It was, as we have said, in the eleventh and twelfth centuries especially that the great abbeys were founded. And it cannot be too clearly stated that the principal abbatial churches--those most splendid monuments of architecture whose structure and dimensions are still the admiration of the most cultured critics, and in which all the rules of art were so marvellously applied--were the work of simple monks. The great Church of St. Benignus at Dijon (so often spoken of by writers on Burgundian art) was built in 1001, under Abbat William, assisted by a young monk named Hunaldus. The period between 1031 and 1060 saw the creation of the grand abbatial Church of St. Remi at Reims. In the words of the Comte de Montalembert: "From the very beginning of the Monastic Orders St. Benedict had provided in his Rule that there should be artists in the monasteries. He had imposed on the exercise of their art only one condition--humility." Hence it is that all we know of the author of the Compendium from himself is "humilis presbiter Theophilus." For the same reason Tuotilo and Folchard and Sintramn and the rest are never anxious to put their names upon their work. For the same reason the occurrence of an artist's name in a monastic MS. is quite exceptional and unexpected. The foresight of St. Benedict "was accomplished and his law faithfully fulfilled." The Benedictine monasteries soon possessed not only libraries but ateliers, where architecture, painting, mosaic, sculpture, metal-chasing, calligraphy, ivory carving, gem-setting, book-binding, and all the branches of ornamentation were studied and practised with equal care and success, without interfering in the least with the exact and austere discipline of the foundation. The teaching of these various arts formed an essential part of monastic education. "The greatest and most saintly abbeys were precisely those most renowned for their zeal in the culture of Art. St. Gallen in Germany, Monte Cassino in Italy, Cluny in France, were for centuries the mother-cities of Christian Art." And after the establishment of the reformed colony at Citeaux, the Cistercian Order became the one above all others which has left the most perfect edifices, and if the Cistercian illumination may not claim the splendour of some contemporary examples, it often excels them in soundness of design and severe correctness of execution.