From Charlemagne’s ambitious centre at Aix-la-Chapelle the influence of a new culture went west rather than east, and it is not until the eleventh century that we can look for art of any sort along the valley of the Rhine and in the lands of old Lorraine. There was little enough elsewhere, but when, at the finger-touch of a new monasticism calling a new northern blood to action, civilisation began again in Normandy and then in the Île de France, its echo in the Rhineland was far and long delayed, and never more than an echo at most. There were bad kings until the second Crusade and the coming of the Cistercians in 1174, and little culture; but from then on there was a distinct spiritual revival, a new impulse in religion and in life, and as a result the output of art of all kinds was greatly increased. The three elements entering into the new architecture were: the revived tradition of the old work of the Carolings, much of which still existed in ruinous form, the new ideas brought home from Syria by the crusaders, and the infiltration of Lombard fashions from north Italy, with the Cistercian monks always exerting their austere and reforming influence toward simplicity. Many of the earliest examples of this new work--at least the earliest now existing--are across the Rhine, in Thuringia and Saxony, and are outside our survey. Gernrode, Essen, Hildesheim, are all beyond our territory, but Cologne is this side the river and contains some of the most organic and best of the late tenth and early eleventh century work. Sta. Maria in Capitolio and St. Martin are both of that very peculiar type of plan that has an apse and apsidal transepts of equal size and semicircular in plan. The central tower is supported on four piers made up of groups of four, as at San Marco in Venice, and the apse and transepts are surrounded by ambulatories, the main walls being carried on columns, set rather close together and carrying round arches. It is an interesting and ingenious scheme, with great possibilities of development, though it has almost never been used elsewhere; probably it is of Syrian origin, the idea being brought home by early crusaders, though it may be Byzantine, in which case also it was probably derived from Antioch, where the crusaders found so much of value to them in the development of the later art of Europe. St. Martin’s has also a very beautiful tower with a high broach spire and admirably designed corner turrets. The composition of the church from the east, with its curving apsidal lines, its delicate little colonnades of Lombard form under the eaves, and the graceful yet powerful towers, is noble and dignified, and the whole building is far more organic and logically articulated than the bigger work of a century later farther up the Rhine.