HEAD OF THE “BEAUTIFUL GOD” STATUE.HEAD OF THE “BEAUTIFUL GOD” STATUE.
TYMPANUM OF CENTRAL DOORWAY. (page 12) THE LAST JUDGMENT. (Cliché LL).TYMPANUM OF CENTRAL DOORWAY. (page 12) THE LAST JUDGMENT. (Cliché LL).
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).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).
DIVIDING PILLAR OF “MOTHER-OF-GOD” DOOR WITH VIRGIN.DIVIDING PILLAR OF “MOTHER-OF-GOD” DOOR WITH VIRGIN.
(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 theAnnunciation, 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 theVisitation:The Nativity of St. John the Baptist;Annunciation of the coming birth of John, to Zachariah;Zachariah struck
“MOTHER-OF-GOD” DOOR.“MOTHER-OF-GOD” DOOR.
dumb for unbelief. Below:Birth of St. JohnandZachariah naming the child John.
Under thePresentationare 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(photop. 14).
To the left, underThe 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.
UnderSalomon 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.
TYMPANUM OF THE “MOTHER-OF-GOD” DOOR.TYMPANUM OF THE “MOTHER-OF-GOD” 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).
ST. FIRMIN’S DOOR. Left: St Firmin blessing. Right: 6 statues of bishops and martyrs. In medallions: Peasants’ calendar (December-May) with zodiacal signs.TYMPANUM OF ST. FIRMIN’S DOOR. LIFE OF ST. FIRMIN.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).
The calendar terminates on the left-hand side of the basement.
The tympanum (photop. 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.
TYMPANUM OF ST. FIRMIN’S DOOR. LIFE OF ST. FIRMIN.TYMPANUM OF ST. FIRMIN’S DOOR. LIFE OF ST. FIRMIN.
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.
GABLE OF SOUTH TRANSEPT. (facing the Rue Robert de Luzarches).GABLE OF SOUTH TRANSEPT.(facing the Rue Robert de Luzarches).
DIVIDING PILLAR OF SOUTH DOORWAY. (facing the Rue Robert de Luzarches). THE “GILDED VIRGIN”DIVIDING PILLAR OF SOUTH DOORWAY.(facing the Rue Robert de Luzarches).THE “GILDED VIRGIN”
(“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 thisirregularity 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 (photop. 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 (photop. 19) are:
On the tympanum (photop. 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 (photop. 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.
SOUTH DOORWAY. (facing the Rue Robert de Luzarches). ON DIVIDING PILLAR, “GILDED VIRGIN.”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.
APSE (Cliché LL.)APSE (Cliché LL.)
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.
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
STATUES ON NORTH TOWER BUTTRESS: (on left) CHARLES V. (on right) THE DAUPHIN.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) andBureau de la Rivière, Counsellor to Charles V. and VI.
On the west side of the buttress:The Virgin,King Charles V.(photo above), andCardinal 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.
(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.
FLYING BUTTRESSES OF NAVE WITH TWO SUPERPOSED ARCHES (Cliché LL.)FLYING BUTTRESSES OF NAVE WITH TWO SUPERPOSED ARCHES(Cliché LL.)
PLAN OF CATHEDRAL. NORTH DOORWAY GREAT DOORWAY ST. CHRISTOPHER’S DOOR SOUTH DOORWAY (Gilded Virgin)PLAN OF CATHEDRAL.KEY TO PLAN OF AMIENS CATHEDRALA.Great doorway; St. Firmin’s Door.B.Great doorway; St. Saviour’s Door.C.Great doorway; ”Mother of God Door.”D.Chapels of the nave (14th century).D1.Chapel of the Annunciation or Our Lady of Faith (Annunciation byBlasset).D2.Chapel of the Assumption (Assumption byBlasset).D3.Chapel of Our Lady of Help (altar screen byBlasset).D4.Chapel of St. Saviour (ancient crucifix).D5.Chapel of Our Lady of Peace (Virgin and child byBlasset).E.Altar of Our Lady of Puy (1627-1628) byBlasset(on altar screen: painting of Assumption byFrancken).F.Altar of St. Sebastian (1634-1635), byBlasset.G.Stalls.H.Radiating chapels of the apse.H1.Chapel of St. Eloi (The Prophetesses, paintings, 1506).H2.Chapel of the Virgin.1.Tomb of Canon Pierre Burry (16th century).2.Bronze tomb to Evrard de Fouilloy (13th century).3.Bronze tomb to Geoffroy d’Eu (13th century).4.Monument to Jean de Sachy, byBlasset(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, byBlasset(17th century).14.Recumbent statue of Cardinal Jean de la Grange (15th century) and tomb of Canon GuilainLucas with Weeping Angel statue, byBlasset(17th century).
KEY TO PLAN OF AMIENS CATHEDRAL
A.
Great doorway; St. Firmin’s Door.
B.
Great doorway; St. Saviour’s Door.
C.
Great doorway; ”Mother of God Door.”
D.
Chapels of the nave (14th century).
D1.
Chapel of the Annunciation or Our Lady of Faith (Annunciation byBlasset).
