The grating of this lower choir has two divisions, between which is a small square shutter, like the door of a tabernacle, on which is represented a chalice and Host. It was here St. Teresa received the Holy Communion for more than thirty years. Here one morning, after receiving it from the hand of St. John of the Cross, she was mysteriously affianced to the heavenly Bridegroom, who called her, in the language of the Canticles, by the sweet name of Spouse, and placed on her finger the nuptial ring. She was then fifty-seven years of age. A painting over the communion table represents this supernatural event. This choir is also associated with the memory of Eleonora de Cepeda, a niece of St. Teresa’s, who became a nun at the convent of the Incarnation. She was remarkable for her detachment from earth, and died young, an angel of purity and devotion. St. Teresa saw her body borne to the choir by angels. No Mass of requiem was sung over her. It was during the Octave of Corpus Christi. The church was adorned as for a festival. The Mass of the Blessed Sacrament was chanted to the sound of the organ, and the Alleluia repeatedly sung, as if to celebrate the entrance of her soul into glory. The dead nun, in the holy habit of Mt. Carmel, lay on her bier covered with lilies and roses, with a celestial smile on her pale face that seemed to reflect the beatitude of her soul. The procession of the Host was made around her, and all the nuns took a last look at their beautiful sister before she was lowered into the gloomy vault below.[42] In the upper choir there is a statue of St. Teresa, dressed as a Carmelite, in the stall she occupied when prioress of the house. The nuns often go to kiss the hand as a mark of homage to her memory. The actual prioress occupies the next stall below. It will be remembered that St. Teresa passed twenty-nine years in this convent before she left to found that of San José. She afterwards returned three years as prioress, when, at her request, St. John of the Cross (who was born in a small town near Avila) was appointed spiritual director. Under the direction of these two saints the house became a paradise filled with souls of such fervor that the heavenly spirits themselves came down to join in their holy psalmody, according to the testimony of St. Teresa herself, who saw the stalls occupied by them. “The air of Paradise did fan the house, And angels office all.” One of St. Teresa’s first acts, on taking charge of the house, was to place a large statue of Our Lady of Mt. Carmel in the upper choir, and present her with the keys of the monastery, to indicate that this womanly type of all that is sweet and heavenly was to be the true ruler of the house. This statue still retains its place in the choir, and in its hand are the keys presented by the saint.