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SERPENTISTS in CHARLES WILD's CHOIR of the CATHEDRAL of AMIENS (Ca. 1826)

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SERPENTISTS in CHARLES WILD's CHOIR of the CATHEDRAL of AMIENS (Ca. 1826) 3%20%.4)343 ). #(!2,%3 7),$3 #(/)2 /& 4(% #!4(%$2!, /& !-)%.3 CA $OUGLAS 9EO 4HE HISTORY OF THE SERPENT IN &RANCE HAS BEEN DOCUMENTED BY "EVAN 0ALMER AND OTHERS YET QUESTIONS AWAITING FURTHER RESEARCH REMAIN )N PARTICULAR DEBATE OVER THE HOLDING AND PLAYING POSITIONS OF THE INSTRUMENT RAGES IF SUCH A WORD CAN BE USED TO DESCRIBE ONGOING DISCUSSIONS OF AN ARGUABLY SMALL CADRE OF PLAYERS AND SCHOLARS &ROM ITS INVENTION CA BY #ANON %DM£ 'UILLAUME OF !UXERRE THE SERPENT lRST UTILIZED TO ACCOMPANY CHANT IN THE CHURCH WAS HELD IN A VERTICAL POSITION WITH THE PLAYER USUALLY STANDING )N THIS POSI TION THE HANDS OF THE PLAYER BOTH ARE hPALM DOWN v WITH HOLES AND CORRESPONDING TO THE ND RD AND TH lNGERS OF THE LEFT HAND AND HOLES AND CORRESPONDING TO THE SAME lNGERS OF THE RIGHT HAND !BB£ ,UNEL SERPENTIST AT .OTRE $AME DE 0ARIS lRST PROPOSED AN ALTERNATIVE COUNTERINTUITIVE AND MORE HORIZONTAL HAND POSITION WITH THE RIGHT HAND BEING HELD hPALM UP v WHEREBY FOR THE RIGHT HAND lNGERS WOULD CORRESPOND WITH HOLES AND (ERMENGE IN HIS -£THODE PROPOSED A FURTHER VARIATION ON THE HORIZONTAL POSITION 4HERE APPEARS TO BE LITTLE ARGUMENT AMONG PLAYERS AND SCHOLARS THAT MILITARY SERPENTS BOTH THOSE MADE IN %NGLAND AND THOSE FROM THE CONTINENT WERE CONSTRUCTED TO BE PLAYED IN THE HORIZONTAL POSITION 4HE DRILLING OF HOLES ON EXTANT HISTORICAL EXAMPLES OF MILITARY SERPENTS TENDS TO SUPPORT THIS VIEW ALTHOUGH IT IS TRADITION ALONE THAT ATTRIBUTES THIS PLAYING POSITION TO +ING 'EORGE ))) #HURCH SERPENTS ARE ANOTHER MATTER HISTORICAL SPECIMENS HELD AND PLAYED BY THE AUTHOR ALL HAVE lNGER HOLES THAT CLEARLY SUPPORT THE hPALM DOWNv POSITION (OWEVER WHILE MOST PLAYERS WHO PLAY hPALM UPv PREFER TO HAVE THE lNGER HOLES OF THE RIGHT HAND DRILLED DIFFERENTLY THAN THOSE FOR A hPALM DOWNv INSTRUMENT A SERPENT CONSTRUCTED FOR THE hPALM DOWNv POSITION CAN BE PLAYED hPALM UPv ALBEIT WITH SOME CONTORTION OF THE RIGHT HAND THE DRILLING OF lNGER HOLES DOES NOT TELL THE WHOLE STORY AS TO PREFERRED PLAYING POSITION OF THE SERPENTIST 7HILE MANY MODERN CHURCH SERPENTISTS IN %NGLAND HOLD THE CHURCH SERPENTS hPALM UP v CONTEMPORARY &RENCH PLAYERS OF THE CHURCH SERPENT SEEM TO PREFER hPALM DOWNv )N THE INTEREST OF