Cathédrale Notre-Dame d'Amiens

“ Under its triforium runs a deeply carved band of foliage broken only at the triumphal arches of the transept-crossing. Only there does the ascending line rise unobstructed from pavement to vault. And yet no church ever soared more confidently. The very hall-mark of genius is Amiens’ strong horizontal leaf garland—just the needed touch to give variety to regularity as grandiose as this. In the nave the frieze was cut before the posing of the stones, but in the choir the sculpture was done in situ.
The fenestration of this cathedral of St. Louis’ reign shows the national art in its prime. ”

“ We go round under their shadows, past the sacristies, past the southern transept, only glancing just now at the sculpture there, past the chapels of the nave, and enter the church by the small door hard by the west front, with that figure of huge St. Christopher quite close over our heads; thereby we enter the church, as I said, and are in its western bay. I think I felt inclined to shout when I first entered Amiens cathedral; it is so free and vast and noble, I did not feel in the least awe-struck, or humbled by its size and grandeur. ”

“ Let us consider the cathedral of Amiens in the department of the Somme, about sixty miles north of Paris. This we may take as being the accepted representative of French Gothic churches, lacking indeed some features which others of its own time{97} have retained, but completely typical in its plan and structure. Plate XXVII gives the interior looking westward from the choir and shows the nave in steep perspective so that its seven bays are much foreshortened, and with this a part of the north aisle and a part of the choir in which we stand. ”

“ Noyon, Soissons, Reims, Amiens, Troyes, and Beauvais, Tours, Bayeux, and Coutances, Clermont, Limoges, and Narbonne all have the single ambulatory and radiating chevet-chapels. The Lady-chapel in the axis of the church was often made longer and more important than the other chapels, as at Amiens, Le Mans, Rouen, Bayeux, and Coutances. Chapels also flanked the choir in most of the cathedrals named above, and Notre Dame and Tours also have side chapels to the nave. The only cathedrals with complete double side aisles alike to nave, choir, and chevet, were Notre Dame and Bourges. ”

“ It makes a great impression of outlandishness to see the signs over the shop doors in a foreign tongue. If the cold had not been such as to dull my sense of novelty, and make all my perceptions torpid, I should have taken in a set of new impressions, and enjoyed them very much. As it was, I cared little for what I saw, but yet had life enough left to enjoy the Cathedral of Amiens, which has many features unlike those of English cathedrals. ”

“ No edifice, in truth, is, in this respect, more worthy of our honour and admiration.
Notre-Dame of Rheims measures in round numbers one hundred and thirty-nine metres long and thirty-eight metres high beneath the vault; it is not surpassed in length by the Cathedral of Mans, thanks to the unusual dimensions of its absidal chapel, nor in height by Beauvais, Cologne, Metz, Amiens, or Saint-Quentin. The great divisions of the whole, founded upon a triple scale, in height and breadth, are clearly accentuated. From the lower part of the nave the view is one of striking grandeur and harmony ”

“ Sculpture was at its zenith. We are astounded by the activity and fertility of thirteenth-century artists, who peopled façades and embrasures with figures from seven to ten feet in height, and animated every tympanum with countless statuettes. The façade of Notre Dame, by no means one of the richest, has [165] sixty-eight colossal statues, for the most part of the highest excellence; at Chartres and at Amiens there are over a hundred to each porch. The famous figure of Christ at Amiens is a masterpiece ”

“ The glazed triforium is a kind of pedestal for the clearstory, with which it is bound in a single composition by means of continuous mullions. The original glass was of the Sainte-Chapelle type, made by the Paris school which led in the second half of the XIII century, and were it still in existence the interior of Amiens would be a gorgeous sight. Only vestiges have survived; in some of the choir chapels are patchwork panels of ancient fragments. No one denies that the light enters this cathedral too profusely for the mystic seclusion beloved of the soul. ”

