Part 3

1. _South arm_: In the arcading of the Gilded Virgin Door are three fine late 13th century statues of angels with the instruments of the Passion. At the top of the pediment is a statue of St. Michael (16th century).

Below the stone carvings in the aisles, _eight black marble tables_, surmounted by small _bas-reliefs_ by _Blasset_ representing the principal episodes in the life of the Virgin.

On the tables are inscribed all the names, with their respective devices, of the _Masters of the Brotherhood of our Lady of Puy_, from 1389 to 1729 (_p._ 42).

_North arm_ (_photo above_): Stone and white marble tomb of Cardinal Hémard de Denouville (8 _on plan_), fine Renaissance monument (1543) backed up against one of the pillars at the intersection of the transept.

The statues of the four cardinal virtues, carved in demi-relief in the arcades of the basement, are especially worthy of notice. They are shown

holding their traditional attributes, and represent (_from left to right_): _Justice_, with sword and scales; _Temperance_, with clock; _Prudence_, with clock and compasses; _Force_, with tower, out of which comes a monster.

In a niche, above this basement, is the Cardinal kneeling before the head of St. John the Baptist. On the crown are three small statues representing the virtues: Faith, Hope and Charity. At the end of the aisle is a curious, late 12th century _Roman cistern_ (7 _on plan_) ornamented at the corners with the statues of four prophets.

Choir and Apse

Fine wrought-iron railings were placed, in the 18th century, at the principal and side entrances to the choir, as also between the columns enclosing the chancel. Contrary to the practice usually observed till then in Gothic edifices, in which building generally began with the choir, this part of the Cathedral was built after the nave.

The later period of construction is most noticeable in the triforium, which has not the simple elegance of the nave.

The arrangement of the bays is entirely different, the latter being surmounted by a gable decorated with crockets, while the end wall is of open construction.

Remains of 13th century stained glass are still to be seen in the triforium and the great window in the centre of the apse. The latter, dating from 1260, is practically intact.

Behind the high altar, an 18th century "glory," representing angels and cherubs, interrupts the view of the interior of the Cathedral.

Choir Stalls

The stalls (_G on plan_) are of oak and were made by the wood-cutters and wood-carvers of Amiens (1508-1519). They are in the Gothic-Flamboyant style, with Renaissance architectural and ornamental motifs.

It is impossible to praise too highly the perfection of even the smallest details of this woodwork, which is unrivalled throughout France. Especially worthy of remark is the consummate skill with which the joints have been concealed in the assembling.

To-day, 110 in number, the stalls extend the entire length of the choir aisles in a double row: high stalls and low stalls.

The high stalls, with very elevated backs simply decorated with an arch in accolade, are covered by a continuous canopy ornamented with pinnacles and pendentives of the finest workmanship.

To the right and left of the entrance to the choir, two larger stalls with separate canopies are surmounted by a pyramid fifty-three feet high, carrying the statues of the Church and Synagogue.

These are the master-stalls.

The two terminal stalls near the chancel are likewise surmounted by a pyramid with small statues.

Both as regards woodwork and carving, the stalls are rightly considered masterpieces, in the latter respect, on account of the infinite variety of

subjects, profusion of figures and extreme delicacy of ornamentation. The finish and detail are truly extraordinary.

The scenes represented belong to two different classes:

1. On the stalls proper, including the seats, but excepting the elbow or hand-rests, and on the hand-rails and panels of the passages leading from the low stalls to the high stalls, are represented the _Story of the Creation_ from Adam to Job, and the _Life of the Virgin_.

2. On the elbow-rests of the stalls and--alternated with clusters of leaves--on the pendentives of the canopy, subjects taken from the lives of the burgesses and artisans at the beginning of the 16th century (especially the handicrafts then practised), fables (_the Fox preaching to the Hens_) and satirical or fanciful scenes are depicted.

In the biblical and other subjects dealt with, the buildings, costumes, insides of houses, furniture and various accessories belong to the time when they were carved. Consequently, in addition to their artistic value, the stalls form an historical document of great value.

Chapels in Apse

The seven radial chapels of the apse are pentagonal, the central one having two bays more than the others.

Starting at the south aisle, the first chapel (_St. Eloi_--_H_ 1 _on plan_) is decorated on the basement of the two west bays, with eight fine though greatly deteriorated figures of prophetesses (1506).

The third, fourth, and fifth chapels were restored by _Viollet-le-Duc_, in the 19th century, in accordance with the decorative scheme employed in the 13th century.

The fourth chapel (that of the _Virgin_--_H_ 2 _on plan_) contains some 13th century restored stained glass (scenes from the _Life of the Virgin and Tree of Jesse_).

On the left, let into the sides of the wall, are two 14th century tombstones.

