Chapter I: Part 1

MICHELIN'S ILLUSTRATED GUIDES
TO THE BATTLE-FIELDS (1914-1918)

AMIENS

BEFORE AND DURING THE WAR

Published in:

FRANCE: by MICHELIN & Cie., Clermont-Ferrand.

The BRITISH ISLES: by MICHELIN TYRE Co., Ltd.,
81, Fulham Road, London, S.W.

The U.S.A. : by MICHELIN TIRE Co., Milltown, New Jersey.

Hotels and Motor-Agents

at AMIENS

Information extracted from the MICHELIN GUIDE (1919)[A]

[A] _The above information dates from, March 1st, 1919, and may no longer be exact when it meets the reader's eye. Tourists are therefore recommended to consult the latest edition of the "Michelin Guide to France" (English or French), before setting out on the tour described in this volume._

Key to Arbitrary Signs

[Symbol 2 Hotels] Comfortable hotels, with modern
or modernised installation.
[Symbol Hotel] Well-managed hotels.
[=CC=] Central Heating.
[=L=] Electric Light.
[=B=] Bath-room.
[=WC=] Modern W. C.'s
[=T=] 104 Telephone Number.
Gar. [=6=] {Accommodation for automobiles,
Shed [=8=] {and the number
Shelter [=10=] {of cars which can be
Court [=20=] {accommodated.
ext. Outside.
{Depôt for 'bouteilles
=Compressed Air= {d'air Michelin' for
{inflation of tyres.
[Symbol Wrench] Repair shop.
_Agt de_ Manufacturer's agent.
[=3=] Garage and number of cars it
will hold.
[=U=] Inspection pit.
[=E=] Petrol can be obtained here.
[=E"=] Electric plant where accumulators
may be recharged.
[=A-A=] Agent of "Automobile Association"
of England.

HOTELS

[Symbol 2 Hotels] du Rhin, _4, rue de Noyon_, [=CC=] [=L=] [=B=] [=WC=] Shelter [=8=] [=U=] [=T=] =44=. [Symbol 2 Hotels] Belfort-Hôtel, _42, rue de Noyon_, Lift [=CC=] [=L=] [=B=] [=WC=] Gar. [=6=] [=T=] =649=. [Symbol 2 Hotels] de l'Univers, _2, rue de Noyon_, [=CC=] [=L=] [=B=] [=WC=] Shed ext. [=8=] [=U=] [=T=] =2-51=. [Symbol 1 Hotels] de la Paix, _15, rue Duméril_, [=CC=] [=L=] [=B=] [=WC=] Shelter [=20=] [=U=] [=T=]=9-21=. [Symbol 1 Hotels] de l'Ecu de France, _51, place René-Goblet_, [=L=] [=WC=] Shed [=4=] Court [=6=] [=U=] [=T=] =3-37=.

MOTOR-AGENTS

[Symbol Wrench] =STOCK MICHELIN= (=Compressed Air=) =Garage Victor=, _12 et 14, esplanade Noyon_. _Agt de_: De Dion. [=40=] [=U=] [=E=] [=T=] =9-36=.

--=STOCK MICHELIN= (=Compressed Air=) =Grand Garage de Picardie= (=Lucien Corroyer=), _16-24, rue Jules-Barni_. _Agt de_: Panhard, Brasier, Peugeot, Berliet, Delage. [=70=] =7= boxes [=U=] [=E=] [=E"=] [=A-A=] [=T=] =3-16=.

--=STOCK MICHELIN= (=Compressed Air=) =Grand Garage de la Gare du Nord= (=Roy et Sauvage=), _95, boulevard Alsace-Lorraine_ (_opposite the Gare du Nord_), [=40=] =6= boxes [=U=] [=E=] [=E"=] [=T=] =433=.

--Hirondart, _11-18, rue Cardon_, [=12=] [=U=] [=E=] [=E"=] [=T=] =723=.

--Labare, _183, route de Rouen_, [=10=] [=U=] [=E=].

--Robart (Henri), _35, rue des Jacobins_. _Agt de_: Renault. [=8=] [=U=] [=E=].

--F. Rabeuf, _26, route de Paris_. [=10=][=U=][=E=].

=THE MICHELIN TOURING OFFICES at: 99, Boulevard Pereire, PARIS, and 81, Fulham Road, Chelsea, LONDON. S.W. 3, will be pleased to furnish motorists with advice and Information, free of charge.=

=_Special itineraries free, on request._=

The

MICHELIN Maps

_Invaluable to Motorists & Tourists._

FRANCE.

(_Scale--1:200,000_)

Published in 47 Sections.