“ The Façade.—The west fronts of the greater Gothic churches of France are as a rule the most majestic features of their exteriors. One might write much to prove that the west front of Amiens or of Chartres is superior to that of Notre Dame, but this, after all, is an arguable question. When we stand in front of the church by the Seine we are struck by the reticence, by the obvious disdain of the easily obtained picturesque, which seem to have animated its designers. The thing is symmetrical with a fine symmetry rare among buildings of the time. ”

“ The history of architecture proves that without a right-minded national pride, ready to make sacrifices in order that it may transmit its high deeds to the future, no mighty monuments rise. In 1214 Bouvines’ victory was won and French unity demonstrated. In 1220, not far away, was laid the foundation stone of Amiens Cathedral, the crowning achievement of the national art. A hazard, such juxtaposition? Ah, no. Nothing happens by chance in this science of the builder whose basic forces are long at work in silence. Architecture is the truthteller of history. ”

“ It is a spare, rather sad world at most times that Notre-Dame d'Amiens thus broods over; a country with little else to be proud of; the sort of world, in fact, which makes the range of conceptions embodied in these cliffs of quarried and carved stone all the more welcome as a hopeful complement to the meagreness of most people's present existence, and its apparent ending in a [125] sparely built coffin under the flinty soil, and grey, driving sea-winds. ”

“ The cathedral at Amiens made ample amends for the country we passed through to see it; the Nef d'Amiens deserves the fame of a first-rate structure: and the ornaments of its high altar seem particularly well chosen, of an excellent taste, and very capital execution. The vineyards from thence hither shew, that either the climate, or season, or both, improve upon one: the grapes climbing up some not very tall golden-pippin trees, and mingling their fruits at the top, have a mighty pleasing effect ”

“ It stood thus, formerly, at the door of Notre-Dame de Paris, and is still to be seen in one corner of the principal front at Amiens; but in most places the iconoclasts overthrew it, and the churches where the statue of Christopher is now to be seen may be easily counted. ”

“ The soil is thin, the trees are slender, and one sees not much luxury or comfort. Still, one does not usually see much of either on a flying train. We spent a night at Amiens, and had several hours for the old cathedral, the sunset light on its noble front and towers and spire and flying buttresses, and the morning rays bathing its rich stone. As one stands near it in front, it seems to tower away into heaven, a mass of carving and sculpture,—figures of saints and martyrs who have stood in the sun and storm for ages, as they stood in their lifetime, with a patient waiting. ”

“ The interior, however, though certainly the thing of primary importance, is not all that we have to study.
The outside of the Gothic Church is as closely related to the structure as is the inside and forms one with it. Plate XXIX gives the exterior of Amiens cathedral. The highest windows are those of the clearstory, which is the upper part of the central nave, in this case the nave of the choir. ”

“ It stood where we now stand, companion mine, whoever you may be; and the monument where- with it has been honoured is this—chimney, whose gonfalon of smoke overshadows us—the latest effort of modern art in Amiens, the chimney of St. Acheul.
The first cathedral, you observe, of the French nation; more accurately, the first germ of cathedral for the French nation—who are not yet here; only this grave of a martyr is here, and this church of Our Lady of Martyrs, abiding on the hillside, till the Roman power pass away. ”

“ The occasion for a new structure was the fire of 1218 which partly destroyed the Romanesque cathedral. As its old choir was preserved sufficiently to serve for a while longer, the new cathedral was begun by the nave, not the usual procedure. The nave rose in one supreme effort; from start to finish its plan never deviated. It has been taken as the typical masterpiece. “The façade of Paris, the tower of Chartres, the sculpture of Rheims, the nave of Amiens” is a popular summing up. ”

“ Like its contemporary at Laon in the north, and more particularly after the manner of the papal palace at Avignon and the archbishop's palace at Albi, this structure combined the functions of a domestic and official establishment with those of a stronghold or a fortified place of no mean pretence.
Dating from 1272, the cathedral of St. Just de Narbonne suggests comparison with, or at least the influence of, Amiens.
It is strong, hardy, and rich, with a directness of purpose with respect to its various attributes that in a less lofty structure is wanting. ”

