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Destruction of some surrounding buildings was necessary. At that time, during the reign of Philip Augustus, Amiens thrived on the economic activity of the region: the draperies of Flanders and the Champagne fairs. Amiens produced the pastel necessary for dyeing cloth. This economic prosperity was a key factor in the success of the monumental project lead by the bishop. Large donations enabled the building to be quickly completed, and in the nave was already finished.

The choir was completed in , and finally the labyrinth was completed in This was also the official date chosen as the end of construction, though the towers of the facade were not completed until the following century. Achieving a cathedral of this size in such a short time just over 60 years was an extraordinary technical and financial challenge. This is what makes this cathedral unique by its impressive artistic and architectural homogeneity. During the 14th and 15th centuries, new elements would enrich the cathedral : the side chapels of the nave and the two towers of the west facade were erected.

Charles VI married there in In the early 16th century the magnificent choir stalls were put into place. Over the following centuries the cathedral was converted and embellished. The events of the French Revolution caused virtually no damage to the building.

The cathedral was also spared during the two world wars and in particular in May of when shells and shrapnel showered the city. Tourist Office. The Lady's Chapel, dedicated to The Virgin Mary, was at the very end of the cathedral, was reserved for the servants of the Canons who lived in the cloisters of the cathedral. The first chapel on the south side of the chevet is devoted to Saint Eloi , and now serves as the entrance to the cathedral treasury. Its primary decoration is a series of eight paintings of the Sibyls from the 16th century.

Three of the chapels in the east end were entirely re-fitted by Viollet-le-Duc in the 19th century to return them to what was thought to be their medieval aspect; these are St. Viollet-le-Duc designed all the furnishings and decoration, including the gilded bronze altar in the Chapel of the Sacred Heart.

Eloi, painting of a Sibyl 16th century Chapel of Notre Dame-Drapiere Lady's Chapel , early 14th century with 19th century furnishings and decoration The lateral and transept chapels[ edit ] In addition to the chapels at the east end, small chapels occupy both sides of the nave and angles of the transept.

The original decoration of these chapels was replaced in the 18th century by the present decor. Each chapel is dedicated to a particular saint, and features large paintings reaching up to the windows, altars, stone and wooden statuary, all from the 18th century. The chapels are closed by ornamental wrought-iron screens and gates. It was created in response to the plague epidemic that struck Amiens in —68, but was not completed until It was made by Gilles Oppenord, one of the pioneers of the Rococo style.

On the east side of the north transept is the Chapel of Saint Sebastian, also known as the Chapel of the Green Pillar. At its summit is a sculpture by Nicolas Blasset, "Saint Sebastian surrounded by the allegories of Justice, Peace, and Saint Roche", which was completed in A sculpture of Saint Louis by Louis Duthoit was added to the chapel in Another early work in the transept is the altarpiece of the Chapel of Our Lady of the Red Pillar, an assembly of sculpture and paintings, clustered around a main pillar.

It was completed in by Nicolas Blasset. It also contains an altarpiece with a painting of the Adoration of the Magi from the early 18th century. A group of polychrome reliefs illustrating the vow of John the Baptist , made in , is found on the west wall of the south transept. The treasury[ edit ] The Treasury is located in the apse at the east end of the cathedral, on the southern side near the sacristy.

The collection of reliquaries and other precious objects was dispersed in during the Revolution, but gradually some of the treasures were returned, some were recreated, while others were added by other donors. Objects of particular interest include the Crown of Paraclet, made in about —, which was saved from destruction at the Cistercian monastery of Paraclet, not from Amiens.

It contains what are said to be relics of the Passion of Christ, set into a gilded and enamelled crown decorated with jewels, pearls and precious stones. A fine statue of the Virgin Mary and Child, made of polychrome wood in the 15th century is also found in the Treasury. The initial impetus for the building of the cathedral came from the installation of the reputed head of John the Baptist on 17 December The head was part of the loot of the Fourth Crusade , which had been diverted from campaigning against the Turks to the sacking of Constantinople , the capital of the Byzantine Empire.

