The church is paved throughout with large slabs of stone, not one of which is a grave-stone, as would be the case in almost every other cathedral, under the pavement of which are buried numbers of ecclesiastics and other persons; but this is virgin earth, wherein no sepulture has ever taken place. We give the reason in the words of Sebastian Rouillard: "The said church has this pre-eminence as being the couch or resting-place of the Blessed Virgin, and in token thereof has been even until this day preserved pure, clean, and entire, without having ever been dug or opened for any burial."
The choir is the largest in France, and one of the most splendid in existence, notwithstanding the unfortunate zeal of the chapter in the year 1703 to alter and disfigure its mediæval beauties according to their own ideas, which appear to have been warped to the lowest degeneracy of "Renaissance." Happily, however, the prodigious expense to which they put themselves resulted in but a partial realization of their plan, in which ancient carving and mural frescos were swept away to give place to gilding and stucco, marble and new paint, to say nothing of kicking cherubs and arabesques gone mad. It was at this time that the groups representing the annunciation of Our Lady and Our Saviour's baptism were placed at the entrance of the choir, which, even if they were the work of a more skilful hand, instead of being that of a very mediocre artist, would yet be out of harmony with the church; and the same may be said of the group, in Carrara marble, of the Assumption, which rises behind the high altar, and which is the work of the celebrated Bridan, who finished it in 1773.
When, two centuries before, the choir was still without enclosure, the XVIth century provided for it one of the rarest specimens of late Gothic art ever seen. Jehan de Beauce, who had been charged with the building of the new spire, was chosen to make the designs and direct the work; and though he died whilst it was still unfinished, his plan was carefully carried to its completion. In this marvel of conscientious labor there are forty groups, each containing numerous figures, nearly the size of nature, representing the Legend of Mary and the principal events in the life of Our Lord. Around these groups cluster pillars and arches, turrets, crocketed spires, everything that can help to give them, as it were, a framing and background as full and elaborate as possible, while all sorts of odd and Lilliputian creatures are playing in and out of the pediments, or clinging to the columns in the most capricious and fantastic manner. Besides these forty principal subjects, the enclosure is further enriched with thirty-five medallions, the first of which represents the siege of Chartres by Rollo, followed by subjects from the Holy Scriptures, and then, strange to say, by others taken from heathen mythology! The pagan spirit of the Renaissance was already daring to invade the sanctuaries of the Catholic faith.
Before proceeding to mention other architectural details, two of the especial treasures of the cathedral require some further notice. Besides the Druidic Virgin, of which we have already given the history, and whose chapel has, since the Revolution, been carefully restored, as well as the twelve other subterranean chapels of this marvellous crypt, there is in the upper church another statue, almost equally venerated, which dates from the first years of the XVIth century, and is called "Our Lady of the Pillar," from the columnar pedestal on which it rests. This figure is enthroned, and adorned with gold and painting of good execution, as far as may be seen under the abundant vestments of lace, silk, and gold with which the loving piety of pilgrims, greater in devotion than good taste, delights to load this statue, of which the dark but beautiful face has an expression of great sweetness and benignity, as well as that of the divine Child, whose right hand is raised in benediction, while his left rests upon the globe of the world.
It was to this venerable image of Notre Dame du Pilier that the Sovereign Pontiff, Pius IX., granted the signal favor of a solemn coronation, which took place on the last day of the month of May, 1855, in the presence of seven prelates and a concourse of clergy and people so immense that the church could not contain the multitudes. The dogma of the Immaculate Conception had just been promulgated, and a special jubilee in honor of Our Lady of Chartres had been granted by the Holy Father, and the whole city was in a state of indescribable joy.