FULL DISCLOSURE MY PREFERENCE IS FOR hPALM DOWNv WHEN PLAYING BOTH MY MODERN -ONK 7ORKSHOP CHURCH SERPENT AND MY HISTORIC CHURCH SERPENT BY "AUDOUIN CA 7ITH SUCH A DIVERSITY OF PREFERENCE EXHIBITED BY MODERN PLAYERSA DIVERSITY THAT MAY SIMPLY BE ATTRIBUTED TO PERSONAL COMFORT RATHER THAN HISTORICAL PRECEDENTICONOGRAPHICAL EVIDENCE MAY BE HELPFUL IN OBSERVING THE PLAYING POSITION AND POSTURE HABITS OF HISTORICAL CHURCH SERPENTISTS IN &RANCE ()34/2)# "2!33 3/#)%49 */52.!, &IGURE #HARLES 7ILDS #HOIR OF THE #ATHEDRAL OF !MIENS 9%/ )N ) CAME INTO POSSESSION OF A HAND COLORED ENGRAVING DEPICTING THE CHOIR AND ALTAR DURING HIGH -ASS IN A 'OTHIC STYLE CHURCH 4HE SINGLE PAGE APPEARED TO BE AN INTACT LEAF FROM A FOLIO MOUNTED ON STIFF PAPER &IGURE 4HE PRINT MEASURES CM X CM AND IS MOUNTED ON A BACKING MEASURING CM X CM ! THIN LINE DRAWN ON THE BACKING SERVING AS A BORDER IN INK APPEARS CM OUT FROM THE PRINT /F PARTICULAR INTEREST IS THE FACT THAT TWO SERPENTISTS PLAYING hPALM DOWNv ARE SHOWN IN THE ENGRAVING ONE ON EACH SIDE OF THE CHOIR4HIS IS THE ONLY DRAWING OF WHICH ) AM AWARE THAT SHOWS TWO SERPENTISTS PLAYING IN A CHOIR 4HE ENSUING SEARCH TO IDENTIFY THE ARTIST AND THE CHURCH DEPICTED WAS FRAUGHT WITH FRUSTRATIONS AND DIFlCULTIES AS WELL AS UNEXPECTED DISCOVERIES AND PLEASURES WITH SIGNIlCANT IMPLICATIONS REGARDING MUSICAL LIFE IN CHURCHES IN &RANCE 4HE #ATHEDRAL OF .OTRE $AME D!MIENS 4HE MOST DISTINCTIVE FEATURES OF THE CHURCH PICTURED IN THE ENGRAVING ARE THE UNIQUE HIGH ALTAR WITH A DISTINCTIVE GLORY AND THE ELABORATELY CARVED CHOIR STALLS ! SURVEY OF BOOKS ON &RENCH 'OTHIC ARCHITECTURE IN THE "OSTON 0UBLIC ,IBRARY LED TO IDENTIlCATION OF THE CHURCH AS THE #ATHEDRAL OF .OTRE $AME D!MIENS &RANCE 4HE INTRODUCTION OF #HRISTIANITY TO !MIENS WHICH BECAME THE CAPITAL OF 0ICARDY 0ICARDIE CAME IN THE FOURTH CENTURY WITH 3AINT &IRMIN &IRMINUS AS THE lRST BISHOP (IS MARTYRDOM DURING THE RULE OF %MPEROR $IOCLETION RESULTED IN HIS BEING BURIED OUTSIDE THE CITY WALLS "Y THE MID FOURTH CENTURY A BASILICA WAS BUILT TO PROTECT 3AINT &IRMINS BURIAL ALTHOUGH IT WAS DESTROYED DURING THE PERSECUTION OF #HRISTIANS SHORTLY THEREAFTER )N THE SEVENTH CENTURY 3AINT (ONOR£ DISCOV ERED THE GRAVE OF &IRMIN AND OTHER MARTYRS AND HAD THEIR BONES REMOVED TO A NEW LOCATION WITHIN THE CITY WALLS WHERE A CATHEDRAL WAS CONSTRUCTED TO HOUSE THE RELICS 4HE CATHEDRAL SUFFERED DEVASTATING lRES IN AND %VEN BEFORE THE lRE OF PLANS WERE FORMING IN !MIENS TO