Cathedral (FIG. 18-8) in the spacing of the funnel-like and gable-
covered portals. But the Amiens builders punctured the upper parts
of the facade to an even greater degree than did the Laon designer.
The deep piercing of walls and towers at Amiens left few surfaces for
decoration, but sculptors covered the ones that remained with a net-
work of colonnettes, arches, pinnacles, rosettes, and other decorative
stonework that visually screens and nearly dissolves the structure’s
solid core. Sculpture also extends to the areas above the portals, espe-
cially the band of statues (the so-called kings’ gallery) running the
full width of the facade directly below the rose window (with 15th-
century tracery). The uneven towers were later additions. The shorter
one dates from the 14th century, the taller one from the 15th century.
BEAU DIEUThe most prominent statue on the Amiens facade is
the Beau Dieu(Beautiful God;FIG. 18-22) on the central doorway’s
trumeau. The sculptor fully modeled Christ’s figure, enveloping his
body with massive drapery folds cascading from his waist. The statue
stands freely and is as independent of its architectural setting as any
Gothic facade statue ever was. Nonetheless, the sculptor still placed
an architectural canopy over Christ’s head. It is in the latest Gothic
style, mimicking the east end of a 13th-century cathedral having a
series of radiating chapels with elegant lancet windows. Above the
canopy is the great central tympanum with the representation of
Christ as Last Judge. The Beau Dieu,however, is a handsome, kindly
figure who does not strike terror into sinners. Instead he blesses those
who enter the church and tramples a lion and a dragon symbolizing
the evil forces in the world. This image of Christ gives humankind
hope in salvation. The Beau Dieu epitomizes the bearded, benevolent
Gothic image of Christ that replaced the youthful Early Christian
Christ (FIG. 11-8) and the stern Byzantine Pantokrator (FIGS. 12-1and
12-25) as the preferred representation of the Savior in later European
art. The figure’s quiet grace and grandeur also contrast sharply with
the emotional intensity of the twisting Romanesque prophet (FIG.
17-11) carved in relief on the Moissac trumeau.18-21Robert de Luzarches, Thomas de Cormont,and Renaud
de Cormont,west facade of Amiens Cathedral, Amiens, France, begun
1220.
The deep piercing of the Amiens facade left few surfaces for decoration,
but sculptors covered the remaining ones with colonnettes, pinnacles,
and rosettes that nearly dissolve the structure’s solid core.
18-22Christ
(Beau Dieu),
trumeau statue
of central door-
way, west facade,
Amiens Cathedral,
Amiens, France,
ca. 1220–1235.
The Beau Dieuis
a kindly figure
who blesses all
who enter Amiens
Cathedral. He
tramples a lion
and dragon sym-
bolizing the evil
forces in the world.
The Gothic Christ
gives humankind
hope in salvation.French Gothic 475