Notre-Dame of Amiens: Life of the Gothic Cathedral by Stephen Murray

Abstract

Reviewed by: Notre-Dame of Amiens: Life of the Gothic Cathedral by Stephen Murray Michael T. Davis Notre-Dame of Amiens: Life of the Gothic Cathedral. By Stephen Murray. (New York: Columbia University Press. 2021. Pp. xii, 440. Numerous color and black-and-white illustrations. $40.00. ISBN 9780231195768.) Beginning with the first stories, writers have guided readers through the built environment. The author of The Epic of Gilgamesh transports us to the third [End Page 190] millennium BC and the Mesopotamian city of Uruk urging us to, “Look at its wall which gleams like copper, inspect its inner wall, the like of which no one can equal! (Tablet 1)” Some, like Abbot Suger in his “little books” (libelli), or Frank Lloyd Wright in the Autobiography, take center stage to explain the political and spiritual motivations or the creative processes that informed their active roles in building projects. Others offer a shared experience emulating Pliny the Younger, who wrote of his Tuscan villa to his friend Domitius Apollinaris: “I . . . set out in this letter to take you with me round every corner of my estate. . . (Pliny, Epistulae, 5.6), ” or John the Evangelist, who reports the vision of “the holy city Jerusalem coming down out of heaven” shown to him by an angelic chaperon (Rev. 21: 10–21). Scholarly writers, on the other hand, tend to stand discreetly in the wings directing buildings to tell their stories supported by a cast of patrons, craftsmen, documents, and institutions. Stephen Murray, in Notre-Dame of Amiens: Life of the Gothic Cathedral, inspired by John Ruskin’s The Bible of Amiens (1864), revives the role of the interlocutor—“the person who points and talks and guides” (p. 14)—to narrate the long life of an edifice that has been called “the Parthenon of Gothic architecture.” In an earlier book, Notre-Dame, Cathedral of Amiens: The Power of Change in Gothic (Cambridge, 1996), Murray foregrounded construction of the thirteenth-century structure, significantly refining understanding of the sequence of building and the sources behind its design. The present volume recalculates the narrative path while extending coverage into the sixteenth century to include the additions and urgent repairs that created the cathedral that, by and large, we see today. Chapter 1, “Visiting the Cathedral” (pp. 14–98) briskly reviews the history of the city from its Roman origins as Samarobriva to its florescence as a prosperous and strategically vital node of the Capetian kingdom. With the historical background in place, Murray then steps across the temporal threshold to tour the present cathedral as a whole, first circling the exterior, then moving into the interior, and finally ascending to thread through the triforium and around the flying buttresses. Black-and-white plans and photographs, many of them also reproduced as color plates, follow the verbal commentary, but the true companion to the text is the Columbia University Media Center for Art History website (https://projects.mcah.columbia.edu/amiens-arthum/content/home-page), which contains a comprehensive and dynamic dossier of high-resolution photographs, panoramas, and sound recordings. The panoramas, especially, afford a measure of independence, permitting the viewer to look up and down, zoom in and out, or explore space in a non-sequential route. Chapter 2 (pp. 99–158) surveys the five portals of the cathedral. The three west portals capture the arc of history from the Old Testament prophets on the outer faces of the buttresses to the Virgin portal and the Incarnation of Christ on the right, Saint Firmin the Martyr, venerated as the principal saint of the city, to the left, culminating with the Last Judgment in the center. Here, Murray stresses [End Page 191] the active relation of sculptural subjects to the liturgical life of the cathedral. For example, the Invention and Translation of the relics of Saint Firmin on January 13 was staged in procession, while the lush foliate band that rings the cathedral interior recalls the accompanying miracle of the leaves. As past and present, sculpted images and living actors merge across space, the cathedral reveals “the wider power of the Gothic to transform physical observation and sensation into religious and spiritual affect” (p. 226). Chapters 3, 4, and...