Part 2

On the lower portion of the pillar is a crowned king, probably Solomon.

The two sides of the great doorway are similar in design.

(_a_) On the jambs of the door:

To the right of Christ are the five wise virgins bearing lamps full of oil in their hands. In the lower arcade, a vigorous tree represents the Bible bringing forth good fruit.

To the left of Christ are seen the five foolish virgins holding their lamps, reversed, while below is the "tree of evil" with withered trunk.

(_b_) On the piers of each splaying:

Six apostles and two of the greater prophets. These statues are nearly eight feet in height.

Nearly all the Apostles resemble Christ, having the same type of face (generally pronounced oval) and the same serene and noble expression.

On the basements, to the right and left:

1. Underneath the statues of the greater prophets four quatre-foils represent their principal prophecies.

2. Below the statues of the Apostles are twelve medallions in two rows. The upper one represents the six Virtues and the lower one the opposing Vices.

The Virtues are grave women seated, each with a shield bearing a distinctive emblem. On the other hand, the Vices are depicted by gesture.

The tympanum (_photo p. 13_) represents the complete story of the Last Judgment:

_Lower portion_: Above the lintel, which is decorated with a frieze of finely carved foliage, the resurrection is depicted. The dead, awakened by angels blowing trumpets, leave their graves. They are young, and either naked or scantily clothed.

In the centre St. Michael weighs the souls in a balance. In one of the scales is the Lamb of God which "taketh away the sins of the world," while in the other is the head of a demon.

_Middle portion_: Separation of the good from the evil.

To the left, the elect, clothed and serene, ascend to Heaven, where they are received by St. Peter; to the right, a demon pushes the condemned into an enormous pair of open jaws representing the infernal regions.

_Upper portion_: Christ, surrounded by the Virgin and St. John kneeling, and by angels bearing the instruments of the Passion, judges mankind.

Above, in the point of the arch, the "Son of Man" half emerges from clouds, having in his mouth two swords. On either side is an angel, one bearing the sun, the other the moon, represented by discs.

The eight borders which form the arches on either side of the tympanum contain over 150 statues representing the celestial hierarchy.

In the lower row of the first six borders, scenes relating to the Last Judgment are also represented.

"Mother-of-God" door

(_See photo p. 11_)

This doorway has been dedicated to the Virgin, and forms one of the most complete representations of the worship of Mary produced by the iconographic statuary of the Middle Ages.

On the pier: A remarkably fine statue of the Virgin, belonging to the first half of the 13th century (_photo opposite_).

The six bas-reliefs of the pier basement represent the story of Adam and Eve: Creation of man--creation of woman--warning not to touch the forbidden fruit--the original sin--expulsion from the Garden of Eden--Adam and Eve at work.

On each side of the Virgin, in the splaying of the door, are six large statues:--

_To the left_: The Wise Men of the East offer presents to the child Jesus; Herod questions the Wise Men; Solomon and the Queen of Sheba.

_To the right_: Three groups of statues in pairs represent the Annunciation, Visitation, and Presentation (_photo below_).

_From left to right_:

1. Annunciation: Gabriel and Mary.

2. Visitation: Mary and Elizabeth.

3. Presentation: Virgin and Child and the High Priest Simeon.

The first two groups are especially remarkable for nobleness of attitude and harmonious robes.

On the basements, in the quatre-foil medallions, are carved various biblical scenes relating to the large statues surmounting them.

_To the right_, under the _Annunciation_, four medallions with figures of the Virgin according to the Mosaic Law: _The Stone rolling down from the Mountain_; _Gideon's fleece_.

Below: _The Burning Bush_; _Aaron's Rod_.

Under the _Visitation_: _The Nativity of St. John the Baptist_; _Annunciation of the coming birth of John, to Zachariah_; _Zachariah struck_

_dumb for unbelief_. Below: _Birth of St. John_ and _Zachariah naming the child John_.

