Lotharingia, the eastern part of Belgium, possessed, of course, no cathedrals comparable with those of Worms, Speyer, and Mainz. However, the literary movement developed by the Lotharingian bishops was accompanied by an artistic revival. As most of the Lotharingian bishops were of German descent, the direction of the work was intrusted to German architects. The oldest examples of romantic architecture in the regions of the Meuse reveal German influence. Not only the architects, but also the sculptors, the painters, etc., were Germans, though sometimes recourse was had to Italian artists, who came over the Alps to seek their fortunes. The frescoes on the walls of St. James’s Church at Liège are the work of a painter called Giovanni. The Lotharingian artists soon began to imitate the German methods and to use material native to the country. Supplies for walls and columns were no longer brought from Germany, but from the valley of the Meuse. Until the twelfth century, German traditions, however, prevailed in architecture, and at no time prior to the beginning of that period can there be said to have been any Lotharingian style. If the valley of the Meuse was the artistic center of Eastern Belgium, in the western part of the country--in Flanders--it was the city of Tournai which dominated artistic development. The cathedral of Tournai, the only large Romance basilica of Belgium, rivals the cathedrals of the Rhine in majesty and harmony of form. The plan reveals the work of an architect influenced by the German school. But in the architectural details are to be found motifs inspired by the large French cathedrals of Normandy. The double German and French influence resulted in the founding of a local school of architecture at Tournai, which exhibited great activity throughout Flanders. Tournai, the religious capital of Flanders, became also the artistic capital. The stone of Tournai was famous. Thanks to the Scheldt, material was easily transported, and in the locality where it was used it was, of course, architects of Tournai who drew the plans of the buildings. There existed also at Tournai a local school of sculptors, whose members were very active and who may be regarded as true artists. There remains only the literary life in both parts of Belgium during the feudal period to be considered.