"Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches." The Art Bulletin 82.4 (2000): 622-57.
(1.) The materials from the choir screen and from the Altar of the True Cross were reused in 1730 to build the altar of the sette B.
(11.) It is interesting that both Comaro and Cicogna use the word parete, wall, to define the Servite choir screen, thus establishing a parallel with the wall-like appearance of the Frari's septum.
But a careful study not only of the paintings but also of what remains in the churches reveals a wealth of pre-Reformation church art as well as a large amount of specifically Protestant replacements of pulpits, organs, and choir screens
together with the addition of text panels where altarpieces once stood (see J.
Recently scholars like Jaqueline Jung have been reevaluating the once accepted dictum that choir screens functioned as barriers, shutting out the laity from the chancel:
far from acting only as social and spatial dividers (both of which they were in a literal sense), choir screens fulfilled a wide variety of incorporative functions.
The nave side of most choir screens was equipped with one or more altars (for public masses), a pulpit, images of saints (attracting lay offerings of candles by parishioners of middling status), and in some cases images or armorial bearings of powerful lay benefactors.
Jung contributes work from her larger study of sculpted stone choir screens
in thirteenth- and fourteenthcentury Western Europe, and lay viewing beyond the screen through its open doors.
The choir stood in the midst of the nave, and columniated choir screens
separated the first bay of the nave from the choir precinct and the elevated chancel from the rest of the church.
The St Asaph-born composer, who read music at the University of York, will also appear in the latest episode of the popular BBC series The Choir screened
Skidmore is famous for his work on London's Albert Memorial and choir screens
in Hereford, Lichfield and Salisbury Cathedrals.