[Ed. Hautecœur, Paris.
GRILLE AT ENTRANCE OF CHOIR.
The Choir is raised above the body of the church by three steps, and on the right and left hand is enclosed by a low grille in wrought iron with gilding. This rests on a stone foundation, and is terminated towards the centre by two massive columns, on which are hung the gates, which are of very beautiful design, representing conventionalised foliage and flowers. At the top of the gate, in the centre, is a foliated cross. The two bays on the south side of the choir nearest the entrance have the same arrangement of a small pointed window with a rose window beneath it, as exists in the side of the transept immediately adjacent. The remaining windows are in the altered and enlarged form, and the triforium of the choir is similar to, though of earlier date than, that which runs round the nave.
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[Ed. Hautecœur, Paris.
THE CHOIR, LOOKING WEST.
The Stalls occupy three bays on either side of the choir. The erection of these stalls is part of the work undertaken by order of Louis XIV. in accomplishment of his father’s vow, and it follows that they are not in character with the architecture of the choir. It was once proposed that for this reason new stalls of “Gothic” design should take their place. There is little likelihood of this being done now. Incongruity among things beautiful in themselves is by no means a calamity, and we may fairly question alike the taste and the learning of those who crave for uniformity at all cost. One is glad to think that Viollet-le-Duc never for a moment contemplated the banishment of these stalls, which are a particularly fine example of the best work of which the craftsmen of the time were capable. The stalls have been rearranged since they were first placed in the choir, and their number has diminished. Originally there were one hundred and fourteen stalls; now there are ten less. They are divided on each side into upper and lower tiers, each tier having twenty-six seats. The carvings are the work of Jean Nel and Louis Marteau, the designs being supplied by Jean de Goulon. The designer and the executants have combined to produce a really admirable piece of work, of which a full account is given in a very careful monograph, published by Chouvet in Paris in 1855, entitled Album des Boiseries sculptées du Chœur de Notre Dame de Paris. In this volume the carvings are dealt with one by one, and their merits intelligently discussed. At the back of the upper row of stalls are eight large carved panels, which represent scenes in the life of the Virgin. At the west end of the stalls are placed, opposite to one another, the throne of the archbishop and a similar throne for the dean of the chapter. These thrones or seats have elaborately-carved canopies. The relief on the back of the chair or throne on the right represents the cure of Childebert I. by St. Germain, Bishop of Paris. On the opposite chair is represented in similar style the martyrdom of St. Denis. Throughout the entire cathedral, in sculpture, in stained glass, in carving, the Virgin is glorified, and next to her in honour comes St. Denis. The stalls are lighted by lamps in metal brackets, and the choir itself is illuminated by handsome candelabra similar to those in the nave. In the second bay on the north side of the choir is a small organ used in the daily offices.
Close by this organ the stones of the pavement are movable, and cover the entrance of a small crypt. This is the principal subterranean chamber of the cathedral, and it was constructed so recently as the eighteenth century. It was set apart as the burial place of the Archbishops of Paris, and is little more than a vault. Over the coffins of those of the Archbishops who have been Cardinals are suspended their red hats and tassels. The excavations for this little crypt led to a discovery which was of great interest to archæologists. Amongst other Roman remains was a small altar to Jupiter, which is now preserved in the Cluny Museum. In Paris à travers les Ages we read of a small crypt below the Chapelle S. Anne, on the south side of the nave. Used now as a coal cellar, it was formerly a burial place, as is attested by the following inscription: “Cave pour les cercueils de plomb; cave pour la sépulture des chanoines; caves pour la sépulture des musiciens, enfants de Chœurs et officiers clercs.”