The basement carrying the two recumbent statues is ornamented with arcading and mourners, this being one of the earliest examples of that type of decoration, since so frequently used for funeral monuments.

Opposite the chapel of the Virgin, with its back to the intercolumniation of the chancel, is the _mausoleum of_ Canon Guilain Lucas (_photo opposite and_ 14 _on plan_)--benefactor of orphans and children in the 17th century--_Blasset's_ most celebrated but not finest masterpiece. The Canon is shown kneeling before the Virgin, while between the two statues is a cherub known as "The Weeping Angel" (_photo above_).

Below the mausoleum is a white marble statue of _Cardinal Jean de la Grange_, deceased in 1402.

Choir Aisles

The enclosure walls of the first two bays of the north and south choir aisles are covered with stone carving dating from 1489-1530.

Each bay comprises four large Gothic-Flamboyant niches containing the same number of carved groups. A versified legend in French accompanies each subject treated. Below, is a lofty basement almost entirely covered with carved medallions.

The stone sculpture which decorates the northern enclosure of the choir depicts eight scenes from the life of St. John the Baptist.

(_a_) _In the first bay coming from the apse_ (12 _on plan_):--

Vengeance of Herod's wife.--Beheading of St. John the Baptist.--Herod's feast.--Imprisonment of St. John the Baptist.

(_b_) _In the second bay_ (_that nearest the transept_--11 _on plan_):--

St. John showing the Lamb of God.--St. John revealing his mission

to Herod's messengers.--Baptism of Christ.--St. John preaching in the wilderness.

The very fine medallions on the basement complete the story of the saint.

The =mausoleum= (by _Blasset_) of Canon Antoine de Baillon backs up against one of the pillars of the first of the two bays. He is shown kneeling before Ecce Homo (13 _on plan_). It will be noticed that the features of this Christ recall those of the Louis XIV. period, and in no way resemble the face usually attributed to Christ in the Middle Ages.

The finest sculpture is in the south aisle.

The first bay (9 _on plan_--_photo p._ 30) portrays in four main scenes the life of St. Firmin.

These are (_from the left to right_):--

1. Arrival of the saint at Amiens. 2. Preaching the Gospel to the inhabitants. 3. Baptising the people of Amiens. 4. Arrest and decapitation.

At the back of the four niches, a =panoramic view= has been painted of Amiens, as it was at the end of the 15th century. Judging from the perspective of the Cathedral, which appears in the fourth group, this painting is very true to life.

To the right and left of the carvings are =statues= of the donor, Adrien de Henencourt, and St. Firmin.

In the centre of the basement, in a niche at the bottom of which is a =painting= of the twelve Apostles, a reclining =statue= of Ferry de Beauvoir, Bishop of Amiens, should be noticed. On each side there are remarkable =paintings= of two angels lifting a red cloth, and two canons with cope and cassock holding a pall decorated with the figure of Agnus Dei and the symbols of the four Evangelists.

The whole dates from about 1489. The carvings are the oldest of all those in the aisles, and are distinguishable from the others by the

garments, which fall in long, straight, stiff folds, and their greater simplicity.

The second bay (10 _on plan, photo p._ 31) recalls the legend of the discovery and translation of the remains of St. Firmin.

_From left to right_:--

1. St. Sauve, Bishop of Amiens, exhorting the faithful to pray, that the sepulchre of the saint might be revealed.

2. Ray of light revealing the sepulchre to St. Sauve during Mass.

3. Exhuming the body.

4. Translating the remains of St. Firmin to Amiens.

The basement comprises thirteen carved =medallions= illustrating various episodes in the life of St. Firmin, while in the middle is seen an exceedingly fine recumbent =statue= of Adrien de Henencourt, dean of the chapter of Amiens, who died in 1530, and at whose expense the whole of the south enclosure of the choir was built.

THE CATHEDRAL DURING THE WAR

During the =War=, elaborate precautions were taken to protect the Cathedral and its art treasures from the dangers of bombardment. The three doorways of the principal façade (_photo above_) and that of the Gilded Virgin, were covered with a thick protecting wall of sandbags.

The choir stalls (_photo p._ 33) were enclosed with reinforced concrete and sandbags, the stone carvings of the ambulatory being protected in like manner. The various funeral monuments were walled in, while firemen from Paris removed the stained glass. All the movable art treasures were taken away and placed in safety (_photo p._ 33).

These precautions were not superfluous, as the cathedral was repeatedly made the target of enemy artillery fire. In 1915, during an air bombardment, three out of nine bombs fell in the immediate vicinity, at distances varying from 150 to 200 yards. In the spring of 1918 an incendiary shell burst in the Rue de Robert Luzarches, within 30 yards of the Virgin doorway, completely destroying two houses, while splinters hit the upper part of the doorway above the wall of sandbags. In all, nine shells hit the cathedral, but none of them caused very serious damage.

