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The former shows the Flight into Egypt and the Massacre of the Innocents; the latter the Nativity and Adoration of the Kings. They probably formed part of a chancel enclosure. There are also fragments of ciboria, altar frontals, or sarcophagi, while a column sawn in two has furnished decorated jambs to the door of the upper church.
"It is certainly mystical, and far more appropriate than the vessels of every form, the ciboria of silver-gilt, of aluminum, of silver of these days." "And need I remind you that the liturgy assigns a meaning to each vestment, each ornament of the Church, according to its use and form?
Seligmann, Issachar, and Meyer took away the golden shrines enriched with precious stones, enamels and cabochons, the reliquaries in the form of chalices, lanterns, naves, and towers, the portable altars of alabaster encased in gold and silver, the coffers enamelled by the skilful craftsmen of Limoges and the Rhine, the altar-crosses, the Gospels bound in carved ivory and antique cameos, the desks ornamented with festoons of trailing vines, the consular registers, the pyxes, the candelabra and candlesticks, the lamp, of which they blew out the sacred flame, and spilt the blessed oil on the tiles, the chandeliers like enormous crowns, the duplets with beads of pearl and amber, the eucharistie doves, the ciboria, the chalices, the patens, the kisses of peace, incense boxes and flagons, the innumerable ex-votos hands, arms, legs, eyes, mouths, and hearts, all of silver the nose of King Sidoc, the breast of Queen Blandine, and the head in solid gold of Saint Cromadaire, the first apostle of Vervignole, and the blessed patron of Trinqueballe.
It is a matter of notoriety that in 1894 two ciboria, containing one hundred consecrated hosts, were carried off by an old woman from the cathedral of Notre Dame under circumstances which indicate that the vessels were not the objects of the larceny. Similar depredations are said to have increased in an extraordinary manner during recent years, and have occurred in all parts of France.
The labours of the stone-carver, who provided altars chased with Scripture histories in high relief, pulpits hung against a column of the nave, tombs with canopies and floral garlands, organ galleries enriched with bas-reliefs of singing boys, ciboria with kneeling and adoring angels, marble tabernacles for relics, vases for holy water, fonts and fountains, and all the indescribable wealth of scrolls and friezes around doors and screens and balustrades that fence the choir, are added to those of the bronze-founder, with his mighty doors and pendent lamps, his candelabra sustained by angels, torch-rests and rings, embossed basements for banners of state, and portraits of recumbent senators or prelates.
It was locked, but the key was there. It opened, and my candle reflected a blaze on gold and silver vessels, consecrated chalices; a dazzling monstra, and several richly-carved ciboria of solid gold, set with precious stones. But in a corner I espied a dark-brown, gourd-shaped object. It was a skin of wine, and, with a half-suppressed cry of joy, I seized it.
At Bruges a priest of my acquaintance contaminates the holy ciboria and uses them to prepare spells and conjurements. Finally one may, among all these, cite a clear case of possession. It is the case of Cantianille, who in 1865 turned not only the city of Auxerre, but the whole diocese of Sens, upside down.
We find vermilion altar cloths, curtains of emerald silk, a cope of velvet, crimson and violet with orpheys of cloth of gold, another of rose damask, satin dalmatics for the deacons, baldachins figured with hawks and falcons of Cyprus gold. We find plate, hammered chalices and ciboria crusted with uncut jewels. There are reliquaries, among them a silver head of Saint Honoré.
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