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.