absolute dichotomy between the good (Ami, Amile, Belissant, Gérard, faithful servants)
and the evil (Hardré and Lubias). All these components are, however, well integrated into
the King Cycle.
The story is also preserved in a late 12th-century Anglo-Norman romance, Amis e
Amilun, and a 15th-cen-tury miracle play, as well as in unpublished versions in prose.
The chanson de geste of Jourdain de Blaye is a continuation of Ami et Amile. Its
protagonist is the grandson of Ami. The two works form a little “Blaye Cycle.”
Peter F.Dembowski
[See also: ANGLO-NORMAN LITERATURE; CHANSON DE GESTE; KING
CYCLE; MIRACLE PLAYS]
Dembowski, Peter F., ed. Ami et Amile, chanson de geste. Paris: Champion, 1969.
Fukui, Hideka, ed. Amys e Amillyoun. London: Anglo-Norman Text Society, 1990. [Edition of
Anglo-Norman version.]
Danon, Samuel, and Samuel N.Rosenberg, trans. Ami and Amile. York: French Literature, 1981.
Dufournet, Jean. Ami et Amile, une chanson de geste de l’amitié. Paris: Champion, 1987.
[Bibliography, pp. 121–27.]
AMIENS
. Throughout the Middle Ages, Amiens (Somme) was an important artistic center known
for its architecture, sculpture, manuscript illumination, and painting. The cathedral is the
city’s outstanding monument. After a fire in 1218, rebuilding commenced ca. 1220 and
was substantially completed by 1269. The architect, Robert de Luzarches, was succeeded
by Thomas de Cormont and his son Renaud, who finished the upper levels and chevet.
Additions included 14th-century chapels in the nave, two western towers, and
reconstruction of the spire over the crossing after a 1528 fire.
Amiens represents the epitome of French Gothic architecture. The double-aisled, rib-
vaulted cathedral has seven bays in the nave, four in the choir, a slightly projecting
transept, and a chevet with seven radiating chapels. The 3:1 proportion of vault height to
nave width, and the elevation, whose arcade equals the combined height of the triforium
and clerestory, accent the verticality. Piers, ribs, and tracery of clerestory windows
convey an impression of lightness and skeletal linearity. Most of the medieval stained
glass has been destroyed.
On the exterior, the flying buttresses and sculptured portals typify the Gothic style.
The west façade, dated ca. the 1230s, with three recessed porches, is the most unified
iconographic and stylistic ensemble of French Gothic sculpture. The central portal depicts
the Last Judgment in the tympanum with the famous trumeau of Christ, Beau Dieu,
The Encyclopedia 57