Under the _Presentation_ are four scenes from the childhood of Christ: _Flight into Egypt_; _Falling down of the Egyptian Idols at the approach of Jesus_. Below: _Jesus in the midst of the Doctors_; _Jesus taken back to Nazareth_ (_photo p. 14_).

To the left, under _The Wise Men and Herod_, story of the Wise Men: _Balaam's star_; _Micah's prophecy at Bethlehem_; _The Wise Men before Herod_; _Massacre of the Innocents_. Below: _The Wise Men warned in a dream to return by another way_; _the Wise Men depart by ship from Tharsis_; _Burning of the Fleet of Tharsis_; _Herod orders the ships of Tharsis to be burnt_.

Under _Salomon and the Queen of Sheba_; _Solomon receives the Queen of Sheba_; _Solomon on his throne_; _Solomon's feast_. Below: _Solomon praying_; _Solomon shows his treasures to the Queen of Sheba_.

The tympanum (_photo below_) is divided into three parts:

1. Six patriarchs or prophets.

2. _Left_: Burial of the Virgin. _Right_: The Assumption.

3. Crowning of the Virgin.

In the arches are angels bearing censers, the Kings of Judah and other ancestors of the Virgin.

St. Firmin's door (_see p. 11_)

This door was dedicated to the religious history of Picardy.

A fine statue of St. Firmin, first bishop of Amiens, adorns the dividing pier. Crosier in hand and mitre on head, he blesses the faithful (_photo below_).

On either side are six large statues representing the most notable among the first bishops, martyrs, and saints of the diocese (_photo above_).

Scenes illustrating the round of tasks of the peasants are carved in the medallions on the basement. Above each scene of digging, reaping, harvesting, etc., appears the zodiacal sign of the corresponding month.

In the calendar of Amiens, the year opens with the month of December and the sign of Capricorn (_first medallion on the right_).

The reading of the calendar should begin there (_photo above_).

_December._ The peasant kills his pig for the feasts at the end of the year. _January._ He is seated at a well supplied table. _February._ He warms himself at the fire. _March._ Work begins again in the fields; tilling the soil. _April._ Pruning the vines. _May._ The peasant rests before the labours of Summer.

The calendar terminates on the left-hand side of the basement.

The tympanum (_photo p. 17_) depicts the history of the relics of St. Firmin:

1st portion: Six bishops seated.

2nd portion: Discovery of the body of St. Firmin by the bishop St. Sauve.

3rd portion: Solemn translation of the relics.

Statues of angels appear on the borders of the arches.

South Lateral Façade

At the foot of the south tower is St. Christopher's door (_plan p. 22_), and to the right a statue of this saint carrying the child Jesus on his shoulder.

The buttresses separating the lofty, broad windows of the chapels of the nave, added in the 14th century, are decorated with superposed statues.

The gable of the south transept (_photo opposite_) is remarkable.

The upper portion of the great rose window is surrounded by a "wheel of fortune" (14th century).

On one side eight beardless youths climb up the wheel, while on the other side eight old men with beards descend with it.

In the middle is seated a figure with crown and sceptre.

Doorway of the South Transept

(_"Gilded Virgin" Door_)

This door was dedicated to the saints of Picardy, but especially to St. Honoré, who was one of the first bishops of Amiens. It is also sometimes called the St. Honoré Door.

The statuary dates back to the end of the 13th century, with the exception of the large statues on the jambs, which were executed at the time the doorway was built, _i.e._, about 1230. These eight statues represent six saints and two angels.

On the dividing pillar is the celebrated statue of the Gilded Virgin (_photo above_) standing with the Child Jesus on her left arm, on which side the hip slightly protrudes. It is one of the earliest examples of this _irregularity of outline_, and was destined to inspire the Virgins of the 14th and 15th centuries, in which this characteristic became increasingly marked.

