The church Saint-Nicolas of Beaumont-le-Roger

Before the French Revolution there were 5 churches in Beaumont-le-Roger. Now there’s only one: Saint-Nicolas. It’s dedicated to Saint Nicholas.

In medieval times the church belonged first to the priory in Beaumont-le-Roger but later to the abbey of Le Bec-Hellouin.

The church was built in the 13th century. But there are only 3 columns left of that time. The three columns separate the nave from the southern side aisle. You see here the southern facade.

Église Saint-Nicolas de Beaumont-le-Roger
It looks as if two different churches had been glued together.

The outer walls and the tower were built in the 15th century.

The choir and the northern side aisle were reconstructed in the 16th century.

The left part, the nave, was there before the right part, the choir. So maybe they just didn’t need to make the nave bigger. They used to work on the churches to make them bigger or because parts were on the brink of collapsing. Beaumont-le-Roger used to have 5 churches. I know three of them. The priory had a church and there’s a building on the other side of the town center that must have been a church. I just didn’t take photos there yet. With 5 churches the reason for alteration of a building might have been rather a bad state of the building and not the need for more space for all the believers. There are many churches in the region on which you can see the different states of the building during the centuries. After WWII they restored the building to the former state. That is what they claim. So I have to guess, that this is the former state. My guess² is that the style was different in the 16th century. The left part is gothic flamboyant in my opinion, while the choir on the right shows the influence of the renaissance style.

Église Saint-Nicolas de Beaumont-le-Roger
Looking up in the choir.

The portal on the west side was built in the 17th century.

Église Saint-Nicolas de Beaumont-le-Roger
The portal

During the French Revolution (1789-1799) the church became a public building. All bells except one were melt down and everything that was made of metal was taken away to “defend the Republic”. The church was used for Republican celebrations and to store grain on market days.

In 1802 the church was opened for Roman-Catholic Mass again.

Until 1902 there were small buildings around the church. They were then demolished and a wall was built around the church, as well as a staircase to access the church.

The church was damaged severely by bombs during WWII. Only the northern side and the bell tower stayed intact. Most of the interior was gone. The church was restored from 1951 to 1971 to its former state.

Église Saint-Nicolas de Beaumont-le-Roger
Southern aisle. The windows on this side are newer. This side has been destroyed in WWII.

There are several historic windows on the northern side.

