The Jube of Cathedrals
In early Christian basilicas, shrines placed in the choir housed relics. In the 12th century, the jube appeared to enclose the choir. It is a portico topped with a gallery. Subsequently, the deacon would ask the priest for permission to read the epistle or the gospel with the phrase: “Jube, Domine benedicere,” hence the name “jube” generally given to the gallery with a liturgical function.
In the Middle Ages, an ambulatory was conceived to circulate during the service. Thus, in the cathedral choir, the jube served as a screen. It embodied respect for the prayer and silence of the canons gathered for the office. At the beginning of the 14th century, the work to modify the chevet of Notre-Dame was completed under the direction of architect Pierre de Chelles. Consequently, sculptors, painters, stained glass artists, and carpenters worked on the interior decoration of the choir.
The Master Sculptors
Although an architect on the project, Pierre de Chelles also designed the choir’s decor. He sculpted the northern part of the enclosure, depicting scenes from the life of Jesus. However, in 1316, he left to work on Chartres Cathedral. Architect Jean Ravy took over for twenty-six years. He completed the southern part dedicated to the Apparitions and the story of Joseph. Additionally, he portrayed himself kneeling on the edge of the enclosure. Upon his death in 1344, his nephew Jean le Bouteiller completed the work in 1351.
Canon Pierre de Fayel, nephew of the Bishop of Paris Simon Matiffas de Bucy, financed the ongoing projects. Furthermore, the canon portrayed himself at the end of the monument, kneeling on the arcade’s support next to Jean Ravy (Louvre Museum).
During the cathedral’s 19th-century restoration, Caudron tried to preserve the original colors, which were later revived by Maillol in the mid-20th century.
Scenes from the Life of Christ
The northern part depicts scenes from Christ’s childhood: the Visitation, the Annunciation to the Shepherds, the Nativity, the Adoration of the Magi, the Massacre of the Innocents, and the Flight into Egypt, the Presentation at the Temple, Jesus among the Doctors, the Baptism of Christ by Saint John in the Jordan River, the Wedding at Cana, the Entry into Jerusalem, the Last Supper, and the Washing of the Feet, Christ in the Garden of Olives.
Once, a Crucifixion crowned the entrance door. The story of Christ is completed by the Christ in Limbo at the southern end of the jube (now at the Louvre Museum).
The southern wall depicts the Apparitions of Christ. Inspired by the Gospel of Nicodemus, these scenes are rarely as complete in medieval statuary. The first scene shows Christ’s Appearance to Mary Magdalene in the garden near the Sepulcher. This depiction of Christ as a gardener persisted until the end of the Middle Ages. The other sculpted ensembles narrate Christ’s appearances to the Holy Women and Saint Peter, the disciples of Emmaus, Saint Thomas, and various gathered apostles.
Two Styles, Two Eras
The two parts of the enclosure differ in style. The northern sculptures are the oldest. The composition is clear, the postures calm, and the garments with ample folds continue the tradition of 13th-century monumental art, in line with Romanesque art. In the south, the composition is more complex, filled with picturesque details. The postures are stiffer, and the folds of the garments are characteristic of late Gothic.
Sculpting techniques also differ between the two walls. The northern walls are covered with high reliefs. In contrast, the southern sculptures are in full relief. Groups of columns support the canopies. The architectural style of the wall’s enclosure is treated differently on the two walls. In the north, foliage and monstrous animals recall the sculptures of the Virgin’s portal spandrels. In the south, the decorative motifs are replaced by openwork clovers.
Evolution of Worship
From the 16th century, worship evolved, and the faithful joined in the choir services. Consequently, most jubés disappeared.
In 1628, Queen Anne of Austria had a new wooden jube built housing the altars of the Virgin in the south and Saint Sebastian in the north. Subsequently, in the early 18th century, large grilles made by Caffiéri replaced Notre Dame’s jube. They later disappeared during the Revolution. As a result, today, only part of the choir enclosure, decorated with painted sculptures, remains.
