Hattonchâtel stands on one of the promontories of the chain of hills which stretches from Verdun to Toul and which separates the Valley of the Meuse from the Plains of the Woëvre. It derives its name from a castle built in the 9th century by Hatton, Bishop of Verdun. The fortress has long been demolished. The church, erected as a collegiate in 1328, but united with the Collegiate Church of Apremont in 1707, remained standing until 1914. Since then it has been damaged by bombardments, especially the apse and north aisle. The little 15th century cloister, crossed by a public road, has suffered relatively little damage. [Illustration] The church contained the tomb of G. de Haraucourt, Bishop of Verdun (16th century), and a remarkable altar piece. They were carried off by the Germans, but it is hoped that they will be returned. [Illustration: HATTONCHÂTEL CLOISTER] The altar-screen, dating from 1523, is the earliest work attributed to Ligier Richier (_see p. 57_). It rested on a marble altar shaped like an antique tomb. [Illustration: CELEBRATED ALTAR-SCREEN, BY LIGIER RICHIER, STOLEN BY THE GERMANS FROM THE CHURCH OF HATTONCHÂTEL] This altar-screen, the projecting parts of which were of gold on a blue background, is divided into three sections, separated by pilasters with finely moulded bases. On the central keystone, in the shape of a shield, are the arms of Duke Antoine of Lorraine. Two medallions between the archivolt and the first projection of the coping represent St. Peter and St. Paul. The subjects of the three groups are: on the left, the =Carrying of the Cross=; Christ, in a long flowing robe, is in the centre, while behind Him stands Simon the Cyrenian wearing a pointed cap with turned-up edges; around stands a group of three women, two of whom are easily recognized—Mary Magdalene with long hair falling over her shoulders, and Veronica holding the Cloth of the Holy Face. Two executioners complete the scene. In the centre of the altar-screen is =The Crucifixion.= In the foreground is the swooning Virgin supported by St. John. Kneeling at the foot of the Cross is Mary Magdalene, and opposite her, Stephaton holding the long reed with a sponge dipped in vinegar. Lastly come the three soldiers of Pilate, one of whom carries the spear which pierced Christ’s side. On a pennant held by the second soldier are inscribed the words which affirm the divinity of Christ: “_Vere hic homo filius Dei erat_.” The third section of the altar-screen represents the =Burial Scene.= In the background is a bishop wearing a mitre, and kneeling at his feet a priest in a surplice. According to custom, the sculptor has here represented the donor, doubtless Gaucher or Gauthier Richeret, Dean of the Collegiate Church, whose initials, “G. R.,” frame the blazoned shield. The bishop is St. Maur, Bishop of Verdun, whose relics belonged to the Collegiate Church. [Illustration: THE OLD GUARD-HOUSE OF HATTONCHÂTEL (_before the War_)]