This union of principles gave rise to a number of works bearing a remarkable character. The foundation of the abbeys of St. Mihiel (Lorraine), Isle-Barbe (near Lyons), of Ambernay and Romans; the erection of several of the great monasteries in Alsace, Soissonnais, Brittany, Normandy, Provence, Languedoc, and Aquitaine; the construction of the [Illustration: Fig. 276.--Diptychs in Carved Ivory of the Eleventh Century. (M. Rigollot’s Collection, Amiens.) The first compartment represents St. Remy, Bishop of Rheims, healing a paralytic; the second, St. Remy healing a sick man by the invocation of the sacrament on the altar; the third, St. Remy, assisted by a holy bishop, baptising King Clovis in the presence of Queen Clotilda, and receiving from the Holy Spirit the sacred _ampulla_. ] important churches of Metz, Toul, Verdun, Rheims, Autun, &c.; the restorations which took place at the abbeys of Bèze, St. Gall, St. Benignus of Dijon, Remiremont, St. Arnulphe-lès-Metz, and Luxeuil, were of sufficient importance to occupy an immense number of artists, architects, and sculptors, who, like the monk Gundelandus, abbot of Lauresheim, handled the compasses and the mallet with as much authority as the crucifix. Nothing could equal the splendour of some of the monasteries, which were perfect centres of genius and skill, in which all the Fine Arts united were a mutual assistance to one another; directed, perhaps, by a master who was himself inspired by a feeling for elevated production (Fig. 277). Nevertheless, the smaller examples of sculpture and carving constituted the principal work of the artists of the eighth century. In the execution of any larger objects they were deterred by a dread of the Iconoclasts, who still continued their course of destruction, neither was it much less after the death of Charlemagne, owing to the civil wars and invasions which, in every direction, put a stop to or ruined architectural works. A shrine or an altar might perhaps be saved, but a church-front or doorway could not be protected; and the hereditary hatred with which princes pursued one another did not fail to be wreaked on their effigies. At that time there were neither artists nor monks; every one became a soldier, and the common peril gave some energy to our alarmed ancestors.