Beautifully printed in Five Colours.

The BRITISH ISLES.

(_Scale 3.15 miles to the inch._)

Published in 31 Sections. Beautifully engraved and printed in six colours.

=Price of Maps (English or French) per Section:=

On Paper--=1/-= or post free =1/1½= On Canvas--=2/-= " " =2/2=

MICHELIN TYRE CO., 81, Fulham Rd., S.W. 3]

The "Michelin Wheel"

BEST of all detachable wheels because the least complicated

_Elegant_

It embellishes even the finest coachwork.

_Simple_

It is detachable at the hub and fixed by six bolts only.

_Strong_

The only wheel which held out on all fronts during the War.

_Practical_

Can be replaced in 3 minutes by _anybody_ and cleaned still quicker.

It prolongs the life of tyres by cooling them.

AND THE CHEAPEST

IN MEMORY
OF THE MICHELIN EMPLOYEES
AND WORKMEN WHO DIED GLORIOUSLY
FOR THEIR COUNTRY

AMIENS

BEFORE AND DURING THE WAR

Copyright 1919 by Michelin & Cie.

_All rights of translation, adaptation or reproduction (in part or whole)
reserved in all countries._

ORIGIN

In the days of the Gauls, Amiens, then known as Samarobriva, or "Bridge over the Somme," was the capital of the Ambiani, a tribe of Belgian origin. Later it passed under Roman domination, and in the fifth century under that of the Franks. Christianity was first preached there at the beginning of the fourth century, by St. Firmin, first bishop and martyr of Amiens. After the death of Charlemagne, the town became the property of the counts and bishops. The latter were unable to defend it against the Normans, who ravaged it on several occasions. In 1185, it was annexed to the royal dominions, under Philippe Auguste. On account of its position, between Paris and the sea, Amiens acquired great importance at that time, and became the store-house for all the goods sent down the river Somme for distribution over the whole of northern France. The manufacture of cloth and linen, and the preparation of "woad" (vegetable dye-stuff used on a very large scale in the Middle Ages) caused Amiens to become as rich and flourishing as the Flemish towns.

BRIEF DESCRIPTION

Built on the Somme, at the confluence of that river with its tributaries, the Avre and the Selle, and at the junction of nine different railways, Amiens is divided, topographically, into three parts.

To the south, is the higher or new town, bounded by two lines of boulevards planted with fine chestnut and linden trees, and occupying the site of the ancient ramparts. Between this double belt, rise the suburbs of Noyon, Henri-Ville, and Beauvais, with their straight streets, handsome mansions, and brick-built residences.

In the centre, extending as far as the river Somme, is the business part of the town, containing the shops, public buildings, and ancient monuments.

On the right bank, from the Somme to the lateral canal, which describes a large semi-circle between the "ports d'Amont et d'Aval," lies old Amiens or the lower town, with its narrow winding streets, wooden houses, workshops and factories, situated between the many arms of the river.

This quarter is dominated by the ancient citadel, and prolonged by the new suburbs of St. Maurice and St. Pierre, where the working population of the spinning mills and factories lives.

AMIENS DURING THE WAR

Twice during the War, the strategical importance of Amiens caused it to become the objective of the German armies.

How the Germans occupied Amiens in 1914

After the battle of Charleroi, and in consequence of von Kluck's manifest intention to outflank the left wing of the retreating Allies, Amiens became threatened.

At that time a group of divisions under General d'Amade, comprising the 81st, 82nd, 84th, and 88th territorials, and the 61st and 62nd reserves, was stationed between Dunkirk and Mauberge, with orders to check enemy cavalry raids.

However, the front allotted to these troops was so long that they formed merely a thin curtain, which was obliged to retire before the approach of the first German army.

Amiens was then occupied by Moroccan troops, which were hurriedly despatched in the direction of Comon and Villers-Bretonneux, to organise defensive positions.

General d'Amade arrived on August 27th.

His territorial divisions were sent by train to a point below the town, with orders to prevent the Germans from crossing the Somme. On the same day, the 61st and 62nd reserve divisions marched towards Péronne, their ultimate destination being south of the Somme. However, on debouching from Bapaume, they had an extremely violent engagement with a German army corps. The battle continued until the following day, eventually turning in favour of the enemy, and the two divisions were thrown back northwards.

Further to the east, General Sordet's cavalry corps, which was supporting the left wing of the British army to the east of the line Le Catelet-Roisel, sought to check the German advance, but was unable to prevent the enemy from reaching the outskirts of Péronne on the evening of the 27th. The cavalry accordingly withdrew to the south of the Somme.