With regard to the vestment of Our Blessed Lady, to which allusion has so frequently been made, and which appears to be of indisputable authenticity, we will give the remainder of its history up to the present time. When this was presented to the cathedral by Charles the Bald, it was enclosed in a chest of cedar-wood covered with gold. The veneration with which the precious relic was regarded did not allow of the chest being opened without necessity, and its form was naturally supposed to be that of a tunic or undergarment. Numbers were made after the imaginary pattern, and, after being laid upon the reliquary, were greatly valued as pledges of Our Lady's protection, especially by those about to become mothers. As to one detail, however, everybody was mistaken, the vestment not being by any means of the form supposed. This was for the first time discovered in 1712, when, by order of the bishop, Mgr. de Merinville, the coffer, which was falling to pieces from extreme age, was opened with the most extraordinary care and precautions. A kind of gauze, embroidered with silk and gold, enveloped the sacred relic, which proved to be a veil of great length, woven of linen and silk. It was then, in presence of Mgr. de Merinville and other witnesses, enclosed in a chest of silver, and placed again in the ancient reliquary, which had been strengthened and repaired. This, being most richly ornamented with precious stones, was, in December, 1793, carried off by the men of the Revolution, who took the relic to Paris, and submitted it to be examined by the members of the Institute, without giving them any information respecting it, and anticipating from their verdict a triumphant proof of its being nothing more than a cheat and deception of "the priests." It was with less satisfaction, therefore, than surprise that they were informed by the learned members that, "although they found it impossible to give the exact age of the fabric, it was evidently of very great antiquity, and the material was identical with that of the long, folding veils anciently worn by women in the East." Owing merely to this character of remote antiquity, it was allowed a place among the curiosities of a museum. When the Reign of Terror was over, certain pious persons obtained possession of it, but had the want of judgment to divide it, giving larger or smaller portions to different churches and individuals. In 1820, Mgr. de Lubersac succeeded in collecting several of these portions, and, after having had them carefully authenticated, he placed them in a reliquary of coral, which has since, by Mgr. Clausel de Montals, been replaced by one of greater richness, so arranged as to allow the precious relic to be visible.
We must, before taking leave of the cathedral, bestow at least a passing glance upon its glorious windows. Here and there one has been broken by revolutionary or other anti-religionists, one or two others have had a deep-toned color clumsily replaced by one of brighter hue by certain of the aforesaid XVIIIth century canons, who required more light to read their office; but, on the whole, they are in admirable preservation. We can linger but to read some few of the characters of this vast book of light, which is justly called by the Council of Arras "The Bible of the laity"; for months would be insufficient to decipher its glowing pages.
There are one hundred and thirty-five large windows, three immense roses, thirty-five roses of a middle size, and twelve small ones. These are almost all of the date of the XIIIth century, and are the gifts of kings, nobles, ecclesiastics, burgesses, and workmen of every trade, as may be seen in each window, which usually contains a kneeling figure of the donor. The great roses are marvellous in their splendor. That of the north transept, which, from being the gift of S. Louis, is called the Rose of France, represents the glorification of the Blessed Virgin, who occupies the centre, bearing in her arms her divine Son. The five great windows beneath the rose make the complement of the subject. In the centre is S. Anne, with Our Lady as an infant. On the right and left stand Melchisedech and Aaron, types of our Lord's priesthood; David and Solomon, the types of his royalty.
The southern rose was given by the Count of Dreux, and has for its subject the glorification of our Lord, which is also that of the sculpture over the western entrance. In the centre window of the five below is the infant Saviour in the arms of his Mother, while to the right and left are the four greater prophets, bearing on their shoulders the four Evangelists, to symbolize the support which the New Law receives from the Old. The western rose represents the Last Judgment. The three splendid windows beneath it are more ancient than the rest, and are said by those who are learned in stained glass to date from the XIIth century at the latest. One of these is the far-famed "Jesse Window," in which the tree of Jesse bears among the verdure of its branches the royal ancestors of Our Lord; the second represents scenes from his life, and the third those of his passion and death; while above appears the resplendent figure of Mary, known by the name of Notre Dame de la Belle Verriere, and justly celebrated for its admirable beauty. In the seven great windows of the apse, Mary is still the centre. In those of the choir occur amongst others the figures of S. Louis, S. Ferdinand of Castile, Amaury IV., Count of Montfort, and Simon de Montfort, his brother. The lower windows are filled with scenes from the Holy Bible and the Golden Legend, and contain a great number of figures of small size, while the higher ones are principally occupied by grand and separate figures of prophets, apostles, and saints.
Standing in the middle of the transept, one sees the extremities darkened by the great masses of the porches, but above them shine the great roses, whose rainbow hues play upon the entrance of the choir; the aisles and chapels are softened by that sort of half-luminous obscurity in which we find ourselves on entering the church; but the shadows flee more and more before the light, which, ever increasing, streams down in torrents as we approach the centre of the cross, making the sanctuary resplendent with emerald and ruby rays. And this marvellous picture has ever-changing aspects, beauties ever new, according to the hour of the day, the brightness of the sun, and the season of the year. Reader, when in propriâ personâ you make your pilgrimage to Notre Dame de Chartres, you will feel how poor and how inadequate has our description been, and, with the Presence that is ever there, will own that it is heaven in all but the locality.