Published in:
FRANCE: by MICHELIN & Cie., Clermont-Ferrand.
The BRITISH ISLES: by MICHELIN TYRE Co., Ltd.,
81, Fulham Road, London, S.W.
The U.S.A. : by MICHELIN TIRE Co., Milltown, New Jersey.
Hotels and Motor-Agents
at AMIENS
Information extracted from the MICHELIN GUIDE (1919)[A]
[A] _The above information dates from, March 1st, 1919, and may no
longer be exact when it meets the reader's eye. Tourists are therefore
recommended to consult the latest edition of the "Michelin Guide to
France" (English or French), before setting out on the tour described
in this volume._
Key to Arbitrary Signs
[Symbol 2 Hotels] Comfortable hotels, with modern
or modernised installation.
[Symbol Hotel] Well-managed hotels.
[=CC=] Central Heating.
[=L=] Electric Light.
[=B=] Bath-room.
[=WC=] Modern W. C.'s
[=T=] 104 Telephone Number.
Gar. [=6=] {Accommodation for automobiles,
Shed [=8=] {and the number
Shelter [=10=] {of cars which can be
Court [=20=] {accommodated.
ext. Outside.
{Depôt for 'bouteilles
=Compressed Air= {d'air Michelin' for
{inflation of tyres.
[Symbol Wrench] Repair shop.
_Agt de_ Manufacturer's agent.
[=3=] Garage and number of cars it
will hold.
[=U=] Inspection pit.
[=E=] Petrol can be obtained here.
[=E"=] Electric plant where accumulators
may be recharged.
[=A-A=] Agent of "Automobile Association"
of England.
HOTELS
[Symbol 2 Hotels] du Rhin, _4, rue de Noyon_, [=CC=] [=L=] [=B=] [=WC=]
Shelter [=8=] [=U=] [=T=] =44=. [Symbol 2 Hotels] Belfort-Hôtel, _42,
rue de Noyon_, Lift [=CC=] [=L=] [=B=] [=WC=] Gar. [=6=] [=T=] =649=.
[Symbol 2 Hotels] de l'Univers, _2, rue de Noyon_, [=CC=] [=L=] [=B=]
[=WC=] Shed ext. [=8=] [=U=] [=T=] =2-51=. [Symbol 1 Hotels] de la Paix,
_15, rue Duméril_, [=CC=] [=L=] [=B=] [=WC=] Shelter [=20=] [=U=]
[=T=]=9-21=. [Symbol 1 Hotels] de l'Ecu de France, _51, place
René-Goblet_, [=L=] [=WC=] Shed [=4=] Court [=6=] [=U=] [=T=] =3-37=.
MOTOR-AGENTS
[Symbol Wrench] =STOCK MICHELIN= (=Compressed Air=) =Garage Victor=, _12
et 14, esplanade Noyon_. _Agt de_: De Dion. [=40=] [=U=] [=E=] [=T=]
=9-36=.
--=STOCK MICHELIN= (=Compressed Air=) =Grand Garage de Picardie=
(=Lucien Corroyer=), _16-24, rue Jules-Barni_. _Agt de_: Panhard,
Brasier, Peugeot, Berliet, Delage. [=70=] =7= boxes [=U=] [=E=] [=E"=]
[=A-A=] [=T=] =3-16=.
--=STOCK MICHELIN= (=Compressed Air=) =Grand Garage de la Gare du Nord=
(=Roy et Sauvage=), _95, boulevard Alsace-Lorraine_ (_opposite the Gare
du Nord_), [=40=] =6= boxes [=U=] [=E=] [=E"=] [=T=] =433=.
--Hirondart, _11-18, rue Cardon_, [=12=] [=U=] [=E=] [=E"=] [=T=] =723=.
--Labare, _183, route de Rouen_, [=10=] [=U=] [=E=].
--Robart (Henri), _35, rue des Jacobins_. _Agt de_: Renault. [=8=] [=U=]
[=E=].
--F. Rabeuf, _26, route de Paris_. [=10=][=U=][=E=].