Baie 16 Credo Apostolique 15e siècle
Window 16. This church window was made in the 15th century. It shows the Apostles’ Creed.
Baie 14 Résurrection de la fille de Jaïre, Résurrection de Lazare
Window 14. This church window was made in the 16th century. It shows the raising of Jairus’ daughter and the raising of Lazare. There’s a guy on the right who holds something that could be a musical instrument. Or he’s deaf and it’s a hearing aid and he wants to get cured by Jesus. There’s a medieval manuscript from the 12th century in the Bibliothèque nationale de France (National Library of France) that shows King Arthur hunting while using an ear trumpet.
Baie 7 Noces de Cana, Miracle de Théophile
Window 7. This church window was made in 1550. It shows the wedding at Cana and the miracle of Theophilus of Adana.
Baie 9 la Passion
Window 9. This church window was made in 1557. It shows the Passion of Jesus.
Baie 11: Entrée du Christ à Jérusalem
Fenster 11. This window was made in 1553. It shows the Entry of Christ into Jerusalem.
Baie 15: Décollation de saint Christophe (baie 15)
Window 15. This is a bit more complicated and also made in the 16th century. On the upper field Saint Christopher is baptised. On the lower right field Saint Christopher carries Jesus over the river and on the lower left Saint Christopher gets beheaded. “Décollation” is derived from latin: collum (neck) and means cutting the neck, just like “beheading”. Makes you wonder why there are so many words for things like that. On Flickr we had a little digression over the topic of Saint-Christopher. In the art of the Eastern Orthodox church he’s often shown with the head of a dog when he carries Jesus. Legend has it, that he became human because he was carrying Jesus. That’s of course very odd, since dog people have never existed. Historians seem to fight about the reason for this. I wouldn’t be surprised if it was really a translation error because somebody read “Cananeus” (Canaanite) as “caninus” (translation is always difficult and weird errors occur all the time, think of Chinese instruction manuals). But we’ll never know. The other historians, that don’t think it’s a bad translation, think it’s a reference to Anubis. I think it’s a bit far fetched, really. Originally it was Osiris who was protected by Anubis and Osiris was no child. Anubis brings the deceased to the water, but he doesn’t carry them over the water. Horus was a child but he didn’t die. There is of course a resemblance between the relationship of Mary and Jesus and Isis and Horus. Anubis had a brother by name of Upuaut, who was also a dog-headed god (jackal). He is actually a more likely candidate for Saint Christopher, since he was “the opener of ways” which could be interpreted as travelling. And he was often depicted standing in the skiff of the dead. Charon was never depicted with a dog’s head. You see .. I could go on and on.
Aigle-lutrin d'église Saint-Nicolas de Beaumont-le-Roger
In the choir. The eagle lectern was made in the 18th-century.
Église Saint-Nicolas de Beaumont-le-Roger
Southern side altar in mono.
Église Saint-Nicolas de Beaumont-le-Roger
The main altar in mono.
Église Saint-Nicolas de Beaumont-le-Roger
The baptismal font.
Église Saint-Nicolas de Beaumont-le-Roger
View of the nave.
Église Saint-Nicolas de Beaumont-le-Roger
The organ.
Église Saint-Nicolas de Beaumont-le-Roger
This looks like one of the older columns.
Église Saint-Nicolas de Beaumont-le-Roger
Ceiling of a side aisle.
Église Saint-Nicolas de Beaumont-le-Roger
One of the new old gargoyles.
Église Saint-Nicolas de Beaumont-le-Roger
I love gargoyles and just look at that little angel to the left.
Église Saint-Nicolas de Beaumont-le-Roger
Big mouth strikes again.
Église Saint-Nicolas de Beaumont-le-Roger
Horloge d'édifice : Regulus dit jacquemart
Meet Regulus, a Roman centurion made in 1825. He is supposed to bang on the bells with the things he holds in his hand. But I never saw it happen.

The church is open during the day. And a lot of people visit it, to pray, light candles or play the organ or listen to the organist.

Candles in the church of Beaumont-le-Roger
Candles in Saint-Nicolas.
Église Saint-Nicolas de Beaumont-le-Roger
The church seen from a car park in the middle of the town. A lot of those houses look interesting.
Decoration
Decoration on the facade at the eastern side.
Gargoyles on the church Saint-Nicolas of Beaumont
The new old facade with a line of gargoyles.

I just did some research and found this old postcard, taken before WWII and there the styles are also different, but the choir doesn’t look as big as it looks now.

And I found only one image online, to show the damages after WWII. The whole southern facade was gone.

All the photographs are of course made by me. Why the heck do I write in English? I comment my photographs on Flickr in English. I’m lazy. It’s far easier to copy my own “outpourings” than to write new ones.

Dancing putti in a southern landscape

Dancing putti in a southern landscape is a painting by Frans Wouters, a Flemish painter, who lived from 1612 to 1659. When I saw a photo of this painting on Flickr today I knew immediately what it means.

I guess the artist was in homeoffice and had to take care of the children. The nursery school was closed because of the COVID, err.. I mean the pest. He took advantage of the situation and painted his children and the children of the neighbours (who were also at his house since the nursery school was closed and everybody else was at work) while the children were playing in the house. The artist only added the landscape because he dreamed of being outside and free. There’s of course no goat in the house, it’s the dog and the dog smells bad, therefore a goat.

I have to mention that I’m German and we Germans don’t have any humour we know of.

