It is extremely fortunate that these very interesting sculptures have been left to us, for they constitute incomparably the most important of the internal decorations at Notre Dame, which, as we have seen, is relatively poor in the mediæval tombs which are the glory of Westminster Abbey. While we are thankful for what is left, we cannot help feeling a grudge against Cardinal de Noailles, who caused some of the scenes to be removed, and thus left the series incomplete. That the modern restoration of the painting of the sculpture was wise can hardly be maintained.[17]
[17] The fine collection of casts at the Crystal Palace includes most of this series. It is a pity that they cannot be placed in some more appropriate and convenient place.
VIEW OF THE CHOIR AT THE END OF THE XIII. CENTURY, SHOWING THE CARVED ROOD-SCREEN AND THE SHRINE OF ST. MARCEL.
(From Viollet-le-Duc.)
For the moment we will leave the ambulatory, and consider the Choir and Sanctuary. It will be interesting, before we examine the present state of these parts, to sketch briefly their aspect in the fourteenth century. Corrozet and De Breul have left us descriptions which have been illustrated and elucidated by the indefatigable Viollet-le-Duc. The entrance to the choir at the crossing was filled by a magnificent screen of stone richly adorned with carving. This was about eighteen feet high. The top formed the rood-loft, which was approached by two circular staircases placed at either end of the screen. In the centre was, of course, the entrance to the choir. When the doors were open the high altar could be seen from the end of the nave. Over this door was a decorated gable terminating in a great crucifix. According to De Breul this crucifix was a masterpiece of sculpture, as were the other statues which composed the group. The loft was broad, and had on both sides an open stone parapet, on which were placed carved lecterns. The west front of the screen had sculptured scenes of the Passion, which formed part of the series by Jehan Ravy and Jehan de Bouteiller lately described. On either side of the doorway, beneath the sculptures, were small altars. The choir-stalls of carved wood occupied much the same place as do those which we see to-day. Between the rows of stalls were low tombs with recumbent figures. The Sanctuary, approached by steps, was railed off, and filled the apse. The space between the columns was filled by a screen with carved scenes, which rose almost to the level of the bases of the capitals. The altar was low, and of stone, and possessed a re-table on which was placed a cross. Enclosing it on all sides, save that towards the church, was a screen with hangings of tapestry. At the four corners of this screen were tall figures of angels. Immediately behind the altar, and towering over it, was the shrine of St. Marcel, a lofty open structure of brass and other metals in two stages, ending in a gable at the apex of which rose a crucifix.
On the first stage, so that it could be seen from all parts of the choir, was the feretrum or reliquary of St. Marcel. This chief shrine had on its side shrines of less importance, while, in the background to the north, was the small altar of the Trinity, on which was placed the reliquary of Notre Dame, containing portions of the dress and other relics of the mother of Christ. A few fine tombs were also in the sanctuary, and not far away was a bronze statue of Eudes de Sully. An illustration, partly conjectural, of the choir and sanctuary in the condition which I have attempted to describe from Viollet-le-Duc’s Dictionnaire, is reproduced here. It will be seen that while the furniture and ornament of this part of the church is sufficiently splendid, it is nevertheless simple. There would be ample space for the due performance of the great ceremonials which constantly took place. Such was the appearance of the choir and sanctuary until Louis XIV., in fulfilment of the vow of Louis XIII., who had dedicated himself and his kingdom to the Virgin, began his transformation.
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