A sumptuous reliquary , with the face of the Saint, was made to house the skull. Although the skull and original reliquary were lost during the Revolution, a 19th-century replica was made and is displayed on the north aisle. The crown reliquary of Paraclet — Copy of the reliquary made for the head of Saint John the Baptist 19th century Stained glass windows[ edit ] Only a few of the original stained glass windows still remain; many were removed during the remodeling of the Cathedral in the 18th century.

Others were destroyed when the church was sacked by the Protestant Huguenots in , by hurricanes in and ; by the explosion of a powder mill in A large group of early windows, which had been removed in to protect them from damage during the First World War, were destroyed in when the studio where they were stored was destroyed by fire. Some of the earliest glass, from about , is found in two of the lancets in the high windows of the chapel at the end of the apse, at the east end of the Cathedral.

These two windows depict the same scene, one the inverse of the other. They show a clergyman presenting the stained glass to the Virgin Mary, to whom the chapel is dedicated. Angels carry crowns which they hold over the heads of the elongated figures. They depict a procession of saints, apostles, prophets and bishops of monumental size, set against a background of light-coloured glass, to make them stand out. They face the centre of the Apse, underneath a window depicting the Virgin Mary and the Annunciation.

A few other original 13th century panels, including one representing King David from a Tree of Jesse window depicting the genealogy of Christ, are found in the Chapel of Saint Francis of Assisi, in the apse. Thanks to the thin stone mullions that separate the group of lancet windows and the small circular windows on the upper levels, and the massive buttresses on the exterior that provided support for the walls, the individual windows in each bay seemed to merge into one great window, filling the nave below with light.

The rose window on the west facade is the oldest, from —, from the High Gothic period, and represents Jesus Christ surrounded by the symbolic figures of the Apocalypse. The rose window of the north transept has the characteristic radiating tracery of the Rayonnant Gothic.

It depicts fourteen angels, heads towards the centre of the window, in a style characteristic of the Picard style of window in the 15th century. Flamboyant rose window of the south transept 16th c. It was installed on the interior of the west wall of the Cathedral, below the rose window, between and All that survives of this organ is wooden gallery, lavishly decorated with Flamboyant Gothic carvings. The current pipes and case were installed in , with additions in

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It was first necessary to make enough room to accommodate a building meters long and 70 meters wide. Destruction of some surrounding buildings was necessary. At that time, during the reign of Philip Augustus, Amiens thrived on the economic activity of the region: the draperies of Flanders and the Champagne fairs. Amiens produced the pastel necessary for dyeing cloth. This economic prosperity was a key factor in the success of the monumental project lead by the bishop.

Large donations enabled the building to be quickly completed, and in the nave was already finished. The choir was completed in , and finally the labyrinth was completed in This was also the official date chosen as the end of construction, though the towers of the facade were not completed until the following century. Achieving a cathedral of this size in such a short time just over 60 years was an extraordinary technical and financial challenge.

This is what makes this cathedral unique by its impressive artistic and architectural homogeneity. During the 14th and 15th centuries, new elements would enrich the cathedral : the side chapels of the nave and the two towers of the west facade were erected. Charles VI married there in In the early 16th century the magnificent choir stalls were put into place. Over the following centuries the cathedral was converted and embellished.

The events of the French Revolution caused virtually no damage to the building. The cathedral was also spared during the two world wars and in particular in May of when shells and shrapnel showered the city. The Choir screen 15th—16th c. They illustrate the lives of Saint Fermin south side, made between and and John the Baptist north side, made in Both subjects were connected with the Cathedral; The purported head of John the Baptist was an important relic held in the Treasury, and the martyred Saint Fermin was considered the first bishop of Amiens.

Another group of polychrome sculpture in the north ambulatory depicts in imaginative fashion Christ's cleansing of the Temple. The tombs of several bishops and other religious figures of the cathedral, also abundantly decorated are found in the lower portions of the enclosure, below the sculptural scenes. Firmin and the tomb of Bishop Ferry de Beauvoir — A scene from the life of Saint Firmin The altar[ edit ] In the midth century the centre of the Cathedral was entirely redesigned in the Roccoco style, to follow changes in church doctrine ordained by the Council of Trent and changing architectural taste.