The church of the Sacred Heart in Amiens

The church of the Sacred Heart in Amiens (fr: Église du Sacré-Cœur d’Amiens) was built in 1890 in the romanesque revival style. It’s beautiful. Fun fact: the architect was supposed to build a small chapel but he got carried away and built a big church.

l'Église du Sacre-Cœur d'Amiens


The nave.

Dans l'Église du Sacre-Cœur d'Amiens


Side altar in the church Sacre-Cœur of Amiens. There’s a chair circle in the front, because there is a hole in the ground and the chairs are placed like this so nobody gets hurt.

Side altar in the church Sacre-Cœur of Amiens


Portal of the church Sacré-Cœur of Amiens. Not bad for 19th century.

Portal of the church Sacré-Cœur of Amiens


A beautiful ceiling. The yellowish light was like this and getting it neutral was kind of difficult.

Église du Sacré-Cœur d'Amiens


The other side aisle.

Église du Sacré-Cœur d'Amiens

Église du Sacré-Cœur d'Amiens


Pulpit of the church Sacre-Cœur in Amiens. Most likely 19th century like the church. Looks very good in mono, don’t you think?

Chaire à prêcher


” Voilà ce Cœur qui a tant aimé les hommes.” On the ceiling of the choir in the church Sacré-Cœur of Amiens is a huge mural by the artist Gustave Riquet (1866-1938). It was created in 1924. The sentence refers to the cult of the Sacred Heart and translates roughly to: “Behold the Heart that has so loved men”. I think in modern context that sounds wrong somehow but in the 19th century it was very popular. The mural looks awesome in the church. Very impressive and because of the degraded state it is in, it looks centuries older than 1924.

Voilà ce Cœur qui a tant aimé les hommes


All the photos in this article were made by me and posted on Flickr beforehand.

The mystery of the huge baptismal font

The baptismal font in Amiens Cathedral doesn’t look like much and by all means not like a baptismal font. It is one though. The historians fight about it. Fun fact: in the early centuries the baptism was executed in a river. Later the candidate for baptism was submerged by the holy water. For this they needed huge baptismal fonts like the one in Amiens Cathedral. But the huge baptismal font was placed on the ground. In the 13th century the baptism by infusion was already executed everywhere. I guess it was more practical and the candidates for baptism were generally children that wouldn’t need such a big baptismal font anyways.

The mystery of the huge baptismal font


And that’s why the historians fight about this baptismal font. The stands were made from a different material as the basin. The stands are decorated with a plant or flower motif. They were definitely made in the 13th century.

The mystery of the huge baptismal font


The basin might be older since it resembles another basin in Somme and said other basin was made in the 11th century. All historians agree that the basin has been used standing on the ground. Some say that it might even have been made in the 8th or 9th-century. They say the stands were added later when the ritual of the baptism changed. The others have no idea why the stands were added. I find this rather fascinating. The others say, that the basin, made in 1180, was used to wash corpses, which is also a possible but not so interesting theory. It doesn’t sound very nice to wash corpses in it and then baptise people in it. But you’ll never know. The basin is decorated with four prophets. One on every angle. The names of Joel and Zachary are still readable.

The mystery of the huge baptismal font

The mystery of the huge baptismal font


Here you got a similar (or even bigger) baptismal font made around 1100 and it’s placed on the ground. This is in Speyer Cathedral (photo by: Heribert Bechen, 5 million visits – many thanks! on Flickr.)

DSC05692 ie.jpeg - Speyer  Krypta, Taufbecken

Amiens Cathedral

Amiens Cathedral is a Catholic church located in Amiens in the French department Somme in the region Hauts-de-France. Dedicated to the Virgin Mary, it the cathedral belongs to the diocese of Amiens. Its overall length is 145 meters and its height is 42.30 meters. Classified as a Historic Monument in France since 1862, it has been listed since 1981 as a UNESCO World Heritage Site.

Western facade of the Cathédrale Notre-Dame of Amiens:

Cathédrale Notre-Dame d'Amiens


The 13th century cathedral of Amiens is huge. The next picture shows a view of the choir.

