Following the age of Roman domination came those strangely fascinating centuries of disruption and destruction in which the outward influences of Rome slowly gave way before the westward march of the lower but healthier civilisation of the tribes of central and eastern Europe. When these new peoples had settled down among the older occupants of the country, they began to build permanent structures for themselves, and although there may have been some craftsmanship among them, they were unable to do more than make indifferent attempts to copy the architecture of the Roman era. The dark shadow that the irruptions caused to fall upon the face of Europe leaves the world in ignorance as to the fate of the architects, and stone masons who reared the noble works of Rome's supremacy in western Europe. It would appear that in the two or three centuries of uncertainty, if not of perpetual warfare and social chaos, no one had time or opportunity to do more than erect hurried fortifications of the crude type one sees in the Visigothic portions of town walls, such as those of Carcassonne. No architect could flourish under such conditions, and unless he migrated to the seat of the Eastern Empire opportunities for applying his knowledge were no doubt impossible to find. And at Constantinople a new development of architecture was taking place, in which the exterior was disregarded to a very considerable extent while internal decoration became extravagant, Byzantine art being dissatisfied unless every portion of walls and roof was richly ornamented and brilliant in colour. The profession of the architect being useless, the dependent handicraftsmen would inevitably die out, and thus from the sixth century, which is about the earliest date of any Romanesque building in France, one sees the crude efforts of the ill-trained sculptors to copy the ornament of the buildings that lay around them ruined or gutted. In many of the capitals that were carved in these early centuries of Christian times, the volutes are half-hearted attempts to reproduce the Ionic order, with a tendency to stray into Corinthian foliation. From such very early buildings as the church of St. Pierre at Vienne, onwards to St. Trophime at Arles, the crypts of Notre Dame du Port at Clermont-Ferrand and of St. Denis, Paris, until one reaches the great churches of the eleventh and twelfth centuries, such as the cathedral of Angouleme and the church of Notre Dame la Grande at Poitiers, one can see the steady development of a curious mixture of bastard Roman with the Byzantine style, upon which was growing a new individuality which burst into flower with the introduction of the pointed arch. In France this abandonment of the Roman semicircular arch came very gradually. Belonging to the transition stage are many fine buildings, in which group are the fine church at Poitiers just mentioned and the cathedral at Le Puy-en-Velay. The sculpture of this period reveals the very