Notre Dame de Paris: A Short History & Description of the Cathedral, With Some Account of the Churches Which Preceded ItHiatt, Charles
History
Notre Dame de Paris: A Short History & Description of the Cathedral, With Some Account of the Churches Which Preceded It
Hiatt, Charles
Notre-Dame de Paris (Cathedral)
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.
Public-domain text, read in full here on John Shaqi.
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