[Illustration]
=THE MICHELIN TOURING OFFICES at: 99, Boulevard Pereire, PARIS, and 81,
Fulham Road, Chelsea, LONDON. S.W. 3, will be pleased to furnish
motorists with advice and Information, free of charge.=
=_Special itineraries free, on request._=
[Illustration]
[Illustration:
The
MICHELIN Maps
_Invaluable to Motorists & Tourists._
FRANCE.
(_Scale--1:200,000_)
Published in 47 Sections.
Beautifully printed in Five Colours.
The BRITISH ISLES.
(_Scale 3.15 miles to the inch._)
Published in 31 Sections. Beautifully engraved and printed in six
colours.
=Price of Maps (English or French) per Section:=
On Paper--=1/-= or post free =1/1½= On Canvas--=2/-= " " =2/2=
MICHELIN TYRE CO., 81, Fulham Rd., S.W. 3]
The "Michelin Wheel"
BEST of all detachable wheels because the least complicated
[Illustration]
_Elegant_
It embellishes even the finest coachwork.
_Simple_
It is detachable at the hub and fixed by six bolts only.
_Strong_
The only wheel which held out on all fronts during the War.
_Practical_
Can be replaced in 3 minutes by _anybody_ and cleaned still quicker.
It prolongs the life of tyres by cooling them.
AND THE CHEAPEST
IN MEMORY
OF THE MICHELIN EMPLOYEES
AND WORKMEN WHO DIED GLORIOUSLY
FOR THEIR COUNTRY
AMIENS
BEFORE AND DURING THE WAR
Copyright 1919 by Michelin & Cie.
_All rights of translation, adaptation or reproduction (in part or whole)
reserved in all countries._
[Illustration: PANORAMA OF AMIENS.]
ORIGIN
In the days of the Gauls, Amiens, then known as Samarobriva, or "Bridge
over the Somme," was the capital of the Ambiani, a tribe of Belgian
origin. Later it passed under Roman domination, and in the fifth century
under that of the Franks. Christianity was first preached there at the
beginning of the fourth century, by St. Firmin, first bishop and martyr
of Amiens. After the death of Charlemagne, the town became the property
of the counts and bishops. The latter were unable to defend it against
the Normans, who ravaged it on several occasions. In 1185, it was
annexed to the royal dominions, under Philippe Auguste. On account of
its position, between Paris and the sea, Amiens acquired great
importance at that time, and became the store-house for all the goods
sent down the river Somme for distribution over the whole of northern
France. The manufacture of cloth and linen, and the preparation of
"woad" (vegetable dye-stuff used on a very large scale in the Middle
Ages) caused Amiens to become as rich and flourishing as the Flemish
towns.
BRIEF DESCRIPTION
Built on the Somme, at the confluence of that river with its
tributaries, the Avre and the Selle, and at the junction of nine
different railways, Amiens is divided, topographically, into three
parts.
To the south, is the higher or new town, bounded by two lines of
boulevards planted with fine chestnut and linden trees, and occupying
the site of the ancient ramparts. Between this double belt, rise the
suburbs of Noyon, Henri-Ville, and Beauvais, with their straight
streets, handsome mansions, and brick-built residences.
In the centre, extending as far as the river Somme, is the business part
of the town, containing the shops, public buildings, and ancient
monuments.
On the right bank, from the Somme to the lateral canal, which describes
a large semi-circle between the "ports d'Amont et d'Aval," lies old
Amiens or the lower town, with its narrow winding streets, wooden
houses, workshops and factories, situated between the many arms of the
river.
This quarter is dominated by the ancient citadel, and prolonged by the
new suburbs of St. Maurice and St. Pierre, where the working population
of the spinning mills and factories lives.
AMIENS DURING THE WAR
Twice during the War, the strategical importance of Amiens caused it to
become the objective of the German armies.
[Illustration: GERMAN FOOT-SOLDIERS ENTERING AMIENS.]