Dans la Cathédrale Notre-Dame d'Amiens


The west portals of the Cathedral of Amiens were built in the 13th-century.

West portals of the Cathedral of Amiens


The northern side aisles were built at the end of the 13th century until the second half of the 14th century. The building was enhanced in the 15th century. Which included a reinforcement of the pillar structure.

Bas-côté nord de la nef


The portal of Saint Firmin (a local saint) on the west facade. The portal was built from 1220 to 1230.

Portail du Saint Firmin


The nave of the cathedral was classified as cultural heritage site in 1862.

Nave of the Cathedral of Amiens


The portal of the Golden Virgin (la Vierge dorée) on the southern side of the Cathédrale Notre-Dame d’Amiens was built in the 13th century.

Portail de la Vierge Dorée


In the transept:

Croisillon nord du transept de la cathédrale d'Amiens


The rose window in the north transept was made at the end of the 13th or the beginning of the 14th century.

Rose du croisillon nord du transept de la cathédrale d'Amiens


The fight of James the Great against Hermogenes. This relief was created after 1511.

La Lutte de saint Jacques contre Hermogène


The chapel of Saint Joseph was created in 1291, but it was dedicated to somebody else. Later it was dedicated to Charles Borromeo (1538-1584). In 1832 it was dedicated to Saint Joseph. The marble altar was made in 1756. The statue in the center was created in 1833.

Chapelle Saint-Joseph


The painting The Assomption of Mary was made by Frans Francken II (1581-1642) in the chapel: Chapelle Notre-Dame du Puy or Chapelle du Pilier rouge.

Assomption de la Bienheureuse Vierge Marie


Tomb of Adrien de Hénencourt, who died in 1530, he was a canon (and not cannon) of the cathedral chapter. This tomb was made between 1527 and 1531. I guess the careful man starts early to build his grave. Tombs like that are called “enfeu”, in the fire.

Enfeu du doyen Adrien de Hénencourt


Windows of the chapels of Sacré-Cœur (Sacred Heart), Axiale (Axial) and Saint-François d’Assise (Francis of Assisi). Pierre Gaudin made the blueish windows to the left in 1933. His nephew Jean Gaudin made the red looking windows in the middle (left) in 1932 and 1933. The blue (and red) stained glass windows to the right were made in 1240. They were found in a storage room after a fire. Those panels were restored in 1984 by Jeannette Weiss-Gruber. She also made replacements for the window panels that were missing. Those windows were inserted in the 1990s.

Verrières de la chapelle du Sacré-Cœur, Axiale et Saint-François d'Assise de la cathédrale d'Amiens


The chapel of the Sacred Heart was built in or around 1240, but it was decorated completely different. You wouldn’t guess it, because it looks rather tasteful, but all the interior decoration except the flags and the windows was made in the 19th century. In 1866 they had a cholera epidemic and the bishop of Amiens thought it would be a good idea to follow the cult of Sacré-Cœur (Sacred Heart). Usually Sacred Heart means that there is a Jesus somewhere who points at his bleeding heart entwined by thorns. Luckily not here. Eugène Viollet-le-Duc painted the decoration of the chapel. Théodore Maillot and Auguste Steinheil painted the saints. Placide Poussielgue-Rusand made the altar and Aimé and Louis Duthoit made the statues. All in the 19th century. The windows were made in 1932-1933 by Jean Gaudin in the 20th century. And the flags are those of the allies that defended Amiens in 1918.

Chapelle du Sacré-Cœur


Built around 1240 the Axpal chapel was restored in the 19th century and changed as far as the interior goes. The altar was made in 1862 by Louis Duthoit. The statue of Madonna and Child was made in the 19th century by Louis Bachelet. The windows were made by one of the Gaudins, probably in the 20th century.

Chapelle axiale


Darker view of the windows of the Chapelle axiale. They were made by the Gaudins. Probably in the 20th century. They tell the story of the life of Mary, mother of Jesus.