D2.
Chapel of the Assumption (Assumption byBlasset).
D3.
Chapel of Our Lady of Help (altar screen byBlasset).
D4.
Chapel of St. Saviour (ancient crucifix).
D5.
Chapel of Our Lady of Peace (Virgin and child byBlasset).
E.
Altar of Our Lady of Puy (1627-1628) byBlasset(on altar screen: painting of Assumption byFrancken).
F.
Altar of St. Sebastian (1634-1635), byBlasset.
G.
Stalls.
H.
Radiating chapels of the apse.
H1.
Chapel of St. Eloi (The Prophetesses, paintings, 1506).
H2.
Chapel of the Virgin.
1.
Tomb of Canon Pierre Burry (16th century).
2.
Bronze tomb to Evrard de Fouilloy (13th century).
3.
Bronze tomb to Geoffroy d’Eu (13th century).
4.
Monument to Jean de Sachy, byBlasset(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, byBlasset(17th century).
14.
Recumbent statue of Cardinal Jean de la Grange (15th century) and tomb of Canon Guilain
Lucas with Weeping Angel statue, byBlasset(17th century).
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.
GREAT NAVE. (height 140 ft.) (Cliché LL.)GREAT NAVE. (height 140 ft.)(Cliché LL.)
(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 (1on 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.
TOMB OF EVRARD DE FOUILLOY. (2 on plan).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 (3on plan).
To the right(2on 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 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 byBlasset, representingThe Annunciation;
Fourth chapel (Assumption—D2 on plan); on the altar, fine Virgin byBlasset(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 Christof wood known as “St. Saviour”;
Fifth chapel (Our Lady of Peace—D5on plan):VirginbyBlasset.
Against the pillar which separates the fifth and sixth chapels is the funeral monument ofJean de Sachy, Sheriff of Amiens, and his wife, one ofBlasset’sfinest masterpieces. Both the deceased are represented kneeling before the Virgin, to whom they are made known by John the Baptist.
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 (photop. 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.
THE TRANSEPT, NORTH ARM. (to the right): THE CHOIR. (in foreground): ALTAR OF OUR LADY OF PUY.THE TRANSEPT, NORTH ARM. (to the right): THE CHOIR.(in foreground): ALTAR OF OUR LADY OF PUY.
Two altars of similar design byBlassetwere 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 toOur 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 toSt. 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 (5on plan), andin the north arm(6on 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 smallbas-reliefsbyBlassetrepresenting the principal episodes in the life of the Virgin.
On the tables are inscribed all the names, with their respective devices, of theMasters 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 (8on 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
JESUS DRIVING THE BUYERS AND SELLERS OUT OF THE TEMPLE. In each niche, part of the Temple at Jerusalem is represented. In the two left-hand sections: Jesus and the buyers and sellers in the atrium and The Tabernacle. In the other two sections: The Temple proper (Sanctuary and Holy of Holies).JESUS DRIVING THE BUYERS AND SELLERS OUT OF THE TEMPLE.In each niche, part of the Temple at Jerusalem is represented. In the two left-hand sections: Jesus and the buyers and sellers in the atrium and The Tabernacle. In the other two sections: The Temple proper (Sanctuary and Holy of Holies).
holding their traditional attributes, and represent (from left to right):Justice, with sword and scales;Temperance, with clock;Prudence, with clock and compasses;Force, with tower, out of which comes a monster.
In a niche, above this basement, is the Cardinal kneeling before the head of St. John the Baptist. On the crown are three small statues representing the virtues: Faith, Hope and Charity. At the end of the aisle is a curious, late 12th centuryRoman cistern(7on plan) ornamented at the corners with the statues of four prophets.
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 (Cliché LL)CHOIR STALLS(Cliché LL)
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.
DETAILS OF STALLS; COMPASSION SEAT REPRESENTING ABRAHAM SACRIFICING ISAAC.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
DETAILS OF STALLS: (on right) ANGEL DRIVING AWAY JOSEPH’S DOUBTS. (on left) JOSEPH ASKING PARDON OF MARY FOR UNWORTHY DOUBTS.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 theStory of the Creationfrom Adam to Job, and theLife 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.
DETAILS OF STALLS: ELBOW-REST REPRESENTING APOTHECARY COMPOUNDING DRUGS.DETAILS OF STALLS: ELBOW-REST REPRESENTING APOTHECARY COMPOUNDING DRUGS.
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—H1on 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 byViollet-le-Duc, in the 19th century, in accordance with the decorative scheme employed in the 13th century.
The fourth chapel (that of theVirgin—H2on plan) contains some 13th century restored stained glass (scenes from theLife of the Virgin and Tree of Jesse).
TOMB OF CANON GUILAIN LUCAS WITH “WEEPING ANGEL” STATUE.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 themausoleum ofCanon Guilain Lucas (photo opposite and14on plan)—benefactor of orphans and children in the 17th century—Blasset’smost 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 ofCardinal Jean de la Grange, deceased in 1402.
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(12on 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—11on plan):—
St. John showing the Lamb of God.—St. John revealing his mission