1 John Ruskin, The Works of John Ruskin, ed. by E. T. Cook and Alexander Wedderburn, 39 volumes, London: George Allen, 1903–12, volume 35, The Bible of Amiens [1880–85], p. 121. Henceforth references to Ruskin will be to this ‘Library Edition’ of Ruskin’s Works, in abbreviated and self-explanatory form. Ruskin describes the Gothic at Amiens as ‘pure’ on the same page. The Bible of Amiens was published in five octavo parts 1880, 1881, 1882, 1883 and 1885, Part Five comprising the Appendices, Index and Preliminary Matter. It was published in volume form in 1884.
3 Ruskin refers the reader to Eugène Viollet-le-Duc, Dictionnaire raisonné de l’architecture française du xie au xvie siècle, Paris, B. Bance, volume 1, 1858, ‘Arc-Boutant’, p. 60–87, p. 71. On the similarities and differences between these two contemporaries, see Nikolaus Pevsner, Ruskin and Viollet-le-Duc: Englishness and Frenchness in the Appreciation of Gothic Architecture, London, Thames and Hudson, 1969 and David Spurr, Architecture and Modern Literature, Michigan, University of Michigan Press, 2012, chapter 4 ‘Figures of Ruin and Restoration: Ruskin and Viollet-le-Duc’, p. 142–61.
4 Walter Pater, ‘Notre-Dame d’Amiens’, The Nineteenth Century, March, 1894, reproduced in Walter Pater, The Works of Walter Pater, 8 vols, London, Macmillan, 1901, volume 8, Miscellaneous Studies: A Series of Essays, p. 109–25, p. 112; p. 120. Henceforth references to Pater will be to this collected Works, self-explanatorily. See Eugène Viollet-le-Duc, Dictionnaire raisonné de l’architecture française du xie au xvie siècle, Paris, B. Bance, volume 2, 1859, ‘Cathédrale’, p. 279–392, p. 330. Ruskin, 33.121n*.
5 For example, ‘c’est comme un grand réservoir d’air et de lumière’, E. Viollet-le-Duc, op. cit., 1859, cited n. 4, p. 330.
6 Charlotte Ribeyrol, ‘“The golden stain of time”: remembering the colours of Amiens Cathedral’, Word & Image: A Journal of Verbal/Visual Enquiry, 36/1, 2020, p. 37–47.
7 John Ruskin, op. cit., 33, p. 25.
8 The natures of Ruskin and Pater’s sex lives remain murky, in effect they were both lifelong bachelors. Famously, Ruskin’s marriage to Euphemia Gray was annulled. Effie went on to marry Ruskin’s sometime friend and Pre-Raphaelite protégé John Everett Millais. In later life Ruskin became infatuated with the much younger and ultimately unavailable Rose La Touche. See Tim Hilton, John Ruskin: The Early Years 1819–1859, New Haven and London, Yale University Press, 1985, and John Ruskin: The Later Years, New Haven and London, Yale University Press, 2000. Pater was famously implicated in a scandal in 1874 involving the undergraduate William Money Hardinge, known as ‘the Balliol bugger’; there may have been ‘incriminating’ letters. See Denis Donoghue, Walter Pater: Lover of Strange Souls, New York, Alfred A. Knopf, 1995, p. 58–62.
9 See Jeremy Melius on Ruskin and Aby Warburg, ‘Ruskin’s Copies’, Critical Inquiry, 42/1, autumn 2015, https://doi.org/10.1086/682996, accessed 19/5/2021; Sam Rose, Art and Form: From Roger Fry to Global Modernism, University Park, Pennsylvania: The Pennsylvania State University Press, 2019, esp. introduction; and Thomas Hughes, ‘Subjectivity, Historical Imagination and the Language of Art History’, The Journal of Art Historiography, 23, December 2020, https://arthistoriography.files.wordpress.com/2020/11/hughes.pdf, accessed 11/1/2021.
10 John Ruskin, op. cit., 10, p. 180–269.
11 E.g. John Ruskin, op. cit., 33, p. 160.
12 John Ruskin, op. cit., 33, p. 141–42.
13 For details about the photographs used see Appendix 2, 33.178.
14 Walter Pater, op. cit., 8, p. 119–20.
17 John Ruskin, op. cit., 33, p. 125, emphasis Ruskin’s.
18 Walter Pater, op. cit., 8, p. 123.
19 John Ruskin, op. cit., 23, p. 214–16.
21 For example: John Ruskin, op. cit., 33, p. 156, 165.
23 In the twenty-first century the architect Lars Spuybroek has noticed this adaptive potential in the Gothic, drawing on Ruskin to envision digital Gothic cities. The Sympathy of Things: Ruskin and the Ecology of Design, London and New York, Bloomsbury, 2016 [2011].
24 John Ruskin, op. cit., 33, p. 129–30.
26 John Ruskin, op. cit., 33, p. 163.
27 Walter Pater, 8, p. 109–10.
29 Ibid., 8, p. 110–11. John Ruskin, op. cit., 33, p. 132.
30 In an interesting essay Matthew Beaumont has reflected on Pater’s politics and his pursuit of ’an individualist and, more covertly, a collectivist solution’, ‘A Communion of Just Men Made Perfect: Walter Pater, Romantic Anti-Capitalism and the Paris Commune’, Renew Marxist Art History, Warren Carter, Barnaby Haran and Frederic J. Schwartz (ed.), London, Art Books, 2013, p. 94–106 (p. 104). The collectivist dimension is not so covert at Amiens.
31 Walter Pater, op. cit., 8, p. 117, Pater’s emphasis.
32 Ibid., 8, p. 111, 115.
33 Bernard Richards, ‘Pater and Architecture’, Pater in the 1990s, Laurel Brake and Ian Small (ed.), Greensboro NC, ELT Press, 1991, p. 189–204, p. 200. My analysis of Pater’s transformations of the politics of Ruskin’s Gothic in ‘Notre Dame’ parallels Richards’s essay, although it was not the case that Ruskin lost his faith, nor was Ruskin consistent in his ‘partiality and commitment to particular epochs and styles’ (p. 191).
34 John Ruskin, op. cit., 33, p. 121.
35 See Walter Pater, op. cit., 1, p. viii, Pater’s emphasis.
39 Ibid., 8, p. 122, Pater’s emphasis.