How the Germans occupied Amiens in 1914
After the battle of Charleroi, and in consequence of von Kluck's
manifest intention to outflank the left wing of the retreating Allies,
Amiens became threatened.
At that time a group of divisions under General d'Amade, comprising the
81st, 82nd, 84th, and 88th territorials, and the 61st and 62nd reserves,
was stationed between Dunkirk and Mauberge, with orders to check enemy
cavalry raids.
However, the front allotted to these troops was so long that they formed
merely a thin curtain, which was obliged to retire before the approach
of the first German army.
Amiens was then occupied by Moroccan troops, which were hurriedly
despatched in the direction of Comon and Villers-Bretonneux, to organise
defensive positions.
General d'Amade arrived on August 27th.
[Illustration: "NACH PARIS" GERMAN FIELD KITCHEN.]
His territorial divisions were sent by train to a point below the town,
with orders to prevent the Germans from crossing the Somme. On the same
day, the 61st and 62nd reserve divisions marched towards Péronne, their
ultimate destination being south of the Somme. However, on debouching
from Bapaume, they had an extremely violent engagement with a German
army corps. The battle continued until the following day, eventually
turning in favour of the enemy, and the two divisions were thrown back
northwards.
Further to the east, General Sordet's cavalry corps, which was
supporting the left wing of the British army to the east of the line Le
Catelet-Roisel, sought to check the German advance, but was unable to
prevent the enemy from reaching the outskirts of Péronne on the evening
of the 27th. The cavalry accordingly withdrew to the south of the Somme.
On the 28th, the enemy took Péronne, and marched on Amiens. The cavalry
corps fell back towards the south.
On the 29th, General Maunoury, in command of a new army (the 6th), made
the necessary dispositions to prevent his left from being out-flanked,
and to check the enemy, whose advance-guards nearest Amiens had reached
Bray-sur-Somme, Chuignolles and Framerville. In the first line were
placed:
A brigade of Moroccan chasseurs;
The 14th division of the 7th corps, from Alsace, which had
detrained at Villers-Bretonneux on the 27th;
The 45th and 55th battalions of chasseurs.
On the right, in the direction of Nesle, were units of the 55th
division.
The French attacked during the morning, inflicting heavy losses on the
enemy, and capturing the village of Proyart. At the same time, the four
territorial divisions moved up the Somme and established themselves in
Amiens.
In the evening, the enemy counter-attacked in superior numbers. The 7th
corps lost the positions won that morning, and withdrew to the south.
From that moment, the town became exposed; the territorials evacuated it
on the 30th, during the day, their rear-guard having several skirmishes
with enemy patrols near Cagny.
[Illustration]
Occupation of Amiens
The enemy entered the town on August 31st, and immediately made
requisitions of all kinds, including food and money. These requisitions,
of a total value of about 500,000 frs., had to be complied with the same
day.
[Illustration: _Retreat of the German Artillery_
(PLACE DE LA GARE).]
Twelve town councillors and the Attorney-General were taken as hostages,
and were only released on September 11th after much anxious suspense and
annoyance.
At first, the Imperial army merely passed through Amiens on its forced
march "nach Paris." From the 1st to the 9th of September there were
practically no Germans in the town. Occasionally, officers paid hurried
visits, exacting further requisitions, and breaking open the safes of
the Savings Banks.
On September 9th, a garrison was installed, and a major appointed
Kommandant of the town. Injunctions, prohibitions, and requisitions
became more severe immediately. It was forbidden to be in the streets
after 8 p.m., or to sell newspapers. Motor vehicles were seized, and
Frenchmen residing in Amiens who had not been mobilised, were ordered to
the Citadel. Two-thirds of them were eventually released, but about a
thousand young men were sent away into captivity. They had scarcely
left, when the Germans withdrew precipitately from the town.
On September 11th, only a few laggards remained. The effect of the
defeat on the Marne was making itself felt.