Chapelle axiale vitraux


From left to right those are the windows of the Chapelle axiale (blueish), Chapelle du Sacré-Cœur (redish) and Chapelle Saint-François d’Assise (blueish). The windows in the Chapelle Saint-François d’Assise were made in 1991 by usage of shards of the old 13th century windows. The windows of the Chapelle du Sacré-Cœur were made in 1932-1933 by Jean Gaudin.

Church windows of the Cathedral of Amiens


In the 19th century Alfred Gérente made this window in the Chapelle Sainte-Theudosie in the style of the 13th century. It shows the life of Theudosie d’Amiens, a local saint. At the bottom of the window the donors Napoleon III. and his wife Eugénie pray in front of an altar. Above them are the Pope Pius IX and the bishop Antoine de Salinis.

Chapelle Sainte-Theudosie


Fun fact about th grave of canon Guilain Lucas: it hosts five corpses. There is no space to waste in this cathedral. The first defunct here is Arnoul de la Pierre, bishop of Amiens and he died in 1247. In 1751 they needed more space and placed Cardinal Jean de La Grange (1325-1402) on top of Arnoul de la Pierre. That’s the gisant (lying figure). On top of the two is the effigy of canon Guilain Lucas, an otherwise not too important man who died in 1628. The sculptures were made in 1636. They show him, a Madonna and a weeping angel. The weeping angel is the most known sculpture of Nicolas Blasset (1600-1659), a sculptor from Amiens. In WWI British and American soldiers have sent postcards depicting this angel to their families and that’s why it’s wellknown. In this tomb lie also 2 nephews of Guilain Lucas, Guillin Lucas (who died in 1648) and Honoré Gabriel Brunel (who died in 1676). They were also canons.

Tombeau du chanoine Guilain Lucas


This choir chapel was changed in 1853. They built a spiral staircase that leads to the upper floor. You can’t see it on this photo. They added a door to a bigger choir chapel too and you can’t see it here. But there’s a small green exit-sign and under it is a door that leads to an outer building called Chapelle des catéchismes, which is or was used in winter and is also called Chapelle d’Hiver (winter chapel). It’s a small building and doesn’t need much heating. The windows of this choir chapel contain rests of the 13th century windows, that show the life of Mary, mother of Jesus and Saint Leonard of Noblac (died 559 AD). The painting to the left was created in the 18th century and shows the Transfiguration of Jesus (an event where Jesus is transfigured and becomes radiant in glory upon a mountain).

Chapelle Saint-Quentin


In the 13th-century nave.

In the nave of Amiens Cathedral


View of the northern transept.

View of the northern transept


This altar stands at the northern side of the ambulatory in Amiens Cathedral. It’s called Chapelle Notre-Dame-de-Pitié. The altar was made by Jean-Baptiste Dupuis in 1756.

Chapelle Notre-Dame-de-Pitié


The relief scenes to the left show the life of Saint Sebastian. The reliefs were made in the 16th century. This is the northern ambulatory in Amiens cathedral.

La partie nord de la clôture du chœur


What do we know? To the left is the gisant (lying sculpture) of Gérard de Conchy, who was bishop in Amiens from 1247 to 1257. Which means he died in 1257 and his funeral monument must be from the 13th century. But what kind of altar is the altar to the right? And the painting. It looks so much like Icons from the Eastern churches. I should have asked the woman that was sitting there. But I didn’t want to disturb anybody. I know the first line of this comment is rather metaphysical, compared to the rest of the comment. I didn’t want to write: “what do I know?” I say this a hundred times per day and it expresses my helplessness towards and ignorance of the world in general.

What do we know?


The is part of the northern fence around the choir in Amiens Cathedral. It shows life and death of Saint John the Baptist. The small reliefs in the base show how he was born and when he went into the desert and things like that. The upper alcoves show from the right to the left: John the Baptist preaches in the desert, John the Baptist baptises Jesus, John the Baptist answers the Pharisees and John the Baptist bears witness to Jesus.