A comparison of this statue with that of the south door of the west façade (_photo p. 14_), furnishes a striking example of the evolution which statuary had undergone in three-quarters of a century. The Gilded Virgin (end of 13th century) is represented as a gracious young mother tenderly regarding her child, while the "Mother-of-God" gravely bears the "King of the World."

* * * * *

On the tympanum (_photo p. 19_) are:

* * * * *

(_a_) On the lintel: Twelve exceedingly fine, 13th century statues of the Apostles.

The latter converse with animation in pairs. The expression of their faces is quite different from that of the Apostles on the central doorway, the appearance of the latter being solemn and almost godlike (_photo p. 13_).

* * * * *

(_b_) The upper four sections represent the life of St. Honoré:

1ST SECTION:

_To the left_, consecration of St. Honoré;

_To the right_, the voice of Lupicin reveals the shrines of the martyrs.

2ND SECTION:

_To the left_, St. Honoré celebrating mass; a divine hand blesses the elements;

_To the right_, the blind receive their sight.

3RD SECTION:

Procession bearing the remains of St. Honoré.

4TH SECTION:

A crucifix, between the Virgin and St. John, reminds the faithful that the crucifix of a church, before which the procession passed, bowed its head as the remains of St. Honoré were carried by.

The arches comprise four borders with statues representing angels with crowns or censers, the sixteen patriarchs of the Mosaic law, the sixteen prophets and, lastly, sixteen figures of Apostles, evangelists, and holy women.

=The Apse= (_photo above_)

Built after the nave in 1240-1269, the apse is especially remarkable for the elegance and simplicity of its lines.

At the end are seven chapels, the central one being much deeper than the others. All are of open construction, the lofty windows being separated by heavily projecting buttresses. These chapels are noteworthy for their harmonious proportions and purity of style.

The distance to be spanned by the flying buttresses being too great, the latter were made in two parts, equipoised on an intermediate tambour; and whereas this arch, which is hollowed out by a series of small open-work ornamental arcades, is single in the lower flight, it became necessary, in the 15th century, to strengthen the upper flight below the arcades, with a second arch, on account of the pressure from the vaults.

Abutting on the south side of the apse is the Chapel of the Maccabees, so called because it formerly adjoined the cloister of the Cathedral, on whose walls was painted the Dance of Death. It now serves as a vestry.

The octagonal spire which rises above the intersection of the transept should be viewed from behind the apse.

It was built in 1529-1533 of horse-chestnut wood covered with thick sheet lead. 350 feet in height, it is only supported by four massive pillars at the intersection of the transept. The lower portion comprises two storeys of open construction ornamented with tall lead statues of saints.

North Lateral Façade

The doorway of the northern arm of the transept, also known as the door of St. Firmin the Confessor, is of the same construction as that of the southern arm, but is unadorned with sculpture. The dividing pillar alone is ornamented with a 13th century statue of a bishop.

In the tympanum is a glazed, packed wall which dates from the beginning of the 14th century; the nerves represent an enormous spider.

The upper portion is unfinished; the rose window is bare of any

ornamentation, and there is no stone gable.

As in the case of the south façade, the chapels of the nave are separated on the outside by buttresses ornamented with 14th century statues.

The two chapels nearest the principal façade were the last to be built (1373-1375), and it was Jean de la Grange, then Bishop of Amiens, and afterwards Cardinal and Financial Comptroller to Charles V., who bore the expense of the building. A massive buttress was built to strengthen the north tower, which these later constructions had weakened.

Two of the sides of the buttress and the dividing pillar between the two chapels are ornamented with three superposed statues of considerable interest, both from an historical and artistic point of view.

Considered downwards they represent:

On the north side of the buttress: _St. John the Baptist_, _the Dauphin Charles_ (_later Charles VI.--photo above_) and _Bureau de la Rivière_, Counsellor to Charles V. and VI.

On the west side of the buttress: _The Virgin_, _King Charles V._ (_photo above_), and _Cardinal Jean de la Grange_.

