <\/a>2<\/sup> See Grodecki, 1975, 100, and 111, Doc. V.(II.) 18, of 10 December 1518.\u00a0 The destroyed choir screen, although not its material, is again mentioned in a document of 15 December 1518 (Grodecki, 1975, 111, Doc. V.(II.) 19) that records the solicitation of help from Francis I\u2019s mother in obtaining from the king the re-building of the choir screen.\u00a0 Apparently the existence of the medieval choir screen is known only from these two documents.\u00a0 It is not mentioned in Gillerman, 1977 (1973) or in Gillerman, 1975.<\/p>\n<\/div>\n <\/a>3<\/sup> See Grodecki, 1975, 100, 104, ns. 7-9, and 111-112, Docs. V.(II.) 19-22, and reference to the record of settlement with Etienne Barillet of 17 April 1521 (published by E. Coyecque, \u201cNotre Dame de Paris, 1396-1526,\u201d Nouvelle archives de l\u2019art fran\u00e7ais<\/i>, IV, 1887, 90-91).\u00a0 It is in this settlement record that Barillet is referred to as a \u201cfondeur de cuivre\u201d and the choir screen is mentioned as \u201cla closture du cueur.\u201d\u00a0 But already in the document of 15 December 1518 (see n. 1) it is stated that the re-making of the choir screen would be \u201cde cupro.\u201d<\/p>\n<\/div>\n <\/a>4<\/sup> Grodecki, 1975, 101, Fig. 1, numbered 12, shows the place of the choir screen and the choir of the canons.\u00a0 Gillerman, 1977 (1973), 31-32, 209, Fig. 1, and Gillerman, 1975, 49, believes that the north and south sides of the choir of the canons extended about 1.3 meters into the next bay to the east, in which case the original stone choir screen, of which she did not know the existence, would probably have crossed that much nearer to the high altar of the church.\u00a0 So, too, then, would have Rosso\u2019s.\u00a0 In this position it is more understandable that the stone screen was in the way for ceremonies before the altar, and why it was found necessary to have the later screens, by Barillet and Rosso, so designed that they could be taken down.\u00a0 Gillerman, 1977 (1973), 29-30, says that the north and south sides of the choir, which are in place, are 13 feet high, including the \u201ccouronnement\u201d added by Viollet-le-Duc.\u00a0 The choir screen, like the jub\u00e9<\/i> at the western end of the choir, must have been approximately the same height.<\/p>\n<\/div>\n <\/a>5<\/sup> Grodecki, 1975, 100, says that Barillet\u2019s choir screen was put up provisionally, but nothing in the documents indicates that this was the case.<\/p>\n<\/div>\n <\/a>6<\/sup> Although the Latin and French words used in the various documents could mean copper, Grodecki, 1975, 105, n. 24, points out that they can also mean bronze and this is their most likely meaning here.\u00a0 As the cast parts of the choir screen were eventually gilded, it is probable that they were not of copper, which, if used, would have been selected for its color and hence would not have been covered with gold.<\/p>\n<\/div>\n <\/a>7<\/sup> Grodecki, 1975, 102, states that Jourdain must have finished the work that his agreement with Rosso, confirmed by the canons on 30 August 1538, indicated, that is, by the end of the year.\u00a0 But documents of 1540, 1541, 1542, and 1543 all show that the caster was continually being pressed to bring his work to conclusion.\u00a0 Some of his continuing occupation with this project may have been due to the changes that Rosso made to its design.\u00a0 Nevertheless, there is no indication in the documents that Jourdain had completed any portion of his part by the end of 1538.<\/p>\n<\/div>\n <\/a>8<\/sup> Grodecki, 1975, 102, believes that there was a slowing down of work on the choir screen during the early part of 1539 because of Rosso\u2019s activity at Fontainebleau; she also points out that Scibec received the (second) commission for the wood paneling of the Gallery of Francis I in April of that year.<\/p>\n<\/div>\n <\/a>10<\/sup> With reference to the document of 8 March 1542, Grodecki, 1975, 99, 102, states that Scibec was to complete the choir screen \u201cselon le devis et le dessin \u00e9tablis par le menuisier.\u201d\u00a0 But the document seems rather to indicate that it was to be finished according to the last specifications and the last drawing of Rosso.<\/p>\n<\/div>\n <\/a>11<\/sup> Grodecki, 1975, 103, 105, n. 26, remarks that the wood part of Rosso\u2019s design does not seem to have called for gilding, for Scibec, in the document of 5 February 1541, mentions only the varnishing of it.\u00a0 But as he would not have done the gilding he may not have found it necessary to remark on it.\u00a0 The gilding, however, is a detail that, while it may not have appeared in Rosso\u2019s drawings, may have been expected because he knew that it was Scibec\u2019s practice to highlight his carvings with gold.\u00a0 The gilding of the bronze may also not have been shown on Rosso\u2019s drawings, and yet he may have had it in mind.\u00a0 This could be true even if the canons on 18 May 1543 had to decide whether gold be used or not, for if so they would have to pay for it and they might have wished to see if it were actually desirable.\u00a0 Grodecki believes that originally only the bronze was to be gilded, but that the woodwork may, then, also have been highlighted.\u00a0 But the last mentioned document makes reference at one and the same time to the gilding of both the bronze and the wood.<\/p>\n<\/div>\n <\/a>12<\/sup> See Grodecki, 1975, 105, n. 26.<\/p>\n<\/div>\n <\/a>13<\/sup> What may have been the case is that Rosso\u2019s design showed that either angels or candelabra could be used.<\/p>\n<\/div>\n <\/a>15<\/sup> Of interest here is Sir John Wallop\u2019s later remark in his dispatch of 17 November 1540 that the king, Francis I, \u201cfurther shewed me that He hathe founde dyvers mynes of marbell, bothe white and blacke, the white by Marguysen, and the blacke besides Sherbroke: …\u201d (McAllister Johnson, \u201cDiplomatic Correspondence,\u201d 1972, 53).<\/p>\n<\/div>\n
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