Vie et mort de Saint-Jean-Baptiste


Funeral monument of François Faure. François Faure (1612-1687) was bishop in Amiens from 1653 to 1687. He died from a stroke in Paris. His body is buried in the cathedral, his heart in Paris. The funeral monument was made by Jean-Baptiste Duquet in 1687.

Funeral monument of François Faure


The funeral monument of bishop (1706-1733) Pierre Sabatier (1654-1733) was created in 1748 by Jean-Baptiste Dupuis. Imo Pierre Sabatier looks rather happy. I like him. He forbade hunting for clerics in 1715 and they didn’t kill him right away.

Tombeau de l´évêque Pierre Sabatier


Chapelle Saint-Jean-du-Vœu. The original chapel in this place was created in 1291. But from 1709 to 1711 it was refurbished. François Faure (we met him already on another photo) commanded the changing because of a plague (Black Death) in 1699.

Chapelle Saint-Jean-du-Vœu


Rose of the southern transept. There is a net in front of the lower part of the window. It’s because there are small stones falling down? I think it was something like that. The southern rose of the transept of Amiens Cathedral was made at the end of the 15th- and start of the 16th-century. There are a lot of angels depicted. The artist was a man from Picardie (northern France).

Rose du croisillon sud du transept


The Temple of Jerusalem. This bas-relief in the transept is officially classified as historical monument. It was made after 1500 but before 1522/1523. The canon that payed for it died in 1522 or 1523. It shows the cleansing of the Temple. It’s made of stone.

Bas-relief le Temple de Jérusalem


Chaire de verité. This pulpit was made in 1773. “Chaire de verité”, pulpit of truth is a rather dramatical designation the French use for every pulpit, not only this one. The sculptor was Jean-Baptiste Dupuis and the architect Pierre-Joseph Christophle ( 1715-1781).

Chaire de verité


Door at the transept. I have no idea if this is the exit to the west or east. It might be built at the end of the 13th or at the start of the 14th century. Looks much better in monochrome.

Porte du transept


View of the transept.

View of the transept


The rose of the northern transept in Amiens Cathedral was made at the end of the 13th- or beginning of the 14th-century.

Rose du croisillon nord du transept de la cathédrale d'Amiens


View of the ambulatory of Amiens Cathedral. The red windows are those of the Chapelle du Sacré-Cœur. This part of the bulding was created in the 13th-century around 1240.

Déambulatoire


In the far left corner is a war memorial for Australian forces that fought on the side of the French to defend Amiens in WWI in 1918. I think this is a side aisle of the transept. Amiens cathedral is huge and a bit puzzling.

Side aisle Amiens Cathedral


The chevet seen from the southeast. This part of the cathedral was built between the years 1290 and 1375. The statue shows Peter the Hermit (1050-1115 or 1131). He looks rather angry, as if he wanted to ram the crucifix in our hearts or as if we were all vampires. Reason for this is, his legend. He is said to have initiated and conducted the First Crusade (1096-1099). He WOULD ram his crucifix somewhere if he were with us today and if we were no devoted Catholics (which I’m not). In the late 11th century they were kind of serious concerning religious devotion. They probably thought after all Peter is from Amiens. But that makes me wonder, if they have a Hitler monument in the Austrian town where Hitler was born. Okay I exaggerate, but: ” Jerusalem was reached in June 1099 and the Siege of Jerusalem resulted in the city being taken by assault from 7 June to 15 July 1099, during which its defenders were ruthlessly massacred.” (Wikipedia en.wikipedia.org/wiki/First_Crusade) The statue was inaugurated in 1854 and made by Gédéon de Forceville (1799-1886).

Cathédrale Notre-Dame d'Amiens


This gisant (lying tomb figure) was made of bronze in the 13th century. This gisant and the other one in the Cathedral are the only bronze sculptures of the 13th century that still exist in France. All the others were destroyed by the revolutionists. They were recast as cannons.

Évrard de Fouilloy (1145-1222) initiated the construction of Amiens Cathedral and he even placed the cornerstone. He had the vision that the Cathedral would be visited by pilgrims of whole Europe and to ensure that, he brought relic of the face of John the Baptist to Amiens.

