The Cathedral of Amiens France

To one who loves Gothic architecture there are few cathedrals more interesting than the cathedral of Amiens. It was built in 1220 to 1288,--the sixtyeight years of work of the two bishops Everard, who founded it, and Godfrey, who carried it to completion and consecrated it. The name of the architect is preserved, which is not always the case with Gothic builders. Robert of Luzarches was the designer, and Thomas de Cermont and his son Rénauet completed the building.

All honor to them, for they have achieved one of the Gothic wonders of the world. If the original plan had been carried out, the cathedral of Amiens would be without a peer among Gothic churches. Unfortunately, its exterior is sadly marred by a wooden spire which is so far too small for the church that it seems quite ridiculous, and it is marred also by the failure to complete the two western towers, which were meant to culminate in spires. The exterior is hurt also by the too close crowding around it of small buildings. It is not possible from any point of view to get an adequate idea of the whole church. When these criticisms are made, as unfortunately they must be, there is nothing more to say that does not tell of almost unlimited admiration.

To convey in words the overpowering effect of the façade is not possible. It stands quite alone, in my mind, among all Gothic façades I know, easily surpassing all the others. Here is the very essence of the Gothic builder's art. Here the exquisite lines of his construction blend in the most perfect harmony with the superb richness of his ornamentation. Mr. Ruskin says that those who built the Gothic churches really believed they were building dwelling-places for Christ, and they wished to make them as comfortable and beautiful for Him as they could. The façade of Amiens certainly bears out this idea, for the central figure in it is Christ, called "Le Bon Dieu d'Amiens," who welcomes all who come to enter its portals and gives them His benediction.

But at first the figures are not noticed individually. Arch upon arch, pinnacle above pinnacle, column above column, pier above pier, its vanishing lines lost at last in the heavens above, the wondrous façade bursts upon the astonished eye in an overpowering grandeur, a wealth of sculpture, an exquisite grace of line and composition, unlike anything else in all architecture. And when the dazzled sight has become somewhat accustomed to the full blaze of this Gothic splendor, when the mind, irresistibly led at first to aspiration, can rejoice in the beauties that help make the wondrous whole, then comes the thought, "What spirit was it that inspired him who did this, and how can he move men thus through all these ages?" And the mind, answering, says it is easy to see that perfect honesty of construction and perfect beauty are not far apart. The great rose window could not be without the strong support of buttresses that permitted so large openings in such lofty walls.

Massive solid piers must give strong foundation for spires that are to touch the clouds, and as the piers rise higher and higher, and less and less supporting work is to be done, they become lighter and lighter, vanishing one by one into pinnacles, until at last the eye is led to the one supreme pinnacle,--the nearest point toward the heavens the builder's skill could reach. This utmost touch of the spire is not here as Robert of Luzarche meant it should be, but all the lower lines are eloquent of it. In their own beauty of form and thought they point to the beauty's consummation, until the completed spire is seen in a dream, almost, as Robert must have seen it.

But graceful lines and forms were not enough, however inspiring they might be. The portal of the house of God must be beautiful in every part. About the door must be the saints and angels who surround the Lord. The beauties of God's flowers and vines and leaves must lend adornment to these columns and enrich these arches. Thus the sculptor and the cunning carver help the builder. In the great central portal the apostles and saints stand reverently, but with most simple dignity, about their Master. Each figure has its niche in the recessed doorway, and as all stand upon the same level,--and the same order is preserved in the side portals,--the whole forms one long procession of apostles, martyrs, and saints on the Saviour's right hand and on His left, reaching from one side of the vast façade to the other. Above the Saviour's figure is told in stone the thought these pious builders had about the last judgment. Many another scene or story from the Scriptures is here upon the recessed arches and the great bases of the piers, nor is one spot left without its ornament or its sacred figure, excepting such as should be left unornamented in order that grace and strength and beauty of construction might quite plainly be seen.