“ To carry such a multitude conveniently round them is the matter-of-fact motive of the gradual chiselling away, the softening of the angles, the graceful compassing, of the Gothic base, till in our own Perpendicular period it all but disappears. You may study that tendency appropriately in the one church of Amiens; for such in effect Notre-Dame has always been. That circumstance is illustrated by the great font, the oldest thing here, an oblong trough, perhaps an ancient saintly coffin, with four quaint prophetic figures at the angles, carved from a single block of stone. ”

“ It was not with monastic artists and artisans that the sheds and workshops around Amiens Cathedral were filled, [119] as it rose from its foundations through fifty years; and those lay schools of art, with their communistic sentiment, to which in the thirteenth century the great episcopal builders must needs resort, would in the natural course of things tend towards naturalism. The subordinate arts also were no longer at the monastic stage, borrowing inspiration exclusively from the experiences of the cloister, but belonged to guilds of laymen—smiths, painters, sculptors. ”

“ In the 19th century, beginning in 1845, important restorations, principally by Viollet-le-Duc, were carried out with regularity.
The Cathedral's approximate measurements are 480 feet long (it is the longest church in France) , and 160 feet wide at the intersection of the transept. The vaulting, less lofty than that at Beauvais (156 feet) and Amiens (143 feet) , is 123 feet in height. The towers are six in number (as in the cathedral at Laon) , of which the four situated at the extremities of the transept have never had more than one storey. ”

“ He is a true creator, living not only above but in his conception. He is at once serene and [Pg 233] moved, in command of his intellectual instrument and impelled by his personal interest.
The Journée d’Inventaire is a plate that shows clearly this double action of the artist’s mind. The composition is stately in both line and mass. In the background rises the lofty architecture of the Amiens Cathedral; in the foreground, in deep shadow, is a group of figures diversely occupied. The upraised arms of these figures lead naturally to the pointed arches and ascending spires. ”

“ It has nothing like the artful pointing and moulding of the arcades of Salisbury—nothing of the might of Durham;—no Dædalian inlaying like Florence, no glow of mythic fantasy like Verona. And yet, in all, and more than these, ways, outshone or overpowered, the cathedral of Amiens deserves the name given it by M. Viollet le Duc—
"The Parthenon of Gothic Architecture." [4-1]
2. ”

“ The interior proportions of Rheims are harmonious; the side aisles are relatively right with the central vessel, and the nave leads up well to the sanctuary, which, inside and out, is beyond criticism. As a whole, however, the interior of this cathedral has not the slender upwardness of Amiens nor the ascetic holiness of Chartres. It stands more than it soars. It praises the deity in another fashion than does the mystic cathedral. The keynote here is a right-minded human splendor. ”

“ At Longpré is another church with a steeple of some pretension, but not satisfactory. It has a perforated spire of stone much too small for the size of the tower, and ungraceful in the extreme.
At Amiens one always longs to stop again and again to feast one’s eyes upon its glorious cathedral, perhaps after Chartres and the Parthenon the noblest and most masculine piece of architecture in the world. ”

“ I have said nothing of the Cathedral, yet there we have passed the greater portion of our time; and for its sake remain three days at Amiens. Its foundations were laid in 1220, when Everard was Bishop of Amiens, and Louis the Eighth King of France. Excepting its towers, it was finished about 1288.
415 feet long within, 132 in height, its proportions are so perfect, that its size fails to strike, except by comparison. I was made 27 aware of it only by looking at a human figure in the aisle. ”

“ Stephen has told us that the Gothic cathedral and the granite cliffs have many properties in common, and that 'one might venture to predict from a man's taste in human buildings whether he preferred the delicate grace of lowland scenery or the more startling effects only to be seen in the heart of the mountains.' Coryat's avowal therefore that Amiens Cathedral is 'the Queen of all the churches in France and the fairest that ever I saw till then,' seems to promise well for his taste in mountains. ”