On the 12th, General d'Amade's advance-guards, returning from the
vicinity of Rouen, re-entered the town and took a few prisoners. The
territorial divisions occupied Amiens until the 17th, when they left in
a north-easterly direction, taking part at the end of the month in the
battles at Péronne and Fricourt, which again fixed the front line
positions. Relieved and protected by lines of trenches, Amiens was safe
from the enemy until March, 1918.
How Amiens was saved in 1918
In 1918, a new onrush of the German armies brought them almost to the
gates of Amiens. On March 21st, Ludendorff opened his great offensive by
hurling a million fanatical troops against the 5th British Army.
Bapaume, Péronne, and Montdidier fell in a few days; a stretch of
territory, sixty kilometres broad, was occupied by the enemy, who
captured enormous booty. For a moment, the road to long-coveted Paris
seemed open. Thanks, however, to the prodigious resistance of the French
troops, who barred the valley of the Oise, the breach was promptly
closed. It was then that the enemy returned to his first objective,
_i.e._, the separation of the two Allied armies. On March 27th the
Germans hurled themselves at Amiens, which formed the hinge of the
Allies' front.
[Illustration]
For several days the struggle continued to be extremely violent; the
enemy gained some ground, but was unable to break through. Démuin,
Moreuil, Marcelcave, and Hangard were fiercely disputed until March
31st. These villages mark the extreme line reached by the enemy--_i.e._,
17 kilometres from Amiens.
On April 4th, the Germans attacked again, determined to break through at
all costs. Against the French front alone, 15 kilometres in length,
eleven divisions were hurled. Crossing to the left bank of the Avre,
they took the villages of Morisel and Mailly-Raineval from Debeney's
army, and threatened the railway from Clermont to Amiens, which was
their objective. At Hangard, the British, shoulder to shoulder with the
French, repulsed all attacks. Further to the north, they withdrew to the
west of Hamel, and during the night were forced back to the
Villers-Bretonneux plateau. However, vigorous counter-attacks enabled
them to win back the lost ground next day.
From the 15th to the 19th of April, local offensives enabled the French
to clear the railway. However, the Germans had not given up their plan,
and after a violent bombardment during the night, they again attacked,
on April 24th at 5 a.m., the Franco-British junction between
Villers-Bretonneux, held by the British, and a point west of Moreuil.
Villers-Bretonneux fell, but the French troops were able to hold
Hailles. Bayonet fighting took place in the streets of Hangard, which
was lost during the night.
[Illustration: RAILWAY STATION, ST. ROCH.]
On the morning of the 26th, the French and British counter-attacked from
Villers-Bretonneux to the valley of the Luce, and drove the enemy back
to their starting-point of the 24th.
Once again, Amiens had escaped, but it remained within range of the
German heavy guns. The town, which had previously suffered on various
occasions from air bombardments, was now continuously and violently
bombarded, especially by artillery, from April to June. Ruins
accumulated in the town and suburbs, both of which had been evacuated by
the inhabitants on April 9th.
Liberation of Amiens
The final liberation of the town began on August 8th, with the great
Allied offensive. The 4th British army (Rawlinson) and the 1st French
army (Debeney), in liaison on the road from Amiens to Roye, attacked at
dawn from Braches to Morlancourt, the respective positions of Von der
Marwitz and Von Hutier. The Australian and Canadian infantry, supported
by numerous tanks, completely surprised the panic-stricken enemy. In a
few hours, Villers-Bretonneux was cleared, and in the evening the
British reached Chépilly, Framerville, Caix, and Beaucourt-en-Santerre.
To the south, the French, by clever manœuvring, advanced 8 kilometres,
and established themselves on the line
La-Neuville-Sire-Bernard-Plessier-Rozainvillers-Villers-aux-Érables.
That night, Debeney and Rawlinson joined hands at Mezières, both having
captured enormous booty.
On the 9th, progress was maintained, in spite of the growing resistance
of the enemy. The British took the line of exterior defensive works of
Amiens, and reached Le Quesnel, Rosières-en-Santerre, Rainecourt, and
Morocourt. Debeney encircled Montdidier; to the north, his troops
captured Arvillers and Pierrepont, while to the south, an attack made in
the evening forced the enemy to evacuate the town on the following
morning and to retreat to La Bossière. During the same day (10th), the
British captured Proyart and approached Chaulnes.
