2017/04/03 by Jacqueline E. Jung · 1 citation
Arts and Humanities · #Archaeology #Architecture #Architecture and Art History Studies #Art #Bridge (graph theory) #Choir #Computer science #Extant taxon #History #Liturgy #Presentation (obstetrics) #Space (punctuation) #Visual arts
paper · doi:10.17658/issn.2058-5462/issue-05/jjung
published in British Art Studies (5) (Yale University)
openalex publication_date 2017/04/03 · openalex created_date 2025/10/10 · openalex updated_date 2026/05/06
In their later medieval heyday, choir screens were pivotal centerpieces and focalisers of their sacred environments. Embellished with figural imagery; outfitted with platforms, pulpits, and altars; and rendered visually porous by the presence of large doors and windows, screens at once defined liturgical zones and provided a unifying bridge between them. This presentation offers an analysis of two extant screens: the early thirteenth-century structure in the abbey church of St Maria in Vezzolano, and the late fifteenth-century example in the church of St Stephen in Breisach. Though very different in format and decoration, both screens act as mediators – physical, visual, and conceptual – between the functional spaces and pictorial programmes in the apses (eastern ends) and exterior thresholds (western ends) of their respective churches. This presentation seeks to reveal the dynamic, mutually reinforcing relations among choir screens, the spaces they inhabited, and the liturgical objects that animated those zones.