When Bishop Guillaume de Seignelay was transferred to the see of Paris, in 1220, he worked on the west façade of Notre Dame of the capital, and his successor at Auxerre, Henri de Villeneuve, completed the choir of St. Étienne in 1234. Two lancets in the sanctuary are his gifts. The cathedral of Auxerre was building at both ends, while between lay the ancient Romanesque nave. The easternmost bay of the nave is XIII century, but the next five bays were erected only during the XIV century, at which time most of the statues of the western portals were done. With the choir’s superb stained glass they form the supreme accessory of this cathedral. M. Enlart holds Auxerre’s imagery to be, for delicacy and charm, among the best produced by the XIV century, and that the statuettes of the Liberal Arts, in the spandrels over the canopies of the David-Balthazar groups, are equal to Greek terra-cotta figurines. The Judgment of Solomon by the northwest door is excellent. Within and without the stonecutting of the transept’s southern façade should be observed. At that entrance appeared an early example of an accoladed arch, cited by M. Enlart as an indication of the English derivation of Flamboyant Gothic in France, since during the XIV century they were masters of Auxerre for a time.
As the Hundred Years’ War relaxed building enterprise, the nave was not covered by a masonry roof till the XV century, about the time when Jeanne d’Arc paused to pray in Auxerre Cathedral on her memorable journey of eleven days from Lorraine to Touraine, across a France ravaged by civil and foreign wars.[299] The gracious Flamboyant west front of Auxerre’s chief church is an expression of the hope and national pride renewed in France by the Maid’s feat at Orléans. The well-designed north tower proves that the final phase of Gothic art in France did not pass away in decrepitude; had only the south tower been raised above the roof, this frontispiece could claim foremost rank.
For bold and light construction Auxerre’s choir is notable, and it made a school in Burgundian Gothic. It has only one radiating chapel—that in the axis—because it followed the ground plan of the Romanesque crypt, its foundation. The charming Champagne disposition of planting columns between chapel and ambulatory was made use of; perhaps the pillars and stilted arches of Auxerre are rather too frail in their proportions. The same feature was used in the abbey church of St. Germain, and when the church of St. Eusèbe[300] rebuilt its chevet, in the XV century, pillars were again placed to divide the curving aisle and the radiating chapels.
Auxerre Cathedral showed another trait of the Champagne school of Gothic—an interior passageway beneath the aisle windows. The plain wall below it is relieved by a kind of arched corbel course not very satisfactory; the arches and the capitals upon which they rest are present, but there is no shaft to support the capitals, from above each of which reaches out a well-sculptured head. One of these busts represents the Erythræan priestess referred to in the Dies iræ:
That day of wrath, that dreadful day,
When Heaven and Earth shall pass away,
As David and the Sibyl say.
The XIII century distinguished only that one sibyl whom St. Augustine’s City of God had popularized as the prophetess of the Last Judgment, but later in the Middle Ages all ten of them were represented, and certain Renaissance windows represented as many as twelve pagan prophetesses.
The placing of sculptured heads in the spandrels of arches was not infrequent in Burgundy, though occasionally merely one salient crocket was used. The cathedral of Nevers,[301] south of Auxerre, went a step farther and chiseled a small figurine in the spandrels of its triforium, like the angels of Lincoln’s choir. Moreover, the colonettes of Nevers’ triforium are borne on the backs of small crouching caryatides—a Lombard echo. In France, Nevers’ cathedral of St. Cyr was exceptional in having an apse at both east and west ends, like a Rhenish church. One is forced to relegate the beautiful little capital of the Nivermois to a footnote, which is what France herself seems to be doing to the well-set town on the Loire which in England or beyond the Rhine would be made into a small residence city. Its palace, parks, cathedral, and numerous churches, its faïence industry and fortifications give it the air of a little capital.
Auxerre is another Mecca of stained glass in France. Its choir possesses almost forty windows (1220-30) of the school of Chartres, half of them being in the ambulatory and Lady chapel. Unfortunately, the lower panels were wrecked in 1567, and the east window of the axis chapel was destroyed in the Franco-Prussian war; the grisaille design throughout is mastery. The opaline loveliness of the choir’s clearstory grisaille has drawn from M. Viollet-le-Duc one of his most eloquent pages.[302][302] Each bay is filled with twin lancets surmounted by a rose; each lancet has a large figure set in uncolored glass—one of the first attempts made to give more light to an interior. Those crusading generations visioned their Heavenly Jerusalem in sculpture at Vézelay, in color at Auxerre:
With jaspers glow thy bulwarks,
Thy streets with emeralds blaze,
The sardius and the topaz
Unite in thee their rays:
Thine ageless walls are bonded
With amethyst unpriced;
The saints build up its fabric,
And the corner stone is Christ.
They stand, those halls of Zion,
Conjubilant with song,
And bright with many an angel,
And all the martyr throng:
The Prince is ever in them;
Their daylight is serene,
The pastures of the blessed
Are decked in glorious sheen.