BUILD A NEW CATHEDRAL )N 7ALLON DE 3ARTON #ANON OF 0ICQUIGNY BROUGHT TO !MIENS WHAT HE BELIEVED TO BE THE HEAD OF *OHN THE "APTIST WHICH HE OBTAINED DURING THE &OURTH #RUSADE $ESIRING A CATHEDRAL OF SUFlCIENT MAJESTY TO HOUSE THE NEW RELIC AS WELL AS THE BONES OF 3AINT &IRMIN "ISHOP %VRARD DE &OUILLOY OVERSAW THE BEGINNING OF CONSTRUCTION OF THE PRESENT CATHEDRAL IN WHICH WAS DESIGNED BY 2OBERT DE ,USARCHES ,UZARCHES AFTER "ISHOP %VRARDS DEATH 4HOMASDE#ORMONTA£DHISSON 2ENAUD CONTINUEDOVERSEEING CONSTRUCTION 7ORK PROCEEDED AT SUCH A RAPID PACE THAT IN THE NAVE WAS COMPLETED AND THE #ATHEDRAL COULD BE USED FOR WORSHIP ,ACK OF FUNDS INTERRUPTED CONSTRUCTION FROM AFTER WHICH TIME WORK RESUMED THE MAIN STRUCTURE WAS COMPETED BY 4HE SIDE CHAPELS WERE CONSTRUCTED BETWEEN AND THE FA½ADE AND SOUTH TOWER IN AND THE NORTH TOWER IN THE EARLY lFTEENTH CENTURY .OTRE $AME D!MIENS IS THE LARGEST 'OTHIC #ATHEDRAL IN &RANCE AND REPRESENTS THE PINNACLE OF HIGH 'OTHIC ARCHITECTURE IN THAT COUNTRY !MONG ITS PRINCIPAL GLORIES ARE THE MAGNIlCENTLY CARVED CHOIR STALLS WHICH WERE CARVED BETWEEN AND SEE BELOW 4HE HIGH ALTAR AND UNIQUE GLORY WITH CLOUDS AND SCULPTURE OF ANGELS DATE FROM THE EIGH TEENTH CENTURY SEE &IGURE ()34/2)# "2!33 3/#)%49 */52.!, &IGURE #ONTEMPORARY VIEW OF THE CHOIR HIGH ALTAR AND GLORY AT .OTRE $AME D!MIENS 0HOTO BY $OUGLAS 9EO 4HE PRINT (AVING IDENTIlED THE SUBJECT OF THE ENGRAVING AS THE HIGH ALTAR AND CHOIR OF !MIENS AT TENTION TURNED TO DETERMINING THE ARTIST AND DATE OF THE PRINT -ARJORIE #OHN OF (ARVARD 5NIVERSITYS &OGG !RT -USEUM WAS CERTAIN AFTER EXAMINING THE PRINT THAT IT DATED FROM THE EARLY NINETEENTH CENTURY WAS %NGLISH AND WAS A HAND COLORED AQUATINT WATERCOLOR ENGRAVING ! SIGNIlCANT DISCOVERY CAME AFTER MANY MONTHS WHEN ) PURCHASED A USED COPY OF 4 &RANCIS "UMPUS 4HE #ATHEDRALS OF &RANCE "UMPUS BOOK CONTAINS A DETAILED DESCRIP TION OF SEVERAL DOZEN &RENCH CATHEDRALS AS WELL AS REPRODUCTIONS OF ETCHINGS AND DRAWINGS BY VARIOUS ARTISTS AND COLOR PLATES BY ( -ARSHALL /NE CAN ONLY IMAGINE THE SHOCK AND SURPRISE WHICH ENSUED WHEN BETWEEN PAGES AND A BLACK AND WHITE PLATE WAS FOUND THAT REPRODUCED IN MINIATURE THE PRINT IN QUESTION WITH THE CAPTION h!MIENS #ATHEDRAL 4HE #HOIR $URING (IGH -ASS &ROM A DRAWING BY 7ILD v 4HE ARTIST -ARJORIE #OHN SEEMED CERTAIN THAT THE h7ILDv IN QUESTION WAS #HARLES 7ILD AN ARCHITECTURAL WATERCOLORIST WHO PROVIDED MANY IMAGES FOR PORTFOLIOS OF VIEWS OF GOTHIC CHURCHES AND BUILDINGS