The roof was pierced in several places, particularly on the south side of the choir, and the vault was perforated in the south aisle of the choir and in the nave. The gallery of the triforium was likewise torn open on the south side of the nave, while the chapels of St. John the Baptist (_photo p._ 32) and Our Lady of Faith (D 1 _on plan_) were damaged. Outside, the façades were struck with shell splinters, while here and there buttresses, flying-buttresses, and mullions of windows were broken or damaged.

(_See outline opposite p._ 9 _and plan opposite p._ 8).

_On leaving the Cathedral by the_

_doorway of the south transept (Gilded Virgin Door), the tourist should skirt the Cathedral on the left as far as the Place St. Michel, which is behind the Apsis. In the middle of the Square is a_ =Statue= to Peter the Hermit. _On the right of the Square, take the Rue Victor Hugo._

At No. 36, hidden from the road by a high enclosure wall, is the very handsome brick and stone bossage =façade= (1634) of what were formerly the offices of the French Treasury. A bomb damaged the right-hand corner of the roof.

_Turn into the first street on the right (Rue Lesueur), which skirts the_ Palais de Justice. _Turn to the left into the Rue de Robert de Luzarches, which passes in front of the principal façade of the_ Palais de Justice (plan). Built towards the end of the 19th century, it contains some fine =woodwork= by Crescent.

_Follow the Rue de Luzarches to the Rue des Trois-Cailloux; on turning to the right, the tourist passes in front of the_ =Theatre=.

A large opening was made by a shell in the left-hand upper portion of the =façade= (_photo below_), which is pure Louis XVI in style.

This façade was built in 1778-1780.

It is remarkable for its harmonious proportions, as also for the delicacy and sobriety of its ornamentation.

The corner =pilasters= are decorated with lyres, surmounted by flaming tripods.

The central =pilasters= are ornamented with two groups of Muses in relief, one representing Dancing and Music, the other Comedy and Tragedy.

On the upper portion of each pilaster, the attributes of the four Muses have been carved in oval =medallions=.

The interior of the theatre is interesting, by reason of the date of its construction (1773-1779). It is the oldest playhouse in France.

Opposite the theatre, the shops of the =Nouvelles Galeries= were entirely destroyed (_photo below_).

_At No. 59, Rue des Trois-Cailloux, to the left of the theatre, is the Passage du Logis du Roi, where are to be found the remains of the_ "=Logis du Gouverneur du Roi de Picardie=" (_House of the King of Picardy's Governor, S on outline of tour_).

Built about 1520 of brick and stone, the castle was mutilated in the 18th century. The outbuildings now serve various foreign purposes, and include a café, so that the place has lost most of its interest.

Only the =donjon tower=, from which there is a fine view over the whole city, retains its ancient aspect.

_Follow the Rue des Trois-Cailloux to the Place Gambetta, then turn to the left into the Rue de la République, where, on the right, will be found:_

=The Church of St. Rémy=, which is being rebuilt on the site of the old church of the Couvent des Cordeliers (_Convent of the Franciscans or Grey Friars_).

It contains several pieces of =sculpture= by _Blasset_, including the monumental =tomb= of Nicholas de Lannoy, High Constable of Bourbonnais, and Madeleine de Mutterel, his wife, with their =statues= (1631)--_photos on this page_--and a =Virgin= known as the Condé Virgin, because it was given by the Prince of Condé after his victory at Rocroi.

A bomb caused nearly all the roof to fall in and seriously damaged the stained glass windows.

A little further on, on the same side of the street, is the =Museum=.

THE PICARDY MUSEUM

=The Museum= is installed in a spacious building erected in the middle of the 19th century at the expense of the Society of Antiquaries of Picardy, and afterwards handed over by it to the City. Most of the collections had fortunately been removed to a place of safety before the bombardment of 1918, which damaged the building. Three aerial torpedoes fell on the right wing of the rear façade (_photo above_), considerably damaging the collection of drawings by the brothers Duthoit.

The Museum will only be re-installed after the necessary repairs have been done, and as new classifications may then be made, the principal works of art are here dealt with according to category and date, instead of room by room.

A.--Sculpture

I.--_Greek and Gallo-Roman Antiquities._

=Triple Hecate=: Grecian marble, very finely executed, representing the three divinities of the lunar month: Diana, Artemicia, and Hecate.

Gallo-Roman funeral =stele= with galloping cavalier carved in demi-relief.

Carved =tombstone= representing the deceased, holding lamp and purse, between two relations.

II.--_Middle Age and Renaissance Sculpture._

Quadrangular baptismal =font= in pure Roman style.

Very fine late 12th century =capitals=, taken from the ancient monastery of the Premonstrants of Dommartin (Pas-de-Calais).

