this number was increased to five or even seven. The skilful manner in which the early artists composed so difficult a field with so few subdivisions, is worthy of all admiration (Ill. 267). In the second half of the XIII century, Gothic sculpture became more realistic in character. The figures of the façade of Reims are as nearly perfect technically as any which the Middle Ages produced, but they are distinctly less architectural than those of the façade of Amiens. The great figures of the jambs are no longer arranged in rigid rows strictly subordinated to the vertical lines of the edifice, but are broken up into groups of two or three statues portraying persons engaged in conversation with each other, or even in action. Thus the visitation is represented by two perfectly delightful figures, Mary and Elizabeth, who stand talking together in the most easy and natural manner. Except for the sublimely beautiful face of Mary, this group is hardly idealized at all. The draperies, which are far richer than in the early Gothic period, fall in such soft clinging folds as to recall the Greek draperies of the V century. The folds of the garments are elaborate and minute; all attempt to accentuate their vertical lines has been abandoned. Similarly the posture of the figures has become freer; the weight is no longer distributed evenly on both feet, but one knee is usually bent, and the body, instead of holding itself rigidly upright, leans or bends to one side or the other. The faces, like the entire figure, have lost their heroic cast, and have become soft and tender. The growing love of realism had led the artists to abandon all effort to represent their saints as superior to human beings (Ill. 268). Thus even in such exquisite compositions as the sculptures of the façade of Reims or of the south transept portal of Amiens, we feel that we are face to face with the first signs of decadence. The idealism and the architectural character which had given early Gothic sculpture its inimitable character have begun to yield to realism. It was only a question of time before the sublime Beau Dieu of Amiens should be transformed into a commonplace French bourgeois. Yet the first step in this descent to Avernus was full of seductive charm. In the XIV century the decline was in full progress. Although but few examples of sculpture dating from this unhappy period have come down to us, it is evident that the art was rapidly losing its architectural character and becoming ever more realistic, ever less ideal, ever softer. The sculptors came to be interested above all in the dramatic presentation of their subjects, and sacrificed the architectural lines to obtain suitable spaces for the display of sculptured narrative. At length sculpture rebelled absolutely against the restrictions of architectural art, and at the end of the Gothic period it was evident that the day when the two must forever part company was not far distant. LIST OF GOTHIC MONUMENTS AMIENS, Somme. Église Cathédrale Notre Dame. (Ill. 219, 234, 236, 250, 253, 254, 265, 266, 289.) The most important documentary evidence for the date of Amiens is the inscription that was formerly placed in the labyrinth of the pavement. This inscription, preserved in several ancient documents, may be translated as follows: "In the year of grace 1220 this work was first begun. Evrard of blessed memory was then bishop of this diocese and Louis, son of Philippe the Wise [i.e., Philippe-Auguste] was king of France. (Sic.) He who was master builder was called Master Robert and surnamed de Lusarches. Master Thomas de Cormont succeeded him, and afterwards his son Master Regnault, who caused this inscription to be here placed in the year 1288."1 The only other evidence for the date of the commencement of the cathedral is another inscription placed over the Portail de la Vierge Dorée, but this, unfortunately, seems never to have been copied until 1 Memore quant leuvre de l'eglise de cheens fu commenchie et si comme il est escript el moilon de le maison Dedalus: En lan de grace mil IIc Ses filz maistre Regnault qui mettre Fist a chest point chy ceste lettre Que lincarnacion valoit XIIIC ans XII en faloit. Arch. de la Somme, Chapit. d'Am., Reg. aux Distrib. II., fol. 247, cit. Durand I, 23. |