On the 28th, the enemy took Péronne, and marched on Amiens. The cavalry corps fell back towards the south.

On the 29th, General Maunoury, in command of a new army (the 6th), made the necessary dispositions to prevent his left from being out-flanked, and to check the enemy, whose advance-guards nearest Amiens had reached Bray-sur-Somme, Chuignolles and Framerville. In the first line were placed:

A brigade of Moroccan chasseurs;

The 14th division of the 7th corps, from Alsace, which had
detrained at Villers-Bretonneux on the 27th;

The 45th and 55th battalions of chasseurs.

On the right, in the direction of Nesle, were units of the 55th
division.

The French attacked during the morning, inflicting heavy losses on the enemy, and capturing the village of Proyart. At the same time, the four territorial divisions moved up the Somme and established themselves in Amiens.

In the evening, the enemy counter-attacked in superior numbers. The 7th corps lost the positions won that morning, and withdrew to the south. From that moment, the town became exposed; the territorials evacuated it on the 30th, during the day, their rear-guard having several skirmishes with enemy patrols near Cagny.

Occupation of Amiens

The enemy entered the town on August 31st, and immediately made requisitions of all kinds, including food and money. These requisitions, of a total value of about 500,000 frs., had to be complied with the same day.

(PLACE DE LA GARE).]

Twelve town councillors and the Attorney-General were taken as hostages, and were only released on September 11th after much anxious suspense and annoyance.

At first, the Imperial army merely passed through Amiens on its forced march "nach Paris." From the 1st to the 9th of September there were practically no Germans in the town. Occasionally, officers paid hurried visits, exacting further requisitions, and breaking open the safes of the Savings Banks.

On September 9th, a garrison was installed, and a major appointed Kommandant of the town. Injunctions, prohibitions, and requisitions became more severe immediately. It was forbidden to be in the streets after 8 p.m., or to sell newspapers. Motor vehicles were seized, and Frenchmen residing in Amiens who had not been mobilised, were ordered to the Citadel. Two-thirds of them were eventually released, but about a thousand young men were sent away into captivity. They had scarcely left, when the Germans withdrew precipitately from the town.

On September 11th, only a few laggards remained. The effect of the defeat on the Marne was making itself felt.

On the 12th, General d'Amade's advance-guards, returning from the vicinity of Rouen, re-entered the town and took a few prisoners. The territorial divisions occupied Amiens until the 17th, when they left in a north-easterly direction, taking part at the end of the month in the battles at Péronne and Fricourt, which again fixed the front line positions. Relieved and protected by lines of trenches, Amiens was safe from the enemy until March, 1918.

How Amiens was saved in 1918

In 1918, a new onrush of the German armies brought them almost to the gates of Amiens. On March 21st, Ludendorff opened his great offensive by hurling a million fanatical troops against the 5th British Army. Bapaume, Péronne, and Montdidier fell in a few days; a stretch of territory, sixty kilometres broad, was occupied by the enemy, who captured enormous booty. For a moment, the road to long-coveted Paris seemed open. Thanks, however, to the prodigious resistance of the French troops, who barred the valley of the Oise, the breach was promptly closed. It was then that the enemy returned to his first objective, _i.e._, the separation of the two Allied armies. On March 27th the Germans hurled themselves at Amiens, which formed the hinge of the Allies' front.

For several days the struggle continued to be extremely violent; the enemy gained some ground, but was unable to break through. Démuin, Moreuil, Marcelcave, and Hangard were fiercely disputed until March 31st. These villages mark the extreme line reached by the enemy--_i.e._, 17 kilometres from Amiens.

On April 4th, the Germans attacked again, determined to break through at all costs. Against the French front alone, 15 kilometres in length, eleven divisions were hurled. Crossing to the left bank of the Avre, they took the villages of Morisel and Mailly-Raineval from Debeney's army, and threatened the railway from Clermont to Amiens, which was their objective. At Hangard, the British, shoulder to shoulder with the French, repulsed all attacks. Further to the north, they withdrew to the west of Hamel, and during the night were forced back to the Villers-Bretonneux plateau. However, vigorous counter-attacks enabled them to win back the lost ground next day.

From the 15th to the 19th of April, local offensives enabled the French to clear the railway. However, the Germans had not given up their plan, and after a violent bombardment during the night, they again attacked, on April 24th at 5 a.m., the Franco-British junction between Villers-Bretonneux, held by the British, and a point west of Moreuil. Villers-Bretonneux fell, but the French troops were able to hold Hailles. Bayonet fighting took place in the streets of Hangard, which was lost during the night.

