Abstract
Focused on the example of Amiens Cathedral (ca. 1489-1532), this study questions the relations among choir screen, liturgy, and the cult of relics. It will explain that the image cycle of the choir screen prepared the laity for the visit to and worship of the cathedral's relics and supported the staging of relics, especially during the feast days of the saints. This was possible through the arrangement of the saints' cycles, the choice of scenes, their pictorial rhetoric, and finally by the orientation of the reading direction in relation to the liturgy and cult-topography of the cathedral. The close interaction between image and liturgy could even extend to synesthetic effects. The choir screen therefore appears not only in its primary function of separating the laity and clergy but also in its pictorial decoration as a type of furniture essentially defined by liturgy.
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