On the dividing pillar between the two chapels: _St. Firmin the Confessor_, _Louis of Orleans_ (_second son of Charles V._) _and a Counsellor of the King_.

Flying Buttresses

(_photo opposite_)

The flying buttresses of the nave are characteristic of the great Gothic period.

Built of massive masonry, each consists of two superposed arches, one above and the other below the point of abutment of the ogival arches of the great nave.

These flying buttresses provide a counter-thrust which partly annuls that of the vault.

The remainder is taken by the massive buttresses surmounted by pinnacles and turrets, the latter preventing them from giving way under the continual thrust of the flying-buttresses.

KEY TO PLAN OF AMIENS CATHEDRAL

A. Great doorway; St. Firmin's Door. B. " " ; St. Saviour's Door. C. " " ; "Mother of God Door." D. Chapels of the nave (14th century). D1. Chapel of the Annunciation or Our Lady of Faith (Annunciation by _Blasset_). D2. Chapel of the Assumption (Assumption by _Blasset_). D3. " " Our Lady of Help (altar screen by _Blasset_). D4. " " St. Saviour (ancient crucifix). D5. " " Our Lady of Peace (Virgin and child by _Blasset_). E. Altar of Our Lady of Puy (1627-1628) by _Blasset_ (on altar screen: painting of Assumption by _Francken_). F. Altar of St. Sebastian (1634-1635), by _Blasset_. G. Stalls. H. Radiating chapels of the apse. H1. Chapel of St. Eloi (The Prophetesses, paintings, 1506). H2. " " the Virgin. 1. Tomb of Canon Pierre Burry (16th century). 2. Bronze tomb to Evrard de Fouilloy (13th century). 3. " " " Geoffroy d'Eu (13th century). 4. Monument to Jean de Sachy, by _Blasset_ (17th century). 5. Life of St. James the Less (stone carving, 16th century). 6. Jesus driving the buyers and sellers out of the Temple (stone carving, 16th century). 7. Roman cistern (12th century). 8. Tomb of Cardinal Hémard de Denouville (1543). 9. Life of St. Firmin, enclosure of carved stone, painted and gilded (end of 15th century), and funeral statue of Feray de Beauvoír with 16th century paintings. 10. Continuation of the Life of St. Firmin, stone enclosure and tomb of Adrien de Henencourt (16th century). 11-12. Life of St. John the Baptist, stone enclosure (1531). 13. Mausoleum of Ant. de Ballon, by _Blasset_ (17th century). 14. Recumbent statue of Cardinal Jean de la Grange (15th century) and tomb of Canon Guilain Lucas with Weeping Angel statue, by _Blasset_ (17th century).

Interior of Cathedral

The Cathedral has an inside overall length of nearly 440 feet and a breadth of about 200 feet in the transept.

It comprises: The great nave, composed of six bays with aisles and posterior chapels (14th century).

The transept with aisle and three bays in each arm.

The choir, composed of four bays and double aisle.

The seven-sided apsis with ambulatory, on which open out seven pentagonal radiating chapels.

The most striking features of the interior are its great height, the few points of support, and the simple character of the latter.

The Great Nave

(_photo opposite_)

The great nave, which is about 48 feet wide, is nearly 140 feet high, and is the second highest Gothic vault in France (that of the choir of Beauvais Cathedral is about 156 feet high).

Few edifices exist in which the solid parts have been so reduced in favour of the spaces.

There are no walls; the cathedral may be said to consist of windows, rose-windows, and "stone lace-work."

The strength of the whole structure depends upon a series of pillars and arches which, according to the principles of Gothic construction, ensure equilibrium, by dividing the pressures and opposing conflicting stresses.

The triforium has lost that importance which it had in the early Gothic edifices. Here it is a narrow gallery running right round the church. In the nave it comprises, at each bay, two wide arches divided by two slender columns.

The windows are 52 feet high and of the same width as the arcades on the ground floor.

The original stained glass no longer exists.

According to the canons of Gothic art, all ornamental carving must be inspired by Nature.

