Despite criticisms, the classification of the choir of Auxerre Cathedral as Burgundian persists in recent literature. Yet the cathedral’s choir, begun c. 1215, demonstrates the problematic nature of the existing regional categories for French medieval architecture. Based on the 19th-century idea of progress, the conceptual model that conceives Gothic France as consisting of ‘centre and periphery’ and notions such as regional styles or period styles are deeply at odds with medieval concepts of innovation as inclusive of tradition, as evidenced in the biography of Bishop William of Auxerre (1207–20). Indeed, 20th-century studies in support of the classification are contradicted by recent archaeological findings, and neither the historical evidence nor the architectural evidence support a Burgundian label for the choir. The architecture’s distinctly trans-regional character with a mixture of both traditional and up-to-date architectural elements as well as the fact that patronal identities were strongly based on local affiliations and not attached to the duchy of Burgundy, invite a profound reconsideration not only of the position of the choir in the architectural landscape of the early 13th century but also of Gothic architecture of north-eastern France in more general terms.

中文翻译：

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欧塞尔大教堂合唱团和勃艮第哥特式建筑的问题

尽管受到批评，但最近的文献中仍坚持将欧塞尔大教堂合唱团归类为勃艮第。然而大教堂的合唱团开始了。1215年，展示了法国中世纪建筑的现有区域类别的问题性质。事实证明，基于19世纪的进步思想，将哥特式法国视为由“中心和外围”以及区域风格或时期风格等概念组成的概念模型与包括传统在内的中世纪创新概念大相径庭。在欧塞尔主教威廉（1207–20）的传记中。确实，支持这种分类的20世纪研究与最近的考古发现相矛盾，而且历史证据和建筑证据都没有支持勃艮第合唱团的标签。