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.
THE OLD GUARD-HOUSE OF HATTONCHÂTEL (before the War)
Unfortunate restorations were carried out in 1764 by Cellier Delatour, whose name appears on the background of the third picture. The date of the work (“A.D. 1.000.500.23.”) is inscribed on each of the curtains of the four pilasters which surround it.