[Illustration: 280mm. GUN WHICH BOMBARDED AMIENS CAPTURED BY
AUSTRALIANS. RANGE: 30 MILES.]
From that moment Amiens was safe from further aggression, as the
Germans, harried by the victorious Allied armies, retreated each day.
VILLE D'AMIENS
=Douze otages pris parmi les membres du Conseil Municipal auxquels
s'est joint M. le Procureur-Général, répondent sur leur vie= de
l'engagement pris par la Municipalité qu'aucun acte d'hostilité ne
sera commis par la population contre les troupes allemandes.
Le 31 Août 1914.
_Le Sénateur-Maire_,
A. FIQUET.
(Translation)
Twelve hostages chosen from the town councillors, and the Attorney
General, will answer with their lives for the undertaking entered into
by the Municipality that no hostile act will be committed by the
population against the German troops.
31st August, 1914.
Senator-Mayor: A. FIQUET.
[Illustration: EFFECTS OF AN INCENDIARY SHELL NEAR THE BOULEVARDS]
[Illustration: CENTRE OF AMIENS
1. Place Samarobrive.
2. Rue Pingré.
3. Rue des Chaudronniers.
4. Passage Gossart.
5. Rue St.-Martin.
6. Rue du Bloc.
7. Rue St. Firmin the Confessor.
8. Rue de la Malmaison.
9. Rue de Metz-l'Évêque.
A--Old Water-Works (Museum); B--Hôtel Morgan de Belloy; D--St.
Germain's Church; E--Belfry; F--House of the White Gable; H--Hôtel
de Ville; K--Archer's house; L--Bailliage; S--Logis du Gouverneur
du Roi.
]
[Illustration: MAP OF AMIENS
POPULATION: 93,207 ALTITUDE: 27 metres
SCALE:
|-----|-----|-----|-----|-----|--------------------------|
0 100 200 300 400 500m 1 Kilom.
BUILDINGS:
A. École de Médecine
B. Église St Germain
D. Temple Protestant
Ec. Écoles
F. {Halle au Blé
{Salle des Fêtes
G. Gendarmerie
H. Hôtel de Ville
T. Théâtre
SQUARES AND STREETS:
1. Pl. de Château d'Eau
2. Pl. de la Tuerie
3. Pl. Samarobrive
4. Pl. au Feurre
5. Pl. Fauvel
6. R. des Sœurs Grises
7. Pl. au Fil
8. R. des Chaudronniers
9. R. St Martin
10. Pl. Florent Caille
11. R. Henri IV
12. R. Cormont
13. R. Adadat-Lefèvre
14. R. de l'Oratoire
15. R. Gloriette
16. R. des Vergeaux
17. R. Delambre
18. R. Duméril
19. Pl. d'Aguesseau
20. R. Allart
HOTELS:
a HOTEL DE L'UNIVERS.
b HOTEL DU RHIN.
c BELFORT-HOTEL.
[symbol] General Post Office
[symbol] Streets or roads to be avoided
by motor-cars
]
[Illustration: ITINERARY starting from the cathedral: follow the arrows
EXPLANATION OF THE ARBITRARY SIGNS USED IN THE ITINERARY, AND THE
CORRESPONDING PAGE-NUMBERS IN THE GUIDE.
The Cathedral, pp. 9-34.
U--Theatre, p. 35.
S--Logis du Gouverneur du Roi en Picardie], p. 36.
--Rue des Trois-Cailloux. p. 36.
--St. Rémy church, p. 37.
--Museum, pp. 38-44.
--Prefecture, p. 45
1--corner of bombarded streets, p. 45.
H--Hôtel de Ville (Town Hall), p. 45.
L--Bailliage (Bailiwick), p. 46.
F--Maison du Blanc Pignon (House of the White Gable), p. 47.
E--Belfry, p. 47.
D--Church of St. Germain, pp. 47-48.
K--Maison du Sagittaire (Archers' House), p. 48.
2--Place des Huchers, rue du Don and neighhouring streets, pp. 49-52
3--Hocquet Canal, p. 50.
4--Panorama of the Boulevard de Beauvillé, p. 50.
5--Rue des Bouchers, p. 54.
6--Rue des Tanneurs and Hôtel Morgan de Belloy, pp. 54-55.
B--Hôtel Morgan de Belloy, p. 55.
]
ITINERARY
THE CATHEDRAL--VISIT TO THE TOWN
_See opposite: Coloured plan, with detailed plan of centre of town and
outline of itinerary at back._
What the Tourist should see
_Do not omit_: =The Cathedral= (_pp. 9-36_) especially the western and
southern doorways, nave, stalls, and carving in the choir aisles.
Of great interest: PICARDY MUSEUM (_pp. 40-45_).
Archæological curiosities: FAÇADE OF THEATRE (_p. 35_), OLD HOUSES (_pp.
47-56_), CHURCHES OF ST. LEU (_pp. 52-53_), ST. GERMAIN (_pp. 47-48_)
AND ST. RÉMY (_p. 37_).
Picturesque sights: ST. LEU QUARTER (_p. 52_), THE HORTILLONNAGES (_p.
51_).
Walks: HOTOIE PARK (_p. 55_), NEW BOULEVARDS, and THE RUE DE BEAUVAIS
(_p. 45_), whose ruins attest the violence of the bombardment.
_Specialities_: Macaroons, potted duck.
Itinerary recommended for visiting Amiens
(_Distance: 6½ miles_)
_Starting point: Place de la Cathédrale._
THE CATHEDRAL (_historical monument_)
=The Cathedral at Amiens= is the most perfect example of Gothic
architecture extant, realizing as it does to the full, the possibilities
of this style. According to Viollet-le-Duc, it is pre-eminently an
"ogival church."
The Cathedral is typical, both from an architectural point of view, and
also on account of its statues, which form one of the finest collections
of Middle-Age sculpture. From an iconographic standpoint, this statuary
constitutes one of the most complete summaries of the religious thought
of past centuries.
The Cathedral (_see plan, p. 22_) covers a ground surface of about 9,000
square yards. Measured on the outside, it has a total length of about
480 feet and a width of 230 feet at the transept. It is the largest
church in France.
The construction of the principal façade and nave was begun in 1220,
from plans prepared by the architect, Robert de Luzarches, who was
succeeded in his task by Thomas de Cormont and afterwards by his son,
Renaud de Cormont.
Although no Cathedral has ever been built in entire conformity with the
original plans, that of Amiens was probably completed more quickly than
any other, and with less alteration of the original designs.
In 1269, fifty years after the commencement of the building operations,
there only remained to be built the upper portion of the west façade and
the two great rose-windows of the transept.
The only important alteration made in the original plans was the
addition, in the 14th century, of chapels between the buttresses and
flying-buttresses of the nave.
The Cathedral is built of grey limestone, on foundations 26 feet thick.
West Façade
The upper portion, consisting of two towers of unequal height, finished
in different styles, belongs to the 14th century. The north tower, which
is the higher, contains the great bells. The openings are decorated with
statues of the Apostles, which have been either restored or renewed.
The upper storey of the south tower contains two bays with openings
surmounted by gables. It is terminated by a pointed roof with a
dormer-window and lead spikes. A gallery, called the ringers' gallery,
with covered arcades surmounted by pinnacles and turrets, connects the
two towers.
[Illustration: WEST FAÇADE]
Below this gallery is the great rose-window, of which the frame-work
only belongs to the 13th century. The mullions are in the Flamboyant
style. Below, running the whole length of the façade, are two superposed
galleries.
The first contains twenty-two giant statues (over twelve feet high) of
crowned kings bearing sceptres in their hands.
These statues have given rise to much controversy, some holding that
they represent the kings of Judah, others, the kings of France.
The second gallery corresponds to the triforium in the interior.
Lastly, comes the great doorway (_photo below_) with its three large
doors. On either side of the lateral doors are massive buttresses which
gradually taper off, rising to the upper part of the façade.
On the front side of each are three statues of the lesser prophets, with
their most notable prophecies carved in the quatre-foils of the
bas-reliefs below.
The whole of the statuary of the great doorway dates back approximately
to the period 1225-1235.
Central Doorway (_Door of St. Saviour_)
On the dividing pier: Statue of Christ, known as the "Beautiful God of
Amiens" (_photos p. 12_).
Trampling the lion and dragon under-foot, he is blessing with his right
hand, while in his left he holds a closed book.
On the socle are carved an asp and basilisk, symbolical of the "Evil One
vanquished by Christ!"
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.
[Illustration: GREAT DOORWAY OF WEST FAÇADE (_Cliché LL_).]
[Illustration:
ST. FIRMIN'S DOOR ST.-SAVIOUR'S DOOR "MOTHER-OF-GOD" DOOR
]
[Illustration: "BEAUTIFUL GOD" STATUE ON DIVIDING PILLAR OF CENTRAL
DOOR.]
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.
[Illustration: HEAD OF THE "BEAUTIFUL GOD" STATUE.]
[Illustration: TYMPANUM OF CENTRAL DOORWAY. (_page 12_) THE LAST
JUDGMENT. (_Cliché LL_).]
[Illustration: DETAILS OF CENTRAL PORCH (_left-hand side_)
The Apostles are represented in the following order (_from left to
right_):
_St. Peter_, with cross and keys.
_St. Andrew_, with cross.
_St. James_, with sword (recalling his martyrdom), and wallet.
_St. John_, with beardless face, holds a cup, out of which comes a
serpent.
The last two, with palm branch and axe, have not been identified.
The two prophets on the right are _Isaiah_ (scroll) and _Jeremiah_
(cross).
CENTRAL
PORCH
(_left-hand
side_).
]
[Illustration: DIVIDING PILLAR OF "MOTHER-OF-GOD" DOOR WITH VIRGIN.]
"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_
[Illustration: "MOTHER-OF-GOD" DOOR.]
_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.
[Illustration: TYMPANUM OF THE "MOTHER-OF-GOD" DOOR.]
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_).
[Illustration: ST. FIRMIN'S DOOR.
_Left_: St Firmin blessing. _Right_: 6 statues of bishops and martyrs.
_In medallions_: Peasants' calendar (_December-May_) with zodiacal
signs.]
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.
[Illustration: TYMPANUM OF ST. FIRMIN'S DOOR.
LIFE OF ST. FIRMIN.]
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.
[Illustration: GABLE OF SOUTH TRANSEPT.
(_facing the Rue Robert de Luzarches_).]
[Illustration: DIVIDING PILLAR OF SOUTH DOORWAY.
(_facing the Rue Robert de Luzarches_).
THE "GILDED VIRGIN"]
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.
[Illustration: SOUTH DOORWAY.
(_facing the Rue Robert de Luzarches_).
ON DIVIDING PILLAR, "GILDED VIRGIN."]
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.
[Illustration: APSE
(_Cliché LL._)]
=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
[Illustration: STATUES ON NORTH TOWER BUTTRESS:
(_on left_) CHARLES V.
(_on right_) THE DAUPHIN.]
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.
[Illustration: FLYING BUTTRESSES OF NAVE WITH TWO SUPERPOSED ARCHES
(_Cliché LL._)]
[Illustration: PLAN OF CATHEDRAL.
NORTH DOORWAY
GREAT DOORWAY
ST. CHRISTOPHER'S DOOR
SOUTH DOORWAY (Gilded Virgin)]
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.
[Illustration: GREAT NAVE. (_height 140 ft._)
(_Cliché LL._)]
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.
[Illustration: TOMB OF EVRARD DE FOUILLOY.
(2 _on plan_).]
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.
[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.