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.