Dame de Lourdes made of red marble in 1911 by the Munich sculptor Max Heilmaler, It was subject to many later alterations. It depicts the Virgin in a red marble mandorle. The additional sculpture of the Announciation, also by Heilmaler. Below the altar a depiction of Christ being presented at the Temple, by Caspar Weis. With it is the retable made of gilded and painted oak, It was originally made for the altar of a chapel at the shrine of Notre Dame de Lourdes, where it was placed in 1245. It depicts the Virgin, with the moon at her feet, with figures of Saint Barbara and Saint Catherine. It was removed from that church in 1912 because the church authorities in Lourdes felt it clashed with the simplicity of the decor there. The choir stalls are a prominent feature in the centre of the Choir. They were made by Théophile Klem of Colmar between 1913 and 1914, but they were not put into place until 1922–23. Carvings also decorate They decorate the screen of the choir made in 1912. The apse, diambulatory and radiating chapels Beyond the choir is the apse, with a semicircular passage, the disambulatory, which leads to the three chapels at the end of the cathedral. The central chapel is dedicated to the Virgin Mary, the left chapel to Saint Joseph, and the right chapel to Saint Livier. The following picture presents the ground plan of Saint-Stephen of Metz and the position of the architectural elements: Painting and sculpture The chapels of the transept were decorated in the 14th century with murals on the columns, which served as epitaphs for prominent church figures. These were covered over with plaster in the remodelling of the 17th century and rediscovered and restored between 1840 and 1909. One good example is the painted epitaph of Jacques Poulain, from 1379, located on the north side at the sixth pillar. Stained glass The stained glass windows of the cathedral range in date from the 13th century to the 20th century, and cover an area of 6500 square meters; the cathedral has the most stained glass of any medieval religious monument. The early windows resemble mosaics, made of very small pieces of thick, deeply-colored glass bound together by thin strips of lead. The later windows became much larger and thinner, as glassmaking technology improved, with support of iron bars and stone tracery. They