In France the fourteenth century was much less productive of works of art than the preceding one had been. The fact that so much had been done in the thirteenth century--so many new churches built and so many older ones remodelled--is one reason for this change. In this direction there was very little left to be done. Then, too, the country was so disturbed by wars with England that the arts of peace suffered neglect. However, there was still much to be done to complete the grand works already begun, and during the early part of this century a great deal was accomplished by way of interior decoration in edifices not yet completed, and in the making of monuments in memory of persons of rank and importance. Those in the Cathedral of St. Denis were much increased in number, and in all parts of France these works were multiplied. During this century many artists from the Netherlands were employed in France; and in the city of Dijon, which was the residence of the dukes of Burgundy, the works of Flemish artists were very numerous. Perhaps the most skilful of these masters was CLAUX SLUTER, who was the favorite of Philip the Bold, and executed the splendid monument to that duke which is now in the Museum at Dijon. He was also the sculptor of the Moses Fountain, the decorations of the Carthusian chapel, and other works which still remain to show how fine a sculptor he was. Sluter had a great influence upon art, and, in fact, may be said to have established a school the effects of which endured long after his time. In England sculpture made no progress during the fourteenth century. Large architectural sculptures were neither numerous nor fine. Tomb-sculptures and monuments with portrait reliefs and statues were the principal plastic works of the time. The habit of erecting monuments to the dead now extended to all classes, whereas it had formerly been confined to noble and distinguished people. The result was that the monuments of the higher classes were more and more splendid in order to mark the differences of rank, and much grand effect was thus produced; but the merits of the sculpture was less than formerly, and the monuments of this age are wanting in spirit, stiff and unattractive. The costume of the time, too, was so ugly that it served to give a grotesque air to many figures, and thus added to the general appearance of decline which marked the English tomb-sculpture of the fourteenth century. It compares unfavorably with the German monuments of the same period, and the realistic portrait element which ruled it makes it seem like a monotonous and feeble system of mechanics rather than a style of art.