or only a part, of their bays. In the latter
case, the grisailles are reserved for the side windows
which are meant to be seen obliquely, and in that
case the coloured glass fills the bays of the fond,
the apsidal openings which are meant to be seen in
face from a distance. These lateral grisailles
are still opaque enough to prevent the solar rays
which pass through them from lighting the coloured
windows on the reverse side; yet, at certain hours
of the day, these solar rays throw a pearly light on
the coloured windows which gives them indescribable
transparence and refinement of tones. The lateral
windows in the choir of the Auxerre Cathedral, half-grisaille,
half-coloured, throw on the wholly coloured apsidal
window, by this means, a glazing the softness of which
one can hardly conceive. The opaline light which
comes through these lateral bays, and makes a sort
of veil, transparent in the extreme, under the lofty
vaulting, is crossed by the brilliant tones of the
windows behind, which give the play of precious stones.
The solid outlines then seem to waver like objects
seen through a sheet of clear water. Distances
change their values, and take depths in which the
eye gets lost. With every hour of the day these
effects are altered, and always with new harmonies
which one never tires of trying to understand; but
the deeper one’s study goes, the more astounded
one becomes before the experience acquired by these
artists, whose theories on the effects of colour, assuming
that they had any, are unknown to us and whom the
most kindly-disposed among us treat as simple children.
You can read the rest for yourselves. Grisaille
is a separate branch of colour-decoration which belongs
with the whole system of lighting and fenetrage, and
will have to remain a closed book because the feeling
and experience which explained it once are lost, and
we cannot recover either. Such things must have
been always felt rather than reasoned, like the irregularities
in plan of the builders; the best work of the best
times shows the same subtlety of sense as the dog
shows in retrieving, or the bee in flying, but which
tourists have lost. All we can do is to note
that the grisailles were intended to have values.
They were among the refinements of light and colour
with which the apse of Chartres is so crowded that
one must be content to feel what one can, and let
the rest go.
Understand, we cannot! nothing proves that the greatest
artists who ever lived have, in a logical sense, understood!
or that omnipotence has ever understood! or that the
utmost power of expression has ever been capable of
expressing more than the reaction of one energy on
another, but not of two on two; and when one sits here,
in the central axis of this complicated apse, one
sees, in mere light alone, the reaction of hundreds
of energies, although time has left only a wreck of
what the artist put here. One of the best window
spaces is wholly filled up by the fourteenth-century