"The jubé, separating the choir from the nave, was of wrought stone, with open arches, supported by pillars. On each side of the entrance were chapels and altars; that on the left hand dedicated to the Blessed Virgin, with a (_retable_) reredos, decorated with small bas-reliefs of our Lord's passion, painted and gilt, similar in style to that behind the high altar of the church. In the gallery of the jubé (rood loft), on an elevation of several steps, was an image of St. John, supporting a desk from whence the Gospel was chanted. Above this jubé was a large cross of wood, gilt and painted, and covered with fleur-de-lis, which extended nearly the width of the church, having an image of our Lord crucified, and on either side two cherubim, with wings of gold, and beyond these, images of the Blessed Virgin and St. John in mantles, covered with fleur-de-lis, with borders of inscriptions. This was demolished in 1788, at the same time that the chapter removed the splendid ancient altar, with its brass pillars and ciborium, and replaced it by a miserable design, described (_à la Romaine_). Within three years after this destruction the church was in the hands of revolutionists, the clergy expelled, and the new-fashioned altar, &c. reduced to a heap of fragments."—See Antiquités Nationales, par Aubin Louis Millin: Paris, l'an second de la liberté, 1791. ABBAYE DE FONTENELLE, OR S. WANDRILLE. "The original jubé was destroyed by the fall of the great central tower, on the night of the 21st of December, 1631. A new screen was commenced in 1670, and completed in 1672, by Emmanuel Boynet, architect. It was supported by four marble pillars, with two altars on each side the choir door."—Essai sur l'Abbaye de Fontenelle, par E. Hyacinthe Langlois: Paris, 1827. CONVENTUAL CHURCH OF THE GRANDS AUGUSTINES, PARIS. "The jubé, which separates the choir from the nave, is of a very ordinary design, and built in the year 1665. It is supported by ten Corinthian pillars, in Dorian marble, between the clusters of which are two altars, one dedicated to the Blessed Virgin, the other to S. Nicholas of Tolentino."—Antiquités Nationales, par Aubin Louis Millin: Paris, l'an second de la liberté, 1791, page 57, vol. iii. CHURCH OF THE MATHURINS, PARIS. "The choir is separated from the nave by six Ionic columns of Flemish marble, supporting an entablature of stone, supporting a large image of our Lord crucified, and several images of angels bearing emblems of the passion: the spaces between the pillars are filled with rich iron-work. The whole was completed about 1640."—Ibid. vol. iii. p. 14. RHEIMS.