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AMIENS CATHEDRAL
" I ——■
Washington.—“ln some respects the
reported destruction of the Cathedral
of Amiens at the hands of the Ger
mans.’whose big guns have been bom
barding the ancient capital of Picardy
for several weeks, is almost as great •.
loss to the art world as the demolition
of the most historic Cathedral of
Rheims,” says a war geography bul
letin issued tocjay from the Washing
ton headquarters of the National Geo
graphic Society.
“The Amiens Cathedral enjoyed the
distinction of being the largest eccle
siastical structure in France and was
one of the finest examples of Gothic
architecture in the world.
“Unlike the great majority of me
dieval cathedral, the erection of which
extended over periods of several hun
dreds of years, the Amiens Cathedral
was practically completed (at least,
roofed-ini within the span of a single
lifetime, having been started in 1220
and finished in 1288. Robert de Lu
zarches was the great architect who
began its construction and his work
was carried on by Thoma? de Cormont
and the latter’s son Renault. It would
probably have been completed in an
even shorter period of time had not fi
nancial difficulties been encountered in
2187, followed by a serious fire some
years later.
“Strange as it may seem, there is
considerable discrepancy on the part
of generally accepted authorities as to
the exact dimensions of this edifice,
one giving its length as 475 feet, an
other 470 feet, a third at 469 feet and
a fourth 442 feet. There is an equal
diversity of opinion as to the length
of the transepts, which approximates
215 feet, while the great nave is in the
neighborhood of 140 feet in width with
an interior height of perhaps a few’ feet
more than that, the vaulting being sup
ported by 126 great columns.
“There is (or was) a slender central
spire which towered to a height of
more than 350 feet. The two side tow
ers of the western facade are without
spires,
“This cathedral is notably rich in
Ms external sculpture, many pieces of
statutry approaching in beauty of
form and grace of design the marbles
of the ancient Greeks. The sculpture
of the famous western facade tells al
most the complete story of the Bible
in the only universal language—the
language of pictures, in this instance
marble pictures,
"In view of the destruction which
has overtaken this great edifice dur
ing the last few days, it is pathetic to
read the following comment of a fa
mous authority on cathedrals, writing
in 1910: ‘At Amiens we see what is
rare in France, a cathedral finished,
and one, moreover, that seems alto
gether to have escaped the ravages of
revolutionary fanaticsm. None of the
sculptures, which are so numerous and
so interesting, has received any other
injury than what time and weather
have effected in exposed spots.’
“Perhaps no better idea of the beauty
and grandeur of Amiens can be gained
than from the following description,
written 80 years ago:
“ ‘lf you have never heard and seen
it, you cannot imagine the sublimity
of a procession in such a church as
that of Amiens. I can almost fancy
that I see it now, as 1 saw it for the
first time. The stupendons height of
the vaulted roof, the rich foliage of the
piers -the tall lancet arches throwing
upward, the interlacings of
the dedtfrated window tracery—the
richness of the stained glass, the glow
of the sunligrft on the southern chap
els, —the knotted intricacies of the
vaulting ribs,—the flowers, the wreaths
and holy symbols that hang self-pois
ed over the head, —the graceful shafts
of the triforium, —the carved angels
that with out-stretched wings keep
guard over the sacred building,—the
delicately carved choir stalls, the gor
geous altar seen faintly beyond,—the
sublime apse, with its inimita, slim
lancets, carrying the ye up, higher
and higher, through the dark triforium
gallery, through the blaze of the crim
son clerestorey, to the solemn grandeur
of the vaulted roof, lights and carv
ing, and jewels and gold, and the
sunny brightness of the nave, and the
solemn greyness of the choir, —these
all are but accessories of the scene.
The huge nave piers rise from the
midst' of a mighty multitude —the
high-born lady, the peasant mother
with her infant, the gray-haired lab
orer, the gay bourgeoulsie, —the child
that knows only the sanctity of the
place, the strong man and the cripple,
—the wise and the unlearned, the
great man and the small, —he rich and
the poor,—all meet at equals.’
“That scene is gone forever for
Amiens. Her noble and ancient place
of worship is a shattered, smoldering
ruin; her devout multitude is scatter
ed —homeless and helpless. The spirit
of Amiens alone survives."
119TH ORDNANCE.
Sergt. Maddln’s Recount Staff.
Corporal Hun.. Chief of Staff
Corp. L’llmer Adjutant of Staff
Private Monaham Aide de Camp.
Private Naclavio Chief Clerk
Dad Kinnane On The Look Out.
When the 119th Ordnance eDpot Co.
Class George. GUgn was given a 1903
model NOSE BAG.
TRENCH AND CAMP
-.z -i fee,
GUFT THAT FIRED FIRST JHOJ FOR
FIRST GUN FIRED BY AMERICANS IN WAR.
This French gun was the first to be fired by the Americans in the war. The writing on the shield
shows it was fired October, 1917, when the first Am’ericans w'ent into the trenches for training.
THE SQUAD
There, lives a squad of sunburned men,
Not different from the tender bunch,
That came to camp three months ago
So pale faced, with consumptive
hunch.
The banker counts not coin, but ca
dence.
For the sociologist,
The salesman’s left his grips to spade
Up rocks with the geologist.
The farmer is the acting non-com.,
Driving details through the sand.
The bright pianist lifts his pick
With strong, once nimble fingered
hand.
The teacher’s laid aside his ways,
Once pedagogic, serious;
He bluffs on “eights” and always plays
In glee that’s most delicious.
The teller, teacher, farmer, clerk.
Alike are sturdy, tanned and hard.
They never grumble, never shirk,
At K. P„ drill or midnight guard.
Civilians once— true soldier man
From hob-nailed shoes to flimsy hat
Just "privates” in the IT. S. A.
But real men for all of that.
CLARENCE R. ROREM,
Hqrs. Sy. Co., Ord. T. C.
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v JUNE 12.