Abstract This article explores the key role played by the faded polychromy of Notre-Dame d’Amiens, and notably of its liminal Vierge Dorée, in Victorian literary constructions of Early French Gothic, from William Morris’s pre-Guenevere prose writings in the Oxford and Cambridge Magazine (1856) to John Ruskin’s Bible of Amiens (1884), Walter Pater’s ‘Notre-Dame d’Amiens’ (1894), and Arthur Symons’s ‘Our Lady of Amiens’ (1903). Although Amiens Cathedral was the preferred Gothic edifice of none of these authors, it became a place of aesthetic pilgrimage in the second half of the nineteenth century for many Victorian artists and writers who longed to capture a glimpse of the vanishing colours of the medieval past in a rapidly changing industrial world. The Vierge Dorée presiding over the south transept thus came to encode, both metonymically and metaphorically, the ‘golden stain of time’, which Ruskin celebrated as ‘the real light, and colour, and preciousness of architecture’ and which Marcel Proust later interpreted as the creative union of ‘the nuance of the hour’ and ‘the colour of the ages’ in his own reading of these Victorian literary encounters with Amiens.

中文翻译：

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'时间的金色污点'：记住亚眠大教堂的颜色

摘要本文探讨威廉·莫里斯（William Morris）在牛津大学和剑桥大学（Guenevere）撰写的瓜纳弗雷前散文之前在维多利亚时代早期法国哥特式的文学作品中，圣母院（Notre-Dame d'Amiens）褪色的多色性，尤其是其门廊ViergeDorée所起的关键作用。杂志（1856年）至约翰·鲁斯金（John Ruskin）的《亚眠圣经》（1884年），沃尔特·帕特（Walter Pater）的《圣母大教堂》（Notre-Dame d'Amiens）（1894年）和亚瑟·西蒙斯（Arthur Symons）的《亚眠夫人》（1903年）。尽管亚眠大教堂是所有这些作家都不喜欢的哥特式建筑，但在19世纪下半叶，它成为许多维多利亚时代的艺术家和作家的朝圣之地，他们渴望捕捉一眼中世纪中世纪消失的色彩。快速变化的工业世界。主持南半球的ViergeDorée就这样编码了，