A new floor of coloured marble was installed, along with a new main altar. In the "Gloire", a monumental Baroque screen of sculpted and gilded wood representing heaven and crowded with sculpture of cherubs and angel was placed behind the altar. The baroque high altar and "Gloire" screen —68 Detail of the "Gloire" screen The labyrinth[ edit ] A labyrinth in the centre of the floor of the nave was a common feature of early and High Gothic cathedrals; they were also found in the cathedrals of Sens, Chartres, Arras and Reims.

It symbolised the obstacles and twists and turns of the journey toward salvation, but also showed that with determination the journey was possible. On certain religious holidays, pilgrims would follow the labyrinth on their knees. The Amiens labyrinth is meters long and was originally laid out in by the architect Rene de Cormont.

The labyrinth today is an exact copy, made in the 19th century. It is surrounded by a very ornate carved wooden screen, and seven chapels in the semicircular apse. An ambulatory allows visitors to walk around the circuit of the chapels behind the choir. The upper walls of the clerestory, just beneath the vaults, and the walls of the triforium below them were entirely filled with glass. The arches of the triforium and arcades were topped with pointed arches, stressing the vertical, and admitted a maximum amount of light from different heights and directions, depending upon the time of day.

Light also filtered down into the disambulatory from the upper levels. The Lady's Chapel, dedicated to The Virgin Mary, was at the very end of the cathedral, was reserved for the servants of the Canons who lived in the cloisters of the cathedral. The first chapel on the south side of the chevet is devoted to Saint Eloi , and now serves as the entrance to the cathedral treasury. Its primary decoration is a series of eight paintings of the Sibyls from the 16th century.

Three of the chapels in the east end were entirely re-fitted by Viollet-le-Duc in the 19th century to return them to what was thought to be their medieval aspect; these are St. Viollet-le-Duc designed all the furnishings and decoration, including the gilded bronze altar in the Chapel of the Sacred Heart. Eloi, painting of a Sibyl 16th century Chapel of Notre Dame-Drapiere Lady's Chapel , early 14th century with 19th century furnishings and decoration The lateral and transept chapels[ edit ] In addition to the chapels at the east end, small chapels occupy both sides of the nave and angles of the transept.

The original decoration of these chapels was replaced in the 18th century by the present decor. Each chapel is dedicated to a particular saint, and features large paintings reaching up to the windows, altars, stone and wooden statuary, all from the 18th century. The chapels are closed by ornamental wrought-iron screens and gates. It was created in response to the plague epidemic that struck Amiens in —68, but was not completed until It was made by Gilles Oppenord, one of the pioneers of the Rococo style.

On the east side of the north transept is the Chapel of Saint Sebastian, also known as the Chapel of the Green Pillar. At its summit is a sculpture by Nicolas Blasset, "Saint Sebastian surrounded by the allegories of Justice, Peace, and Saint Roche", which was completed in A sculpture of Saint Louis by Louis Duthoit was added to the chapel in Another early work in the transept is the altarpiece of the Chapel of Our Lady of the Red Pillar, an assembly of sculpture and paintings, clustered around a main pillar.

It was completed in by Nicolas Blasset. It also contains an altarpiece with a painting of the Adoration of the Magi from the early 18th century. A group of polychrome reliefs illustrating the vow of John the Baptist , made in , is found on the west wall of the south transept.

The treasury[ edit ] The Treasury is located in the apse at the east end of the cathedral, on the southern side near the sacristy. The collection of reliquaries and other precious objects was dispersed in during the Revolution, but gradually some of the treasures were returned, some were recreated, while others were added by other donors.

Objects of particular interest include the Crown of Paraclet, made in about —, which was saved from destruction at the Cistercian monastery of Paraclet, not from Amiens. It contains what are said to be relics of the Passion of Christ, set into a gilded and enamelled crown decorated with jewels, pearls and precious stones. A fine statue of the Virgin Mary and Child, made of polychrome wood in the 15th century is also found in the Treasury.

The initial impetus for the building of the cathedral came from the installation of the reputed head of John the Baptist on 17 December The head was part of the loot of the Fourth Crusade , which had been diverted from campaigning against the Turks to the sacking of Constantinople , the capital of the Byzantine Empire.

A sumptuous reliquary , with the face of the Saint, was made to house the skull. Although the skull and original reliquary were lost during the Revolution, a 19th-century replica was made and is displayed on the north aisle.