The typical ornamentation for capitals is the crocket, intermingled here and there with other kinds of foliage.

The belt of foliage below the triforium represents plants grown exclusively in Picardy, and is very finely executed.

At the entrance to the nave, with its back to the first pillar on the right, is the early 16th century tomb of Canon Pierre Burry (1 _on plan_). It is a fine, expressive statue of the canon kneeling, presented by his Patron Saint, St. Peter, to an "Ecce Homo" of little note.

On each side of the great nave, below the longitudinal arcades and between the second and third pillars, are two bronze tombs supported by lions. These are the tombs of the two bishops who founded the Cathedral, and who are represented on large rectangular tablets, wearing chasuble and mitre. Beautifully executed, they are practically the only remaining specimens in France of early funeral sculpture.

_To the left_, is the tomb of Geoffroy d'Eu, deceased in 1230 (3 _on plan_).

_To the right_ (2 _on plan_): that of Evrard de Fouilloy, who died in 1222 (_photo opposite_).

The pulpit of painted and gilded wood belongs to the end of the 18th century. It backs up against one of the northern pillars and is carried by three tall statues representing the virtues: Faith, Hope, and Charity.

The Aisles

The aisles are extremely lofty, the keystones of the vaults being richly sculptured.

Chapels added in the 14th century terminate the aisles.

Nearly all contain works of art by a local sculptor very well known in Picardy: _Nicolas Blasset_ (1600-1659).

The following are of especial interest:

I. =South Aisle:=

Third chapel (Annunciation--_D1 on plan_); on the altar, bas-relief by _Blasset_, representing _The Annunciation_;

Fourth chapel (Assumption--_D2 on plan_); on the altar, fine Virgin by _Blasset_ (_The Assumption_).

II. =North Aisle:=

Second chapel (Our Lady of Help--_D3 on plan_); on the altar screen, _Virgin and child trampling on serpent representing Death_ (_Blasset_);

Third chapel (St. Saviour's--_D4 on plan_): _tall Byzantine Christ_ of wood known as "St. Saviour";

Fifth chapel (Our Lady of Peace--D5 _on plan_): _Virgin_ by _Blasset_.

Against the pillar which separates the fifth and sixth chapels is the funeral monument of _Jean de Sachy_, Sheriff of Amiens, and his wife, one of _Blasset's_ finest masterpieces. Both the deceased are represented kneeling before the Virgin, to whom they are made known by John the Baptist.

The Transept (_photo p. 25_)

At the intersection of the transept, four massive pillars composed of sixteen columns rise up to the vault.

There is a fine rose-window at each end. That of the south arm, with curved mullions, is in the Flamboyant style, and contains portions of the original stained glass (_see heads of angels_).

That in the north arm (_photo p. 25_) belongs to the 14th century. Part of the original stained glass still exists, though restored.

Under each rose window are two superposed, open-work galleries containing fragments of old stained glass representing persons.

Two altars of similar design by _Blasset_ were erected between 1625 and 1635, one in each arm, forming pendants.

Four tall statues, two seated and two standing, form the framework of an altar-screen with painting, the latter surmounted by the statue of the patron of the chapel.

The altar of the south arm (_E on plan_) is dedicated to _Our Lady of Puy_, represented drawing a child out of a well (_photo opposite_.)

The painting of the altar-screen by the Flemish artist François Francken (_The Assumption_), is the finest in the Cathedral.

The altar in the north arm (_F on plan_) is dedicated to _St. Sebastian_, seen at the top pierced with arrows.

In the aisle of each arm, against the enclosure wall of the last chapel in the nave, will be seen in Flamboyant style niches, early 16th century carvings representing: _In the south arm_, an episode in the life of St. James the Less (5 _on plan_), and _in the north arm_ (6 _on plan_), the story of Jesus driving the buyers and sellers out of the Temple (_photo p._ 26).

These carvings have never been restored.

Other noteworthy objects in the transept are: