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=.
[Illustration: THE THEATRE.]
[Illustration: RUE DES TROIS-CAILLOUX
(_Photo taken from the Place Gambetta, April 24th, 1918_)]
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:_
[Illustration: RUE DES TROIS-CAILLOUX NEAR THE PLACE GAMBETTA
("Magasins des Nouvelles Galeries," burnt on June 9th, 1918)]
[Illustration: BROKEN STATUE OF MADELEINE DE MUTTEREL
(_Tomb of Nicolas de Lannoy, St. Rémy's Church, p. 37_)]
=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=.
[Illustration: BROKEN STATUE OF NICOLAS DE LANNOY
(_Tomb in St. Rémy's Church, p. 37_)]
[Illustration: MUSEUM:
RIGHT WING OF REAR FAÇADE DAMAGED BY AERIAL TORPEDO IN 1918.]
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.
[Illustration: DETACHING THE MURAL PAINTINGS BY PUVIS DE CHAVANNES
DURING THE BOMBARDMENTS IN 1918.]
[Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)]
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.
[Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)]
[Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)]
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.
[Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)]
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.
[Illustration: "AVE PICARDIA NUTRIX" (FRAGMENT). (_Cliché LL._)]
The decorative art is here synthesized to the last degree.
[Illustration: "AVE PICARDIA NUTRIX" (FRAGMENT). (_Cliché LL._)]
[Illustration: PAINTING OF OUR LADY OF PUY (1518).
"_Au juste poix véritable balance._"]
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:
_Boucher_: Large composition; _Vénus demandant à Vulcain des armes
pour Enée_ (_Venus asking Vulcan for arms for Aeneas_), No. 46 of
1911 catalogue.
_Boucher_ and _Carle van Loo_: Four exquisite hunting panels,
originally designed for the apartments of the King at Versailles.
_Boucher_: _Chasse au Crocodile_ (_Crocodile Hunting_), dated 1739
(No. 48). _Chasse au Tigre_ (_Tiger Hunting_), No. 47.
_Van Loo_: _Chasse à l'Ours_ (_Bear Hunting_), No. 356. _Chasse à
l'Autruche_ (_Ostrich Hunting_), No. 359.
_Nattier_: _Portrait of Gresset_ (No. 266).
_Bachelier_: Two pictures forming pendants, _Un Ours de Pologne
attaqué par des chiens_ (_Polish bear attacked by dogs_) No. 9; _Un
lion d'Afrique attaqué par des dogues_ (_African lion attacked by
dogs_), No. 10; and a very large composition (1761): _Les
Amusements de l'enfance_ (_Childhood's Amusements_), No. 8.
_Quentin de la Tour_: _His own portrait_, the finest and most
carefully finished of his portraits, painted about 1760 (No. 212)
(_photo below_).
_David_: _Countess de Dillon_, lady of honour to Empress
Marie-Louise, full length portrait, strictly academical (No. 108).
_Regnault_, contemporary of David and his school: _La Mort de
Priam_ (_Death of Priamus_) (No. 290).