=Tomb= of black Tournai stone, belonging to the first half of the 15th century, representing _Knight Robert de Bouberch_ in armour.

Very fine late 15th century =Virgin= of wood, painted and gilded, taken from the ancient church of the Minimes d'Amiens.

A series of merry monks' =heads= with caricatured features, carved in oak at the end of the 15th century; very curious; were formerly corbels supporting the framework of a house in Amiens.

III.--_Modern Sculpture._

_Puget_, rough =model= in terra-cotta, used for the "Hercule gaulois" in the Louvre.

_Coysevox_, very fine marble =bust= of Regent Philip of Orléans. The wig is noteworthy, by reason of the exceeding delicacy of execution. Also =bust of Chauvelin=, intendant of Picardy.

_Falguières_, bronze =bust of Gambetta=, particularly expressive.

B.--Painting.

The museum of paintings includes:

I.--A series of =decorative paintings= by _Puvis de Chavannes_.

II.--Suite of early 16th century pictures of the _Amiens School_.

III.--Collections of the City (acquired and given by the State).

IV.--Collections of the _brothers Lavalard_, given in 1890 to the City and comprising 371 pictures, including several very fine works of the French, Spanish, and Flemish schools.

1.--Paintings by Puvis de Chavannes:

These paintings decorate the walls of the grand staircase leading to the first floor, and the gallery on the first floor known as the _Puvis de Chavannes Gallery_.

1. WALLS OF THE GRAND STAIRCASE:

_Work and Repose._

_Ave Picardia Nutrix_ (1865)--_photos, p. 41._

_Pro Patria Ludus_ (1882), _one of the artist's masterpieces painted while he was at his very best_.

2. PUVIS DE CHAVANNES GALLERY:

_The Spinner, The Reaper, The Standard-Bearer, and Desolation_ are four long panels between the windows. The first two relate to Peace (_Concordia_) and the other two to War (_Bellum_).

The whole of the paintings by Puvis de Chavannes, having a surface measurement of more than two hundred square yards, were removed during a violent bombardment in the spring of 1918. Sappers belonging to the "_camouflaging_" section of the army, together with firemen from Paris, carefully detached the canvases with knives and rolled them up on cylinders.

Some of them adhered so tenaciously to the walls that it was found necessary to cut away a certain thickness of stone with chisels at the same time as the canvas.

The operation was entirely successful, all the paintings being intact, with the exception of a slight tear in the "_War_" panel caused by a shell splinter, prior to removal.

It is probably in the museum of Amiens that one best realises the evolution in the decorative art of Puvis de Chavannes, as nearly a quarter of a century separates the first paintings from the last.

In those of the gallery, which are among the earliest of his great decorative compositions, the landscapes are a mere background of sombre hue, designed to bring out the light foreground figures. The latter are individualized, the personality of each being revealed in the lines of the face and general attitude.

Conversely, in the latest works, and especially in _Pro Patria Ludus_, the landscape is of primary importance, enveloping as it does the whole composition in a clear, pure atmosphere.

On the other hand, individuality and detail are carefully suppressed; human beings are portrayed in their general aspect, with only the essential to characterize them.

The decorative art is here synthesized to the last degree.

II.--Paintings of our Lady of Puy

The _Brotherhood of Our Lady of Puy_ was a religious, artistic and literary society founded in the _Middle Ages_ at Amiens, and which continued down to the 18th century.

The _Master_, who was elected each year, was under the obligation of having a picture painted in honour of the _Virgin_.

Several of these paintings, dating from the 16th and 17th centuries, still exist.

All are similar in composition.

In the centre, the Virgin surrounded by symbolical figures arrayed in sumptuous garments, and in the foreground, the donor with relations and friends.

Near by, a scroll inscribed with the _device_ chosen by the Master for his term of office, and in the background, landscape of living waters and verdure.

The four oldest of these panels, the =wood carving= of whose _frames_ is remarkable, are considered to be among the most interesting of the early 16th century French School.

The _devices_ of these panels are as follows:

1. Painting (1518). No. 390 (1911 edition of catalogue): _Au juste poix, véritable balance_; fine Renaissance frame (_photo above_).

2. Painting (1519), No. 391: _Pré ministrant pasture salutaire_; Gothic-Flamboyant frame.

3. Painting (1520), No. 392: _Palme eslute du Seigneur pour Victoire_. In the fine landscape with river, which forms the background, the city of Amiens is seen with its cathedral.

4. Painting (1521), No. 393, greatly damaged: _Le vray support de toute créature_.

The other panels are more modern and do not offer the same interest.

Several other old paintings were formerly to be found in this room, especially the central panel of a _triptych_ (end 15th century), No. 403, representing Christ blessing, surrounded by the donor and his family, with St. John the Baptist and St. Barbara.

III.--Collections belonging to the City of Amiens

1. French School: