Around Troyes the natural picturesque is to be sought only in the rich, almost coarse, summer colouring of the Champagne country, of which the very tiles, the plaster and brick-work of its tiny villages and great, straggling, village-like farms have caught the warmth.  The cathedral, visible far and wide over the fields seemingly of loose wild-flowers, itself a rich mixture of all the varieties of the Pointed style down to the latest Flamboyant, may be noticed among the greater French churches for breadth of proportions internally, and is famous for its almost unrivalled treasure of stained glass, chiefly of a florid, elaborate, later type, with much highly conscious artistic contrivance in design as well as in colour.  In one of the richest of its windows, for instance, certain lines of pearly white run hither and thither, with delightful distant effect, upon ruby and dark blue.  Approaching nearer you find it to be a Travellers’ window, and those odd lines of white the long walking-staves in the hands of Abraham, Raphael, the Magi, and the other saintly patrons of journeys.  The appropriate provincial character of the bourgeoisie of Champagne is still to be seen, it would appear, among the citizens of Troyes.  Its streets, for the most part in timber and pargeting, present more than one unaltered specimen of the ancient hotel or town-house, with forecourt and garden in the rear; and its more devout citizens would seem even in their church-building to have sought chiefly to please the eyes of those occupied with mundane affairs and out of doors, for they have finished, with abundant outlay, only the vast, useless portals of their parish churches, of surprising height and lightness, in a kind of wildly elegant Gothic-on-stilts, giving to the streets of Troyes a peculiar air of the grotesque, as if in some quaint nightmare of the Middle Age.

At Sens, thirty miles away to the west, a place of far graver aspect, the name of Jean Cousin denotes a more chastened temper, even in these sumptuous decorations.  Here all is cool and composed, with an almost English austerity.  The first growth of the Pointed style in England-the hard “early English” of Canterbury — is indeed the creation of William, a master reared in the architectural school of Sens; and the severity of his taste might seem to have acted as a restraining power on all the subsequent changes of manner in this place — changes in themselves for the most part towards luxuriance.  In harmony with the atmosphere of its great church is the cleanly quiet of the town, kept fresh by little channels of clear water circulating through its streets, derivatives of the rapid Vanne which falls just below into the Yonne.  The Yonne, bending gracefully, link after link, through a never-ending rustle of poplar trees, beneath lowly vine-clad hills, with relics of delicate woodland here and there, sometimes close at hand, sometimes leaving an interval of broad meadow, has all the lightsome characteristics of French river-side scenery on a smaller scale than usual, and might pass for the child’s fancy of a river, like the rivers of the old miniature-painters, blue, and full to a fair green margin.  One notices along its course a greater proportion than elsewhere of still untouched old seignorial residences, larger or smaller.  The range of old gibbous towns along its banks, expanding their gay quays upon the water-side, have a common character — Joigny, Villeneuve, Saint Julien-du-Sault — yet tempt us to tarry at each and examine its relics, old glass and the like, of the Renaissance or the Middle Age, for the acquisition of real though minor lessons on the various arts which have left themselves a central monument at Auxerre. — Auxerre!  A slight ascent in the winding road! and you have before you the prettiest town in France — the broad framework of vineyard sloping upwards gently to the horizon, with distant white cottages inviting one to walk:  the quiet curve of river below, with all the river-side details:  the three great purple-tiled masses of Saint Germain, Saint Pierre, and the cathedral of Saint Etienne, rising out of the crowded houses with more than the usual abruptness and irregularity of French building.  Here, that rare artist, the susceptible painter of architecture, if he understands the value alike of line and mass of broad masses and delicate lines, has “a subject made to his hand.”

A veritable country of the vine, it presents nevertheless an expression peaceful rather than radiant.  Perfect type of that happy mean between northern earnestness and the luxury of the south, for which we prize midland France, its physiognomy is not quite happy — attractive in part for its melancholy.  Its most characteristic atmosphere is to be seen when the tide of light and distant cloud is travelling quickly over it, when rain is not far off, and every touch of art or of time on its old building is defined in clear grey.  A fine summer ripens its grapes into a valuable wine; but in spite of that it seems always longing for a larger and more continuous allowance of the sunshine which is so much to its taste.  You might fancy something querulous or plaintive in that rustling movement of the vine-leaves, as blue-frocked Jacques Bonhomme finishes his day’s labour among them.

To beguile one such afternoon when the rain set in early and walking was impossible, I found my way to the shop of an old dealer in bric-a-brac.  It was not a monotonous display, after the manner of the Parisian dealer, of a stock-in-trade the like of which one has seen many times over, but a discriminate collection of real curiosities.  One seemed to recognise a provincial school of taste in various relics of the housekeeping of the last century, with many a gem of earlier times from the old churches and religious houses of the neighbourhood.  Among them was a large and brilliant fragment of stained glass which might have come from the cathedral itself.  Of the very finest quality in colour and design, it presented a figure not exactly conformable to any recognised ecclesiastical type; and it was clearly part of a series.  On my eager inquiry for the remainder, the old man replied that no more of it was known, but added that the priest of a neighbouring village was the possessor of an entire set of tapestries, apparently intended for suspension in church, and designed to portray the whole subject of which the figure in the stained glass was a portion.

Next afternoon accordingly I repaired to the priest’s house, in reality a little Gothic building, part perhaps of an ancient manor-house, close to the village church.  In the front garden, flower-garden and potager in one, the bees were busy among the autumn growths — many-coloured asters, bignonias, scarlet-beans, and the old-fashioned parsonage flowers.  The courteous owner readily showed me his tapestries, some of which hung on the walls of his parlour and staircase by way of a background for the display of the other curiosities of which he was a collector.  Certainly, those tapestries and the stained glass dealt with the same theme.  In both were the same musical instruments — pipes, cymbals, long reed-like trumpets.  The story, indeed, included the building of an organ, just such an instrument, only on a larger scale, as was standing in the old priest’s library, though almost soundless now, whereas in certain of the woven pictures the hearers appear as if transported, some of them shouting rapturously to the organ music.  A sort of mad vehemence prevails, indeed, throughout the delicate bewilderments of the whole series — giddy dances, wild animals leaping, above all perpetual wreathings of the vine, connecting, like some mazy arabesque, the various presentations of one oft-repeated figure, translated here out of the clear-coloured glass into the sadder, somewhat opaque and earthen hues of the silken threads.  The figure was that of the organ-builder himself, a flaxen and flowery creature, sometimes wellnigh naked among the vine-leaves, sometimes muffled in skins against the cold, sometimes in the dress of a monk, but always with a strong impress of real character and incident from the veritable streets of Auxerre.  What is it?  Certainly, notwithstanding its grace, and wealth of graceful accessories, a suffering, tortured figure.  With all the regular beauty of a pagan god, he has suffered after a manner of which we must suppose pagan gods incapable.  It was as if one of those fair, triumphant beings had cast in his lot with the creatures of an age later than his own, people of larger spiritual capacity and assuredly of a larger capacity for melancholy.  With this fancy in my mind, by the help of certain notes, which lay in the priest’s curious library, upon the history of the works at the cathedral during the period of its finishing, and in repeated examination of the old tapestried designs, the story shaped itself at last.

Towards the middle of the thirteenth century the cathedral of Saint Etienne was complete in its main outlines:  what remained was the building of the great tower, and all that various labour of final decoration which it would take more than one generation to accomplish.  Certain circumstances, however, not wholly explained, led to a somewhat rapid finishing, as it were out of hand, yet with a marvellous fulness at once and grace.  Of the result much has perished, or been transferred elsewhere; a portion is still visible in sumptuous relics of stained windows, and, above all, in the reliefs which adorn the western portals, very delicately carved in a fine, firm stone from Tonnerre, of which time has only browned the surface, and which, for early mastery in art, may be compared with the contemporary work of Italy.  They come nearer than the art of that age was used to do to the expression of life; with a feeling for reality, in no ignoble form, caught, it might seem, from the ardent and full-veined existence then current in these actual streets and houses.

Just then Auxerre had its turn in that political movement which broke out sympathetically, first in one, then in another of the towns of France, turning their narrow, feudal institutions into a free, communistic life — a movement of which those great centres of popular devotion, the French cathedrals, are in many instances the monument.  Closely connected always with the assertion of individual freedom, alike in mind and manners, at Auxerre this political stir was associated also, as cause or effect, with the figure and character of a particular personage, long remembered.  He was the very genius, it would appear, of that new, free, generous manner in art, active and potent as a living creature.

As the most skilful of the band of carvers worked there one day, with a labour he could never quite make equal to the vision within him, a finely-sculptured Greek coffin of stone, which had been made to serve for some later Roman funeral, was unearthed by the masons.  Here, it might seem, the thing was indeed done, and art achieved, as far as regards those final graces, and harmonies of execution, which were precisely what lay beyond the hand of the medieval workman, who for his part had largely at command a seriousness of conception lacking in the old Greek.  Within the coffin lay an object of a fresh and brilliant clearness among the ashes of the dead — a flask of lively green glass, like a great emerald.  It might have been “the wondrous vessel of the Grail.”  Only, this object seemed to bring back no ineffable purity, but rather the riotous and earthy heat of old paganism itself.  Coated within, and, as some were persuaded, still redolent with the tawny sediment of the Roman wine it had held so long ago, it was set aside for use at the supper which was shortly to celebrate the completion of the masons’ work.

A peculiar usage long perpetuated itself at Auxerre.  On Easter Day the canons, in the very centre of the great church, played solemnly at ball.  Vespers being sung, instead of conducting the bishop to his palace, they proceeded in order into the nave, the people standing in two long rows to watch.  Girding up their skirts a little way, the whole body of clerics awaited their turn in silence, while the captain of the singing-boys cast the ball into the air, as high as he might, along the vaulted roof of the central aisle to be caught by any boy who could, and tossed again with hand or foot till it passed on to the portly chanters, the chaplains, the canons themselves, who finally played out the game with all the decorum of an ecclesiastical ceremony.  It was just then, just as the canons took the ball to themselves so gravely, that Denys — Denys l’Auxerrois, as he was afterwards called — appeared for the first time.  Leaping in among the timid children, he made the thing really a game.  The boys played like boys, the men almost like madmen, and all with a delightful glee which became contagious, first in the clerical body, and then among the spectators.  The aged Dean of the Chapter, Protonotary of his Holiness, held up his purple skirt a little higher, and stepping from the ranks with an amazing levity, as if suddenly relieved of his burden of eighty years, tossed the ball with his foot to the venerable capitular Homilist, equal to the occasion.  And then, unable to stand inactive any longer, the laity carried on the game among themselves, with shouts of not too boisterous amusement; the sport continuing till the flight of the ball could no longer be traced along the dusky aisles.

Though the home of his childhood was but a humble one — one of those little cliff-houses cut out in the low chalky hillside, such as are still to be found with inhabitants in certain districts of France — there were some who connected his birth with the story of a beautiful country girl, who, about eighteen years before, had been taken from her own people, not unwillingly, for the pleasure of the Count of Auxerre.  She had wished indeed to see the great lord, who had sought her privately, in the glory of his own house; but, terrified by the strange splendours of her new abode and manner of life, and the anger of the true wife, she had fled suddenly from the place during the confusion of a violent storm, and in her flight given birth prematurely to a child.  The child, a singularly fair one, was found alive, but the mother dead, by lightning-stroke as it seemed, not far from her lord’s chamber-door, under the shelter of a ruined ivy-clad tower.

Denys himself certainly was a joyous lad enough.  At the cliff-side cottage, nestling actually beneath the vineyards, he came to be an unrivalled gardener, and, grown to manhood, brought his produce to market, keeping a stall in the great cathedral square for the sale of melons and pomegranates, all manner of seeds and flowers (omnia speciosa camporum), honey also, wax tapers, sweetmeats hot from the frying-pan, rough home-made pots and pans from the little pottery in the wood, loaves baked by the aged woman in whose house he lived.  On that Easter Day he had entered the great church for the first time, for the purpose of seeing the game.

And from the very first, the women who saw him at his business, or watering his plants in the cool of the evening, idled for him.  The men who noticed the crowd of women at his stall, and how even fresh young girls from the country, seeing him for the first time, always loitered there, suspected — who could tell what kind of powers? hidden under the white veil of that youthful form; and pausing to ponder the matter, found themselves also fallen into the snare.  The sight of him made old people feel young again.  Even the sage monk Hermes, devoted to study and experiment, was unable to keep the fruit-seller out of his mind, and would fain have discovered the secret of his charm, partly for the friendly purpose of explaining to the lad himself his perhaps more than natural gifts with a view to their profitable cultivation.

It was a period, as older men took note, of young men and their influence.  They took fire, no one could quite explain how, as if at his presence, and asserted a wonderful amount of volition, of insolence, yet as if with the consent of their elders, who would themselves sometimes lose their balance, a little comically.  That revolution in the temper and manner of individuals concurred with the movement then on foot at Auxerre, as in other French towns, for the liberation of the commune from its old feudal superiors.  Denys they called Frank, among many other nicknames.  Young lords prided themselves on saying that labour should have its ease, and were almost prepared to take freedom, plebeian freedom (of course duly decorated, at least with wild-flowers) for a bride.  For in truth Denys at his stall was turning the grave, slow movement of politic heads into a wild social license, which for a while made life like a stage-play.  He first led those long processions, through which by and by “the little people,” the discontented, the despairing, would utter their minds.  One man engaged with another in talk in the market-place; a new influence came forth at the contact; another and then another adhered; at last a new spirit was abroad everywhere.  The hot nights were noisy with swarming troops of dishevelled women and youths with red-stained limbs and faces, carrying their lighted torches over the vine-clad hills, or rushing down the streets, to the horror of timid watchers, towards the cool spaces by the river.  A shrill music, a laughter at all things, was everywhere.  And the new spirit repaired even to church to take part in the novel offices of the Feast of Fools.  Heads flung back in ecstasy — the morning sleep among the vines, when the fatigue of the night was over — dew-drenched garments — the serf lying at his ease at last:  the artists, then so numerous at the place, caught what they could, something, at least, of the richness, the flexibility of the visible aspects of life, from all this.  With them the life of seeming idleness, to which Denys was conducting the youth of Auxerre so pleasantly, counted but as the cultivation, for their due service to man, of delightful natural things.  And the powers of nature concurred.  It seemed there would be winter no more.  The planet Mars drew nearer to the earth than usual, hanging in the low sky like a fiery red lamp.  A massive but well-nigh lifeless vine on the wall of the cloister, allowed to remain there only as a curiosity on account of its immense age, in that great season, as it was long after called, clothed itself with fruit once more.  The culture of the grape greatly increased.  The sunlight fell for the first time on many a spot of deep woodland cleared for vine-growing; though Denys, a lover of trees, was careful to leave a stately specimen of forest growth here and there.

When his troubles came, one characteristic that had seemed most amiable in his prosperity was turned against him — a fondness for oddly grown or even misshapen, yet potentially happy, children; for odd animals also:  he sympathised with them all, was skilful in healing their maladies, saved the hare in the chase, and sold his mantle to redeem a lamb from the butcher:  He taught the people not to be afraid of the strange, ugly creatures which the light of the moving torches drew from their hiding-places, nor think it a bad omen that they approached.  He tamed a veritable wolf to keep him company like a dog.  It was the first of many ambiguous circumstances about him, from which, in the minds of an increasing number of people, a deep suspicion and hatred began to define itself.  The rich bestiary, then compiling in the library of the great church, became, through his assistance, nothing less than a garden of Eden — the garden of Eden grown wild.  The owl alone he abhorred.  A little later, almost as if in revenge, alone of all animals it clung to him, haunting him persistently among the dusky stone towers, when grown gentler than ever he dared not kill it.  He moved unhurt in the famous menagerie of the castle, of which the common people were so much afraid, and let out the lions, themselves timid prisoners enough, through the streets during the fair.  The incident suggested to the somewhat barren pen-men of the day a “morality” adapted from the old pagan books — a stage-play in which the God of Wine should return in triumph from the East.  In the cathedral square the pageant was presented, amid an intolerable noise of every kind of pipe-music, with Denys in the chief part, upon a gaily-painted chariot, in soft silken raiment, and, for headdress, a strange elephant-scalp with gilded tusks.

And that unrivalled fairness and freshness of aspect: — how did he alone preserve it untouched, through the wind and heat?  In truth, it was not by magic, as some said, but by a natural simplicity in his living.  When that dark season of his troubles arrived he was heard begging querulously one wintry night, “Give me wine, meat; dark wine and brown meat!” — come back to the rude door of his old home in the cliff-side.  Till that time the great vine-dresser himself drank only water; he had lived on spring-water and fruit.  A lover of fertility in all its forms, in what did but suggest it, he was curious and penetrative concerning the habits of water, and had the secret of the divining-rod.  Long before it came he could detect the scent of rain from afar, and would climb with delight to the great scaffolding on the unfinished tower to watch its coming over the thirsty vine-land, till it rattled on the great tiled roof of the church below; and then, throwing off his mantle, allow it to bathe his limbs freely, clinging firmly against the tempestuous wind among the carved imageries of dark stone.

It was on his sudden return after a long journey (one of many inexplicable disappearances), coming back changed somewhat, that he ate flesh for the first time, tearing the hot, red morsels with his delicate fingers in a kind of wild greed.  He had fled to the south from the first forbidding days of a hard winter which came at last.  At the great seaport of Marseilles he had trafficked with sailors from all parts of the world, from Arabia and India, and bought their wares, exposed now for sale, to the wonder of all, at the Easter fair — richer wines and incense than had been known in Auxerre, seeds of marvellous new flowers, creatures wild and tame, new pottery painted in raw gaudy tints, the skins of animals, meats fried with unheard-of condiments.  His stall formed a strange, unwonted patch of colour, found suddenly displayed in the hot morning.

The artists were more delighted than ever, and frequented his company in the little manorial habitation, deserted long since by its owners and haunted, so that the eyes of many looked evil upon it, where he had taken up his abode, attracted, in the first instance, by its rich though neglected garden, a tangle of every kind of creeping, vine-like plant.  Here, surrounded in abundance by the pleasant materials of his trade, the vine-dresser as it were turned pedant and kept school for the various artists, who learned here an art supplementary to their own, — that gay magic, namely (art or trick) of his existence, till they found themselves grown into a kind of aristocracy, like veritable gens fleur-de-lises, as they worked together for the decoration of the great church and a hundred other places beside.  And yet a darkness had grown upon him.  The kind creature had lost something of his gentleness.  Strange motiveless misdeeds had happened; and, at a loss for other causes, not the envious only would fain have traced the blame to Denys.  He was making the younger world mad.  Would he make himself Count of Auxerre?  The lady Ariane, deserted by her former lover, had looked kindly upon him; was ready to make him son-in-law to the old count her father, old and not long for this world.  The wise monk Hermes bethought him of certain old readings in which the Wine-god, whose part Denys had played so well, had his contrast, his dark or antipathetic side; was like a double creature, of two natures, difficult or impossible to harmonise.  And in truth the much-prized wine of Auxerre has itself but a fugitive charm, being apt to sicken and turn gross long before the bottle is empty, however carefully sealed; as it goes indeed, at its best, by hard names, among those who grow it, such as Chaînette and Migraine.

A kind of degeneration, of coarseness — the coarseness of satiety, and shapeless, battered-out appetite — with an almost savage taste for carnivorous diet, had come over the company.  A rumour went abroad of certain women who had drowned, in mere wantonness, their new-born babes.  A girl with child was found hanged by her own act in a dark cellar.  Ah! if Denys also had not felt himself mad!  But when the guilt of a murder, committed with a great vine-axe far out among the vineyards, was attributed vaguely to him, he could but wonder whether it had been indeed thus, and the shadow of a fancied crime abode with him.  People turned against their favourite, whose former charms must now be counted only as the fascinations of witchcraft.  It was as if the wine poured out for them had soured in the cup.  The golden age had indeed come back for a while: — golden was it, or gilded only, after all? and they were too sick, or at least too serious, to carry through their parts in it.  The monk Hermes was whimsically reminded of that after-thought in pagan poetry, of a Wine-god who had been in hell.  Denys certainly, with all his flaxen fairness about him, was manifestly a sufferer.  At first he thought of departing secretly to some other place.  Alas! his wits were too far gone for certainty of success in the attempt.  He feared to be brought back a prisoner.  Those fat years were over.  It was a time of scarcity.  The working people might not eat and drink of the good things they had helped to store away.  Tears rose in the eyes of needy children, of old or weak people like children, as they woke up again and again to sunless, frost-bound, ruinous mornings; and the little hungry creatures went prowling after scattered hedge-nuts or dried vine-tendrils.

And at last the clergy bethought themselves of a remedy for this evil time.  The body of one of the patron saints had lain neglected somewhere under the flagstones of the sanctuary.  This must be piously exhumed, and provided with a shrine worthy of it.  The goldsmiths, the jewellers and lapidaries, set diligently to work, and no long time after, the shrine, like a little cathedral with portals and tower complete, stood ready, its chiselled gold framing panels of rock crystal, on the great altar.  Many bishops arrived, with King Lewis the Saint himself accompanied by his mother, to assist at the search for and disinterment of the sacred relics.  In their presence, the Bishop of Auxerre, with vestments of deep red in honour of the relics, blessed the new shrine, according to the office De benedictione capsarum pro reliquiis.  The pavement of the choir, removed amid a surging sea of lugubrious chants, all persons fasting, discovered as if it had been a battlefield of mouldering human remains.  Their odour rose plainly above the plentiful clouds of incense, such as was used in the king’s private chapel.  The search for the Saint himself continued in vain all day and far into the night.  At last from a little narrow chest, into which the remains had been almost crushed together, the bishop’s red-gloved hands drew the dwindled body, shrunken inconceivably, but still with every feature of the face traceable in a sudden oblique ray of ghastly dawn.

That shocking sight, after a sharp fit as though a demon were going out of him, as he rolled on the turf of the cloister to which he had fled alone from the suffocating church, where the crowd still awaited the Procession of the relics and the Mass De reliquiis quae continentur in Ecclesiis, seemed indeed to have cured the madness of Denys, but certainly did not restore his gaiety.  He was left a subdued, silent, melancholy creature.  Turning now, with an odd revulsion of feeling, to gloomy objects, he picked out a ghastly shred from the common bones on the pavement to wear about his neck, and in a little while found his way to the monks of Saint Germain, who gladly received him into their workshop, though secretly, in fear of his foes.

The busy tribe of variously gifted artists, labouring rapidly at the many works on hand for the final embellishment of the cathedral of St. Etienne, made those conventual buildings just then cheerful enough to lighten a melancholy, heavy even as that of our friend Denys.  He took his place among the workmen, a conventual novice; a novice also as to whatever concerns any actual handicraft.  He could but compound sweet incense for the sanctuary.  And yet, again by merely visible presence, he made himself felt in all the varied exercise around him of those arts which address themselves first of all to sight.  Unconsciously he defined a peculiar manner, alike of feeling and expression, to those skilful hands at work day by day with the chisel, the pencil, or the needle, in many an enduring form of exquisite fancy.  In three successive phases or fashions might be traced, especially in the carved work, the humours he had determined.  There was first wild gaiety, exuberant in a wreathing of life-like imageries, from which nothing really present in nature was excluded.  That, as the soul of Denys darkened, had passed into obscure regions of the satiric, the grotesque and coarse.  But from this time there was manifest, with no loss of power or effect, a well-assured seriousness, somewhat jealous and exclusive, not so much in the selection of the material on which the arts were to work, as in the precise sort of expression that should be induced upon it.  It was as if the gay old pagan world had been blessed in some way; with effects to be seen most clearly in the rich miniature work of the manuscripts of the capitular library, — a marvellous Ovid especially, upon the pages of which those old loves and sorrows seemed to come to life again in medieval costume, as Denys, in cowl now and with tonsured head, leaned over the painter, and led his work, by a kind of visible sympathy, often unspoken, rather than by any formal comment.

Above all, there was a desire abroad to attain the instruments of a freer and more various sacred music than had been in use hitherto — a music that might express the whole compass of souls now grown to manhood.  Auxerre, indeed, then as afterwards, was famous for its liturgical music.  It was Denys, at last, to whom the thought occurred of combining in a fuller tide of music all the instruments then in use.  Like the Wine-god of old, he had been a lover and patron especially of the music of the pipe, in all its varieties.  Here, too, there had been evident those three fashions or “modes": — first, the simple and pastoral, the homely note of the pipe, like the piping of the wind itself from off the distant fields; then, the wild, savage din, that had cost so much to quiet people, and driven excitable people mad.  Now he would compose all this to sweeter purposes; and the building of the first organ became like the book of his life:  it expanded to the full compass of his nature, in its sorrow and delight.  In long, enjoyable days of wind and sun by the river-side, the seemingly half-witted “brother” sought and found the needful varieties of reed.  The carpenters, under his instruction, set up the great wooden passages for the thunder; while the little pipes of pasteboard simulated the sound of the human voice singing to the victorious notes of the long metal trumpets.  At times this also, as people heard night after night those wandering sounds, seemed like the work of a madman, though they awoke sometimes in wonder at snatches of a new, an unmistakable new music.  It was the triumph of all the various modes of the power of the pipe, tamed, ruled, united.  Only, on the painted shutters of the organ-case Apollo with his lyre in his hand, as lord of the strings, seemed to look askance on the music of the reed, in all the jealousy with which he put Marsyas to death so cruelly.

Meantime, the people, even his enemies, seemed to have forgotten him.  Enemies, in truth, they still were, ready to take his life should the opportunity come; as he perceived when at last he ventured forth on a day of public ceremony.  The bishop was to pronounce a blessing upon the foundations of a new bridge, designed to take the place of the ancient Roman bridge which, repaired in a thousand places, had hitherto served for the chief passage of the Yonne.  It was as if the disturbing of that time-worn masonry let out the dark spectres of departed times.  Deep down, at the core of the central pile, a painful object was exposed — the skeleton of a child, placed there alive, it was rightly surmised, in the superstitious belief that, by way of vicarious substitution, its death would secure the safety of all who should pass over.

There were some who found themselves, with a little surprise, looking round as if for a similar pledge of security in their new undertaking.  It was just then that Denys was seen plainly, standing, in all essential features precisely as of old, upon one of the great stones prepared for the foundation of the new building.  For a moment he felt the eyes of the people upon him full of that strange humour, and with characteristic alertness, after a rapid gaze over the grey city in its broad green framework of vineyards, best seen from this spot, flung himself down into the water and disappeared from view where the stream flowed most swiftly below a row of flour-mills.  Some indeed fancied they had seen him emerge again safely on the deck of one of the great boats, loaded with grapes and wreathed triumphantly with flowers like a floating garden, which were then bringing down the vintage from the country; but generally the people believed their strange enemy now at last departed for ever.  Denys in truth was at work again in peace at the cloister, upon his house of reeds and pipes.  At times his fits came upon him again; and when they came, for his cure he would dig eagerly, turned sexton now, digging, by choice, graves for the dead in the various churchyards of the town.  There were those who had seen him thus employed (that form seeming still to carry something of real sun-gold upon it) peering into the darkness, while his tears fell sometimes among the grim relics his mattock had disturbed.

In fact, from the day of the exhumation of the body of the Saint in the great church, he had had a wonderful curiosity for such objects, and one wintry day bethought him of removing the body of his mother from the unconsecrated ground in which it lay, that he might bury it in the cloister, near the spot where he was now used to work.  At twilight he came over the frozen snow.  As he passed through the stony barriers of the place the world around seemed curdled to the centre — all but himself, fighting his way across it, turning now and then right-about from the persistent wind, which dealt so roughly with his blond hair and the purple mantle whirled about him.  The bones, hastily gathered, he placed, awefully but without ceremony, in a hollow space prepared secretly within the grave of another.

Meantime the winds of his organ were ready to blow; and with difficulty he obtained grace from the Chapter for a trial of its powers on a notable public occasion, as follows.  A singular guest was expected at Auxerre.  In recompense for some service rendered to the Chapter in times gone by, the Sire de Chastellux had the hereditary dignity of a canon of the church.  On the day of his reception he presented himself at the entrance of the choir in surplice and amice, worn over the military habit.  The old count of Chastellux was lately dead, and the heir had announced his coming, according to custom, to claim his ecclesiastical privilege.  There had been long feud between the houses of Chastellux and Auxerre; but on this happy occasion an offer of peace came with a proposal for the hand of the Lady Ariane.

The goodly young man arrived, and, duly arrayed, was received into his stall at vespers, the bishop assisting.  It was then that the people heard the music of the organ, rolling over them for the first time, with various feelings of delight.  But the performer on and author of the instrument was forgotten in his work, and there was no re-instatement of the former favourite.  The religious ceremony was followed by a civic festival, in which Auxerre welcomed its future lord.  The festival was to end at nightfall with a somewhat rude popular pageant, in which the person of Winter would be hunted blindfold through the streets.  It was the sequel to that earlier stage-play of the Return from the East in which Denys had been the central figure.  The old forgotten player saw his part before him, and, as if mechanically, fell again into the chief place, monk’s dress and all.  It might restore his popularity:  who could tell?  Hastily he donned the ashen-grey mantle, the rough haircloth about the throat, and went through the preliminary matter.  And it happened that a point of the haircloth scratched his lip deeply, with a long trickling of blood upon the chin.  It was as if the sight of blood transported the spectators with a kind of mad rage, and suddenly revealed to them the truth.  The pretended hunting of the unholy creature became a real one, which brought out, in rapid increase, men’s evil passions.  The soul of Denys was already at rest, as his body, now borne along in front of the crowd, was tossed hither and thither, torn at last limb from limb.  The men stuck little shreds of his flesh, or, failing that, of his torn raiment, into their caps; the women lending their long hairpins for the purpose.  The monk Hermes sought in vain next day for any remains of the body of his friend.  Only, at nightfall, the heart of Denys was brought to him by a stranger, still entire.  It must long since have mouldered into dust under the stone, marked with a cross, where he buried it in a dark corner of the cathedral aisle.

So the figure in the stained glass explained itself.  To me, Denys seemed to have been a real resident at Auxerre.  On days of a certain atmosphere, when the trace of the Middle Age comes out, like old marks in the stones in rainy weather, I seemed actually to have seen the tortured figure there — to have met Denys l’Auxerrois in the streets.