CHOIR, kwir (older forms quire, quicr, queer ; modern spelling affected by Fr. chceur, Lat. chorus, from Gk. xopOg, choros, whence the w is derived). Strictly speaking, the choir is the part of the church occupied by the singers, wher ever that may be: but at different periods in church architecture it came to designate two dis tinct sections: (1) In early churches, the part midway between the upper end or sanctuary. occupied by the higher clergy. and the lower end, or nave and aisles, occupied by the laity; (2) in medimval and later churches, the entire upper end of the church, including high altar and apse, to which the singing had been transferred. The ritualistie sense, however, does not always agree with the architectural; for we speak of the choir of a cathedral, meaning the entire upper end, beyond the transepts with its aisles or chapels, regardless as to whether the singing is done there or not. In early basilican churches the upper 1•1111 is called apse, and not choir, and the choir, as in San Clemente in Rome, is the space below the high altar, extending part way down the nave and slightly raised above its level, surrounded by a decorative parapet within which are marble henches for the singers, with a pulpit on each side and a paschal candlestick. This kind of choir is less a part of the architec ture than of the ritualistic furniture and orna ment. But, when monasticism gained complete control of church arch iteeture in the Eighth Cen tury, the old distinctions between higher and lower secular clergy i.e longer obtained, the divi sion between choir and sanctuary lapsed, and the entire upper end became the choir. As the monks
were numerous, and on the mediaeval theory the worship of God was the primary consideration, the edifieation of the laity being secondary, the size of the choir increased and the choir-sereen, shutting off the monks and the services front the laity in the lower part of the choir, was made and heavy. Only- when episcopal power returned and with it cathedral architecture and numerous lay congregations, in the Eleventh and Twelfth centuries, was this segregation of the choir broken down and some return made to early Christian custom. But the monastic custom of high choi--screens was retained in many cathedrals, especially in England, where they entirely separate nave and choir, attendants upon the services being usually seated within the latter. In England the term 'chancel' is used to designate the upper end of churches without canons—e.g. parish churches. Ordinarily, archi tects distinguish an apse from a choir in the sense of using the latter only when there is a considerable projection beyond the transept or nave. This projection often includes a certain straight portion, as a continuation of the nave and aisles; then a semicircle with projecting choir-chapels and choir-aisles. For the :esthetic significance of the development of the choir in mediaeval churches, the varieties of its form in different schools, See ARCIIITEC'TURE.—Choir is also the name given to the singers of the choral service.
or The screen or \van which divides the choir and pres bytery from the side aisles. It is often very richly ornamented.