Amiens Before and During the War 4

Amiens Before and During the War 4

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.

 

[Illustration: THE TRANSEPT, NORTH ARM.

 

(_to the right_):

 

THE CHOIR.

 

(_in foreground_):

 

ALTAR OF OUR LADY OF PUY.]

 

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:

 

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

 

[Illustration: JESUS DRIVING THE BUYERS AND SELLERS OUT OF THE TEMPLE.

 

_In each niche, part of the Temple at Jerusalem is represented. In the

two left-hand sections: Jesus and the buyers and sellers in the atrium

and The Tabernacle. In the other two sections: The Temple proper

(Sanctuary and Holy of Holies)._]

 

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.

 

[Illustration: CHOIR STALLS

 

(_Cliché LL_)]

 

 

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.

 

[Illustration: DETAILS OF STALLS; COMPASSION SEAT REPRESENTING ABRAHAM

SACRIFICING ISAAC.]

 

Both as regards woodwork and carving, the stalls are rightly considered

masterpieces, in the latter respect, on account of the infinite variety

of

 

[Illustration: DETAILS OF STALLS:

 

(_on right_)

 

ANGEL DRIVING AWAY JOSEPH'S DOUBTS.

 

(_on left_)

 

JOSEPH ASKING PARDON OF MARY FOR UNWORTHY DOUBTS.]

 

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.

 

[Illustration: DETAILS OF STALLS: ELBOW-REST REPRESENTING APOTHECARY

COMPOUNDING DRUGS.]

 

 

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_).

 

[Illustration: TOMB OF CANON GUILAIN LUCAS WITH "WEEPING ANGEL" STATUE.]

 

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

 

[Illustration: CHOIR AISLES.

 

(9 _on plan_)

 

LIFE OF ST. FIRMIN.]

 

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

 

[Illustration: CHOIR AISLES.

 

(10 _on plan_)

 

REVELATION AND TRANSLATION OF REMAINS OF ST. FIRMIN.]

 

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.

 

[Illustration: CATHEDRAL TREASURE

 

(_in Vestry_):

 

ST. FIRMIN'S SHRINE.]

 

[Illustration: PROTECTION OF DOORWAYS OF PRINCIPAL FAÇADE.]

 

 

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).

 

[Illustration: CHAPEL OF ST. JOHN THE BAPTIST DAMAGED BY SHELL

 

(_left-hand side of Apse_).]

 

[Illustration: PROTECTION OF THE CHOIR STALLS.]

 

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.

 

[Illustration: TAKING DOWN THE STATUES IN TRANSEPT.]

 

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_

 

[Illustration: EFFECT OF THE FIRST SHELLS WHICH HIT THE CATHEDRAL.

ASPECT INSIDE THE NAVE.]

 

[Illustration: CHIMERICAL FIGURES AND GARGOYLES

 

(_Cliché LL_)]

 

[Illustration: GENERAL VIEW OF THE CATHEDRAL (_seen from the Hôtel de

Ville_).]

 

_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=.