Auxerre Cathedral is known for its expansive stained glass windows. Most of the Burgundian Gothic cathedral was built between 1215 and 1233 above an 11th-century crypt. Construction continued until the 1540s when the cupola, in Renaissance style that takes the place of one pinnacle on the completed tower, was completed. The first building campaign erected the chevet at the liturgical east end, followed later in the century by a new façade and the bases of new towers at the west end (still linked to the apse end by the nave of the old cathedral). Construction on the nave and transepts proceeded slowly throughout the 14th and 15th centuries.
The narrative sculptural program of the portals on the west end are noted for their extent and variety. Guillaume de Seignelay, bishop of Auxerre decided to undertake the reconstruction of the older edifice about 1215, to which he set an example by contributing heavily and consistently from his own resources, and even bequeathed funds after his transfer to the see of Paris in 1220. The chevet was completed by his successor, Henri de Villeneuve (1220–34).
Stimulus was provided about 1270 by Jean de Châlons-Rochefort, who had recently become Count of Auxerre, having supported the Duke of Burgundy against his own brother, by marrying Alix, the heiress of Auxerre. He was the largest fief-holder in the Duchy and commemorated the new status of his fief of Auxerre by enriching the front of its chief ornament, the cathedral, whose Carolingian nave had been erected by his ancestor Hugh de Châlons, 10th-century bishop of Auxerre. Its program of sculpture was carried through long after his death and completed in the early 15th century.
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.