IN "RITAIN AND ON THE #ONTINENT "ORN IN ,ONDON HE WAS PERHAPS BEST KNOWN FOR A SERIES OF SIX WORKS ON %NGLISH CATHEDRALS #ANTERBURY 9ORK #HESTER 9%/ ,ICHlELD ,INCOLN 7ORCESTER WHICH APPEARED BETWEEN AND 7ILD BECAME A FULL MEMBER OF THE h/LD 7ATERCOLOURv 3OCIETY IN AND SERVED AS THE 3OCIETYS TREASURER IN AND LATER AS SECRETARY &URTHER RESEARCH YIELDED INFORMATION ABOUT A VOLUME OF 7ILDS 4WELVE 3ELECT %XAMPLES OF THE %CCLESIASTICAL !RCHITECTURE OF THE -IDDLE !GES #HIEmY IN &RANCE CA CONTAINING TWELVE AQUATINT PRINTS OF EXTERIOR AND INTERIOR VIEWS OF EIGHT CATHEDRALS INCLUDING THREE OF !MIENS ! SINGLE COPY OF THE FOLIO EXISTS IN THE 5NITED 3TATES AT (ARVARD 5NIVERSITYS (OUGHTON ,IBRARY 4HE (OUGHTON ,IBRARYS COPY OF 7ILDS 4WELVE 3ELECT %XAMPLES OF THE %CCLESIASTICAL !RCHITECTURE OF THE -IDDLE !GES #HIEmY IN &RANCE lNDS THE TWELVE PRINTS BOUND IN A HALF PURPLE MOROCCO GREEN CLOTH PORTFOLIO CASE4HE COVER IS STAMPED WITH THE TITLE 7ILDS &OREIGN #ATHEDRALS .O TITLE PAGE OR TEXT IS INCLUDED ALTHOUGH WHEN THE VOLUME WAS DEPOSITED AT THE (OUGHTON ,IBRARY IN THE BOOK WAS POSITIVELY IDENTIlED AS 7ILDS 4WELVE 3ELECT %XAMPLES BY COMPARISON TO THE CONTENTS LISTED IN A NUMBER OF CATALOGS AND SOURCE BOOKS ON ENGRAVINGS AND WATERCOLORS 4HE ENGRAVING IN QUESTION IS NUMBER IN 7ILDS FOLIO #HOIR OF THE #ATHEDRAL OF !MIENS AND BOTH MY COPY AND THE COPY IN THE (OUGHTON ,IBRARY ARE IDENTICAL IN SIZE CLARITY OF ENGRAVING AND AQUATINT &IGURE $ETAIL OF SERPENT PLAYER IN NORTH CHOIR FROM 7ILDS #HOIR OF THE #ATHEDRAL OF !MIENS ()34/2)# "2!33 3/#)%49 */52.!, &IGURE $ETAIL OF SERPENT PLAYER IN SOUTH CHOIR FROM 7ILDS #HOIR OF THE #ATHEDRAL OF !MIENS 4HE SERPENTISTS !N EXAMINATION OF THE TWO SERPENT PLAYERS IN 7ILDS ENGRAVING OF THE h#HOIR OF THE #A THEDRAL OF !MIENSv REVEALS SEVERAL DETAILS &IRST BOTH PLAYERS ARE SHOWN TO BE HOLDING THEIR SERPENTS IN THE hPALM DOWNv POSITION "EFORE DRAWING ANY CONCLUSIONS AS TO THE ACCURACY OF 7ILDS DEPICTION OF THE SERPENTISTS THE AUTHOR CAREFULLY COMPARED IMAGES IN THE PRINT WITH THE ACTUAL ARCHITECTURE AND FURNISHINGS OF !MIENS #ATHEDRAL 7ILDS ATTENTION TO DETAIL WAS FOUND TO BE REMARKABLE EVEN DUPLICATING THE EXACT NUMBER OF PANELS OF GLASS IN THE WINDOWS AND RAYS OF hLIGHTv FROM THE GLORY BEHIND THE HIGH ALTAR 7HILE ONE CAN ONLY OFFER CONJECTURE AS TO WHETHER 7ILD DREW HIS PREPARATORY SKETCHES FOR THE ENGRAVING DURING AN ACTUAL SERVICE OR LATER RECONSTRUCTED
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