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.
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.
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.
“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 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.
St. Firmin’s Door
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).
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.
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.
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.
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.
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 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.
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.
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.
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.
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 holding their traditional attributes, and represent (from left to right): Justice, with sword and scales; Temperance, with clock; Prudence, with clock and compasses; Force, with tower, out of which comes a monster.
In a niche, above this basement, is the Cardinal kneeling before the head of St. John the Baptist. On the crown are three small statues representing the virtues: Faith, Hope and Charity. At the end of the aisle is a curious, late 12th century Roman cistern (7 on plan) ornamented at the corners with the statues of four prophets.
Choir and Apse
Fine wrought-iron railings were placed, in the 18th century, at the principal and side entrances to the choir, as also between the columns enclosing the chancel. Contrary to the practice usually observed till then in Gothic edifices, in which building generally began with the choir, this part of the Cathedral was built after the nave.
The later period of construction is most noticeable in the triforium, which has not the simple elegance of the nave.
The arrangement of the bays is entirely different, the latter being surmounted by a gable decorated with crockets, while the end wall is of open construction.
Remains of 13th century stained glass are still to be seen in the triforium and the great window in the centre of the apse. The latter, dating from 1260, is practically intact.
Behind the high altar, an 18th century “glory,” representing angels and cherubs, interrupts the view of the interior of the Cathedral.
Choir Stalls
The stalls (G on plan) are of oak and were made by the wood-cutters and wood-carvers of Amiens (1508-1519). They are in the Gothic-Flamboyant style, with Renaissance architectural and ornamental motifs.
It is impossible to praise too highly the perfection of even the smallest details of this woodwork, which is unrivalled throughout France. Especially worthy of remark is the consummate skill with which the joints have been concealed in the assembling.
To-day, 110 in number, the stalls extend the entire length of the choir aisles in a double row: high stalls and low stalls.
The high stalls, with very elevated backs simply decorated with an arch in accolade, are covered by a continuous canopy ornamented with pinnacles and pendentives of the finest workmanship.
To the right and left of the entrance to the choir, two larger stalls with separate canopies are surmounted by a pyramid fifty-three feet high, carrying the statues of the Church and Synagogue.
These are the master-stalls.
The two terminal stalls near the chancel are likewise surmounted by a pyramid with small statues.
Both as regards woodwork and carving, the stalls are rightly considered masterpieces, in the latter respect, on account of the infinite variety of subjects, profusion of figures and extreme delicacy of ornamentation. The finish and detail are truly extraordinary.
The scenes represented belong to two different classes:
1. On the stalls proper, including the seats, but excepting the elbow or hand-rests, and on the hand-rails and panels of the passages leading from the low stalls to the high stalls, are represented the Story of the Creation from Adam to Job, and the Life of the Virgin.
2. On the elbow-rests of the stalls and—alternated with clusters of leaves—on the pendentives of the canopy, subjects taken from the lives of the burgesses and artisans at the beginning of the 16th century (especially the handicrafts then practised), fables (the Fox preaching to the Hens) and satirical or fanciful scenes are depicted.
In the biblical and other subjects dealt with, the buildings, costumes, insides of houses, furniture and various accessories belong to the time when they were carved. Consequently, in addition to their artistic value, the stalls form an historical document of great value.
Chapels in Apse
The seven radial chapels of the apse are pentagonal, the central one having two bays more than the others.
Starting at the south aisle, the first chapel (St. Eloi—H 1 on plan) is decorated on the basement of the two west bays, with eight fine though greatly deteriorated figures of prophetesses (1506).
The third, fourth, and fifth chapels were restored by Viollet-le-Duc, in the 19th century, in accordance with the decorative scheme employed in the 13th century.
The fourth chapel (that of the Virgin—H 2 on plan) contains some 13th century restored stained glass (scenes from the Life of the Virgin and Tree of Jesse).
On the left, let into the sides of the wall, are two 14th century tombstones.
The basement carrying the two recumbent statues is ornamented with arcading and mourners, this being one of the earliest examples of that type of decoration, since so frequently used for funeral monuments.
Opposite the chapel of the Virgin, with its back to the intercolumniation of the chancel, is the mausoleum of Canon Guilain Lucas (photo opposite and 14 on plan)—benefactor of orphans and children in the 17th century—Blasset’s most celebrated but not finest masterpiece. The Canon is shown kneeling before the Virgin, while between the two statues is a cherub known as “The Weeping Angel” (photo above).
Below the mausoleum is a white marble statue of Cardinal Jean de la Grange, deceased in 1402.
Choir Aisles
The enclosure walls of the first two bays of the north and south choir aisles are covered with stone carving dating from 1489-1530.
Each bay comprises four large Gothic-Flamboyant niches containing the same number of carved groups. A versified legend in French accompanies each subject treated. Below, is a lofty basement almost entirely covered with carved medallions.
The stone sculpture which decorates the northern enclosure of the choir depicts eight scenes from the life of St. John the Baptist.
(a) In the first bay coming from the apse (12 on plan):—
Vengeance of Herod’s wife.—Beheading of St. John the Baptist.—Herod’s feast.—Imprisonment of St. John the Baptist.
(b) In the second bay (that nearest the transept—11 on plan):—
St. John showing the Lamb of God.—St. John revealing his mission to Herod’s messengers.—Baptism of Christ.—St. John preaching in the wilderness.
The very fine medallions on the basement complete the story of the saint.
The mausoleum (by Blasset) of Canon Antoine de Baillon backs up against one of the pillars of the first of the two bays. He is shown kneeling before Ecce Homo (13 on plan). It will be noticed that the features of this Christ recall those of the Louis XIV. period, and in no way resemble the face usually attributed to Christ in the Middle Ages.
The finest sculpture is in the south aisle.
The first bay (9 on plan—photo p. 30) portrays in four main scenes the life of St. Firmin.
These are (from the left to right):—
1. Arrival of the saint at Amiens.
2. Preaching the Gospel to the inhabitants.
3. Baptising the people of Amiens.
4. Arrest and decapitation.
At the back of the four niches, a panoramic view has been painted of Amiens, as it was at the end of the 15th century. Judging from the perspective of the Cathedral, which appears in the fourth group, this painting is very true to life.
To the right and left of the carvings are statues of the donor, Adrien de Henencourt, and St. Firmin.
In the centre of the basement, in a niche at the bottom of which is a painting of the twelve Apostles, a reclining statue of Ferry de Beauvoir, Bishop of Amiens, should be noticed. On each side there are remarkable paintings of two angels lifting a red cloth, and two canons with cope and cassock holding a pall decorated with the figure of Agnus Dei and the symbols of the four Evangelists.
The whole dates from about 1489. The carvings are the oldest of all those in the aisles, and are distinguishable from the others by the garments, which fall in long, straight, stiff folds, and their greater simplicity.
The second bay (10 on plan, photo p. 31) recalls the legend of the discovery and translation of the remains of St. Firmin.
From left to right:—
1. St. Sauve, Bishop of Amiens, exhorting the faithful to pray, that the sepulchre of the saint might be revealed. 2. Ray of light revealing the sepulchre to St. Sauve during Mass. 3. Exhuming the body. 4. Translating the remains of St. Firmin to Amiens.
The basement comprises thirteen carved medallions illustrating various episodes in the life of St. Firmin, while in the middle is seen an exceedingly fine recumbent statue of Adrien de Henencourt, dean of the chapter of Amiens, who died in 1530, and at whose expense the whole of the south enclosure of the choir was built.