The origin of ornamental sculpture is no less venerable. Superficially, it would seem to have drawn its inspiration mainly from the Romanesque epoch; but according to modern _savants_[35] its source must be looked for in much remoter periods. Oriental art, imported into Scandinavia, and there barbarised, was introduced into Ireland in the early centuries of our era. The Irish monks, whose power was very great, and who seem to have been the principal agents in the Renascence of the days of Charlemagne, created, or at any rate greatly influenced Carlovingian art by their manuscripts and miniatures. From Carlovingian art that of the so-called Romanesque period was born, and this was in its turn the parent of the ornamental sculpture of the thirteenth century. In the admirably decorative character of this art we recognise the influence of an ancient tradition handed on from generation to generation, to be finally rejuvenated, invigorated, and transformed as to detail by a close study of nature, precisely as had happened in the allied development of statuary. [35] M. A. de Montaiglon, Professor at the _École des Chartes_. The architects of the Ile-de-France, like those of Rheims, assimilated the principles of the new art with the supple skill which characterised them, such assimilation bearing rich fruit at Notre Dame de Paris in the sculptured figures of the west porch, and no less in their accessory ornaments. [Illustration: 99. NOTRE DAME DE PARIS. PRINCIPAL DOOR. RUNNING LEAF PATTERN] [Illustration: 100. NOTRE DAME DE PARIS. RUNNING LEAF PATTERN ON ARCHIVOLTS OF NORTH DOOR] A most instructive comparative study is furnished by the north and south porches of Chartres Cathedral. Here we find, in one building, examples of sculptures inspired by the hieratic tradition of Byzantium, and of those which had been transformed and naturalised by a return to antique ideals. [Illustration: 101. CHARTRES CATHEDRAL. STATUES OF THE NORTH PORCH] At Amiens again certain of the sculptures were influenced by the new principles. But in the greater part there is a prodigality of motive and looseness of execution which indicate decline no less surely than the mistaken ingenuity of the structural details. [Illustration: 102. CHARTRES CATHEDRAL. STATUES OF THE SOUTH PORCH]