La cathédrale Notre-Dame d'Amiens

La Cathédrale Notre-Dame d'Amiens by Claude Andrault-Schmitt, published in 2003 by Editions du Patrimoine (Centre des Monuments Nationaux), is a scholarly yet accessible study of the Notre-Dame Cathedral in Amiens, France, a masterpiece of Gothic architecture begun in 1220 and largely completed by 1270. Andrault-Schmitt, an art historian specializing in medieval architecture, explores the cathedral’s construction, artistic significance, and historical context, offering insights into its role as a cultural and religious landmark.

Summary

The book traces the cathedral’s origins after a fire destroyed its predecessor in 1218, prompting Bishop Evrard de Fouilloy to initiate a grander structure. Built on marshy ground, its design—featuring a 145-meter nave, 42.3-meter vault height, and expansive west façade with three portals—reflects Gothic innovations like flying buttresses and ribbed vaults, enabling unprecedented light and space. Andrault-Schmitt details the construction phases, led by master masons like Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont, whose labyrinth in the floor records their names. The cathedral’s 126 stained-glass windows and 3,500 sculpted figures, including the "Beau Dieu" of the central portal, illustrate biblical scenes and local history.

The text examines its architectural evolution, including 13th- to 15th-century additions (e.g., the axial chapel) and 16th-century reinforcements after structural concerns. It also covers its survival through the French Revolution, when it was repurposed as a “Temple of Reason,” and 19th-century restorations by Viollet-le-Duc. Andrault-Schmitt highlights its UNESCO World Heritage status (1981) and ongoing preservation efforts, noting its capacity for 10,000 worshippers and its role in medieval pilgrimage.

At 160 pages with numerous color photographs, plans, and diagrams, the book blends technical analysis with historical narrative, appealing to specialists and visitors alike.

The work excels in detailing architectural techniques and iconography, but its focus on physical structure may underplay social or economic contexts—e.g., the labor force or funding from Amiens’ cloth trade. The narrative assumes some familiarity with Gothic architecture, potentially limiting accessibility for novices. Andrault-Schmitt’s emphasis on continuity (e.g., medieval to modern use) aligns with establishment views of Gothic cathedrals as enduring symbols, though it might overlook debates about authenticity in restoration, a topic raised by later scholars like Stephen Murray.