On the morning of the 26th, the French and British counter-attacked from Villers-Bretonneux to the valley of the Luce, and drove the enemy back to their starting-point of the 24th.

Once again, Amiens had escaped, but it remained within range of the German heavy guns. The town, which had previously suffered on various occasions from air bombardments, was now continuously and violently bombarded, especially by artillery, from April to June. Ruins accumulated in the town and suburbs, both of which had been evacuated by the inhabitants on April 9th.

Liberation of Amiens

The final liberation of the town began on August 8th, with the great Allied offensive. The 4th British army (Rawlinson) and the 1st French army (Debeney), in liaison on the road from Amiens to Roye, attacked at dawn from Braches to Morlancourt, the respective positions of Von der Marwitz and Von Hutier. The Australian and Canadian infantry, supported by numerous tanks, completely surprised the panic-stricken enemy. In a few hours, Villers-Bretonneux was cleared, and in the evening the British reached Chépilly, Framerville, Caix, and Beaucourt-en-Santerre.

To the south, the French, by clever manœuvring, advanced 8 kilometres, and established themselves on the line La-Neuville-Sire-Bernard-Plessier-Rozainvillers-Villers-aux-Érables. That night, Debeney and Rawlinson joined hands at Mezières, both having captured enormous booty.

On the 9th, progress was maintained, in spite of the growing resistance of the enemy. The British took the line of exterior defensive works of Amiens, and reached Le Quesnel, Rosières-en-Santerre, Rainecourt, and Morocourt. Debeney encircled Montdidier; to the north, his troops captured Arvillers and Pierrepont, while to the south, an attack made in the evening forced the enemy to evacuate the town on the following morning and to retreat to La Bossière. During the same day (10th), the British captured Proyart and approached Chaulnes.

From that moment Amiens was safe from further aggression, as the Germans, harried by the victorious Allied armies, retreated each day.

VILLE D'AMIENS

=Douze otages pris parmi les membres du Conseil Municipal auxquels
s'est joint M. le Procureur-Général, répondent sur leur vie= de
l'engagement pris par la Municipalité qu'aucun acte d'hostilité ne
sera commis par la population contre les troupes allemandes.

Le 31 Août 1914.

_Le Sénateur-Maire_,

A. FIQUET.

(Translation)

Twelve hostages chosen from the town councillors, and the Attorney General, will answer with their lives for the undertaking entered into by the Municipality that no hostile act will be committed by the population against the German troops.

31st August, 1914.

Senator-Mayor: A. FIQUET.

1. Place Samarobrive.
2. Rue Pingré.
3. Rue des Chaudronniers.
4. Passage Gossart.
5. Rue St.-Martin.
6. Rue du Bloc.
7. Rue St. Firmin the Confessor.
8. Rue de la Malmaison.
9. Rue de Metz-l'Évêque.

A--Old Water-Works (Museum); B--Hôtel Morgan de Belloy; D--St.
Germain's Church; E--Belfry; F--House of the White Gable; H--Hôtel
de Ville; K--Archer's house; L--Bailliage; S--Logis du Gouverneur
du Roi.
]

POPULATION: 93,207 ALTITUDE: 27 metres

SCALE:

|-----|-----|-----|-----|-----|--------------------------| 0 100 200 300 400 500m 1 Kilom.

BUILDINGS:

A. École de Médecine

B. Église St Germain

D. Temple Protestant

Ec. Écoles

F. {Halle au Blé

{Salle des Fêtes

G. Gendarmerie

H. Hôtel de Ville

T. Théâtre

SQUARES AND STREETS:

1. Pl. de Château d'Eau

2. Pl. de la Tuerie

3. Pl. Samarobrive

4. Pl. au Feurre

5. Pl. Fauvel

6. R. des Sœurs Grises

7. Pl. au Fil

8. R. des Chaudronniers

9. R. St Martin

10. Pl. Florent Caille

11. R. Henri IV

12. R. Cormont

13. R. Adadat-Lefèvre

14. R. de l'Oratoire

15. R. Gloriette

16. R. des Vergeaux

17. R. Delambre

18. R. Duméril

19. Pl. d'Aguesseau

20. R. Allart

HOTELS:

a HOTEL DE L'UNIVERS.

b HOTEL DU RHIN.

c BELFORT-HOTEL.

[symbol] General Post Office

[symbol] Streets or roads to be avoided by motor-cars ]

EXPLANATION OF THE ARBITRARY SIGNS USED IN THE ITINERARY, AND THE CORRESPONDING PAGE-NUMBERS IN THE GUIDE.

The Cathedral, pp. 9-34.

U--Theatre, p. 35.

S--Logis du Gouverneur du Roi en Picardie], p. 36.

