It is worthy of remark that the monuments of this age are generally wanting both in dates and the name of the sculptor. Not more than five or six of the principal artists or directors of artistic works of the period are mentioned by name in any historical records. Among them, however, are Tutilon, a monk of Saint-Gall, who at once poet, sculptor, and painter, ornamented with his works the churches of Mayence and Metz; Hugues, Abbot of Montier-en-Der; Austée, Abbot of St. Arnulph, in the diocese of Metz; Morard, who, with the co-operation of King Robert, rebuilt, towards the end of the tenth century, the old church of St. Germain-des-Prés, at Paris; lastly, Guillaume, Abbot of St. Benignus, at Dijon, who took under his direction forty monasteries, and became chief of a school of Art, as well as their head on religious matters. The doorways of the churches of Avallon, Nantua, and Vermanton, executed at this epoch, bear witness to the rigour of an improved taste; and it may be well said that this abbot Guillaume, who for a long series of years directed a number of artists, who also in their turn became chiefs of schools, exercised as powerful an influence on French art as Nicholas of Pisa on Tuscan art in the following century. But although it embraced within its influence a very extended sphere, the school of Burgundy did not fail to find on the ancient Gallic soil very skilful and industrious rivals. The districts of Messin, Lorraine, Alsace, Champagne, Normandy, and the Ile-de-France, in short all the various centres of the South, possessed numerous artists, each of whom impressed on their works their own special character of individuality. While all this activity was prevailing in France, Italy had as yet taken so insignificant a part in the revival of Art, that in 976 Peter Orseolo, Doge of Venice, having formed the idea of rebuilding the basilica of St. Mark, was compelled to summon from Constantinople both architects and artists. A period of check to any progress took place in France, however, just as in all the rest of Europe, when, at the approach of the year 1000, the whole population became subject to an ideal dread that the end of the world was at hand; but when this date was once passed, every school of art set vigorously to work, and the most remarkable monuments of Romanesque architecture sprang up throughout Europe in every direction. Then it was that the artists of Burgundy built and ornamented, among other churches and monasteries, the Abbey of Cluny, the apse of which consisted of a bold cupola, supported by six columns thirty-six feet in height, of [Illustration: Fig. 278.--Tomb of Dagobert, executed by order of St. Louis, in the Abbey-Church of St. Denis. It represents the King carried away by Demons, after his death, towards the Infernal Bark, from which he is rescued by Angels and the Fathers of the Church. (Thirteenth Century.)]