That’s another story, but in short: this relic consists of the front of a human skull and legend has it that it was stolen in Constantinople during the Fourth Crusade by a canon from Picquigny (Somme) named Wallon de Sarton. The story is of course rather exotic. They wouldn’t have said the relic was stolen, it was regained. And legend has it, that Wallon de Sarton got it in 1206, while the Fourth Crusade went from 1202 to 1204. And the crusaders sacked Constantinople in 1204. We’ll never know.

Gisant Évrard de Fouilloy


This chapel is called Chapelle Notre-Dame de Foy. The wood panelling was made in 1765. The altar in the centre hosts a relief made by Nicolas Blasset (1600-1659), who made also the weeping angel. The relief made in 1655 of white marble against red marble rouge de Rance shows the Annunciation.

Chapelle Notre-Dame de Foy


The Chapelle Saint-Étienne was built in 1300. The decoration was carried out like this in 1768. The painting on the altar however was made by Laurent de La Hyre (1606 -1656) in 1628. It depicts the “Swoon of the Virgin”. Nicolas Blasset (1600-1659) sculpted the statues of Saint Stephen and Augustine of Hippo. The painting to the left was painted by G. Gouget (whoever that was) in 1841. Its theme is “Jesus Descent from the Cross” and it was added because the chapels serve as Stations of the Cross.

Chapelle Saint-Étienne


Southern side aisle in front of the chapel Sainte-Marguerite. The chapel was built in 1292. The metal fence was made in 1769. The north and south side aisles or collaterals of the nave are 19.7m high and the width between the axes of the columns is 8.65 m. The view leads to the ambulatory.

Nef collatérale sud


The choir of Amiens Cathedral was built in 1260, 30 years after the nave. The wall around the choir was made in 1530. The iron gate was forged in the years 1755 to 1768 by Jean Veyren (1707-1788). The two statues depict Vincent de Paul and Charles Borromeo were created by Jean-Baptiste Dupuis (1698-1780).

Chœur de la Cathedrale Notre-Dame d'Amiens


Chapelle Saint-Sébastien. First a comment regarding the light. The first version I made was rather dark. It had beautiful natural light. But the light was on the chairs and chairs aren’t that interesting. So I made this version. It IS dark in Amiens Cathedral and thus this picture was made with ISO 1600. And it was still rather dark. Therefore the structure is not as smooth as it would be with ISO 100.

Now to the content. In the front to the left is the chapel of Saint Sebastian. Its place is at the northern end of the ambulatory. It was built in 1339. Its sculptures were carried out by Nicolas Blasset (1600-1659) in 1634. To the left of the altar stands Saint Roch with his dog, to the right stands Louis IX of France and above the altar stands Saint Sebastian. The female statues at the head of the altar are Justice (left) and Peace (right).

The altar carries a painting by Guillaume Hergosse (1640-1711). It shows the Crucifixion of Jesus.

Chapelle Saint-Sébastien


The is the center stone of the labyrinth in Amiens Cathedral. The inscription reads: “In the year of grace 1220, this work was begun. The blessed bishop of this diocese was then Evrard, King of France was Louis, son of Philippe le Sage. The one who was project manager was named Master Robert and nicknamed “of Luzarches”. After him came Master Thomas de Cormont and after him his son Master Renaut who put in this place, this inscription in the year of the incarnation 1288.”

La pierre centrale


The nave of Amiens Cathedral was built from 1220 to 1236.

In the nave of Amiens Cathedral


War memorial in Amiens Cathedral for the soldiers of Great Britain and Ireland who fell in WWI.

Monument aux morts


The portal of the “Vierge Dorée” (Golden Mary, mother of Jesus). If I understood right, those statues depict local saints.

Le portail de la Vierge Dorée

Le portail de la Vierge Dorée


All the photos in this article were made by myself and uploaded to Flickr beforehand.