The old font at Amiens is very ancient, older than the church.  It is seven feet long, and stands on short square piers:  it resembles a stone coffin, and was apparently so made that a grown person might be baptized by immersion, by lying at full length.  Angels holding scrolls are carved at its four corners, otherwise it is very plain.  There is an ancient Byzantine crucifix at Amiens, on which the figure of Our Lord is fully draped, and on his head is a royal crown instead of thorns.  The figure, too, is erect, as if to invite homage by its outstretched arms, instead of suggesting that the arms had to bear the weight of the body.  Indeed, it is a Christ triumphant and regnant though crucified—­a very unusual treatment of the subject in the Middle Ages.  It was brought from the East, in all probability, by a returning warrior from the Crusades.

The foundation of Chartres was very early:  the first Bishop St. Aventin occupied his see as early as 200 A. D. The early Gothic type in figure sculpture is always characterized by a few features in common, though different districts produced varying forms and facial expressions.  The figures are always narrow, and much elongated, from a monumental sentiment which governed the design of the period.  The influence of the Caryatid may have remained in the consciousness of later artists, leading them to make their figures conform so far as expedient to the proportions of the columns which stood behind them and supported them.  In any case, it was considered an indispensable condition that these proportions should be maintained, and has come to be regarded as an architectural necessity.  As soon as sculptors began to consider their figures as realistic representations of human beings instead of ornamental motives in their buildings, the art declined, and poor results followed.

The west porch of Chartres dates from the twelfth century.  The church was injured by fire in 1194.  In 1226 certain restorations were made, and an old chronicle says that at that time it was quite fire-proof, remarking:  “It has nothing to fear from any earthly fire from this time to the day of Judgment, and will save from fires eternal the many Christians who by their alms have helped in its rebuilding.”  The whole edifice was consecrated by St. Louis on Oct. 17, 1260.  The King gave the north porch, and several of the windows, and the whole royal family was present at this impressive function.

About the time of William the Conqueror it became customary to carve effigies on tombstones, at first simple figures in low relief lying on flat slabs:  this idea being soon elaborated, however, into canopied tombs, which grew year by year more ornate, until Gothic structures enriched with finials and crockets began to be erected in churches to such an extent that the interior of the edifice was quite filled with these dignified little buildings.  In many instances it is quite impossible to obtain any view of the sanctuary except looking directly down the central aisle; the whole ambulatory is often one continuous succession of exquisite sepulchral monuments.