--Rue des Trois-Cailloux. p. 36.

--St. Rémy church, p. 37.

--Museum, pp. 38-44.

--Prefecture, p. 45

1--corner of bombarded streets, p. 45.

H--Hôtel de Ville (Town Hall), p. 45.

L--Bailliage (Bailiwick), p. 46.

F--Maison du Blanc Pignon (House of the White Gable), p. 47.

E--Belfry, p. 47.

D--Church of St. Germain, pp. 47-48.

K--Maison du Sagittaire (Archers' House), p. 48.

2--Place des Huchers, rue du Don and neighhouring streets, pp. 49-52

3--Hocquet Canal, p. 50.

4--Panorama of the Boulevard de Beauvillé, p. 50.

5--Rue des Bouchers, p. 54.

6--Rue des Tanneurs and Hôtel Morgan de Belloy, pp. 54-55.

B--Hôtel Morgan de Belloy, p. 55. ]

ITINERARY

THE CATHEDRAL--VISIT TO THE TOWN

_See opposite: Coloured plan, with detailed plan of centre of town and outline of itinerary at back._

What the Tourist should see

_Do not omit_: =The Cathedral= (_pp. 9-36_) especially the western and southern doorways, nave, stalls, and carving in the choir aisles.

Of great interest: PICARDY MUSEUM (_pp. 40-45_).

Archæological curiosities: FAÇADE OF THEATRE (_p. 35_), OLD HOUSES (_pp. 47-56_), CHURCHES OF ST. LEU (_pp. 52-53_), ST. GERMAIN (_pp. 47-48_) AND ST. RÉMY (_p. 37_).

Picturesque sights: ST. LEU QUARTER (_p. 52_), THE HORTILLONNAGES (_p. 51_).

Walks: HOTOIE PARK (_p. 55_), NEW BOULEVARDS, and THE RUE DE BEAUVAIS (_p. 45_), whose ruins attest the violence of the bombardment.

_Specialities_: Macaroons, potted duck.

Itinerary recommended for visiting Amiens

(_Distance: 6½ miles_)

_Starting point: Place de la Cathédrale._

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.

ST. FIRMIN'S DOOR ST.-SAVIOUR'S DOOR "MOTHER-OF-GOD" DOOR ]

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.

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_). ]

"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 (_see p. 11_)

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_).

_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_).

_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.

LIFE OF ST. FIRMIN.]

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.

(_facing the Rue Robert de Luzarches_).]

(_facing the Rue Robert de Luzarches_).

THE "GILDED VIRGIN"]

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.

(_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.

(_Cliché LL._)]

=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

(_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_) 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.

NORTH DOORWAY

GREAT DOORWAY

ST. CHRISTOPHER'S DOOR

SOUTH DOORWAY (Gilded Virgin)]

KEY TO PLAN OF AMIENS CATHEDRAL

A. Great doorway; St. Firmin's Door.
B. " " ; St. Saviour's Door.
C. " " ; "Mother of God Door."
D. Chapels of the nave (14th century).
D1. Chapel of the Annunciation or Our Lady of Faith (Annunciation
by _Blasset_).
D2. Chapel of the Assumption (Assumption by _Blasset_).
D3. " " Our Lady of Help (altar screen by _Blasset_).
D4. " " St. Saviour (ancient crucifix).
D5. " " Our Lady of Peace (Virgin and child by _Blasset_).
E. Altar of Our Lady of Puy (1627-1628) by _Blasset_ (on altar screen:
painting of Assumption by _Francken_).
F. Altar of St. Sebastian (1634-1635), by _Blasset_.
G. Stalls.
H. Radiating chapels of the apse.
H1. Chapel of St. Eloi (The Prophetesses, paintings, 1506).
H2. " " the Virgin.
1. Tomb of Canon Pierre Burry (16th century).
2. Bronze tomb to Evrard de Fouilloy (13th century).
3. " " " Geoffroy d'Eu (13th century).
4. Monument to Jean de Sachy, by _Blasset_ (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, by _Blasset_ (17th century).
14. Recumbent statue of Cardinal Jean de la Grange (15th century)
and tomb of Canon Guilain
Lucas with Weeping Angel statue, by _Blasset_ (17th century).

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.

(_Cliché LL._)]

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.

(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 (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.

(_to the right_):

THE CHOIR.

(_in foreground_):

ALTAR OF OUR LADY OF PUY.]

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

_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 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.

(_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.

Both as regards woodwork and carving, the stalls are rightly considered masterpieces, in the latter respect, on account of the infinite variety of

(_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.

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

(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

(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.