Cipolin and Pentelican marble, with captials, cornices, and friezes, carved painted, and decorated with bronze. In Lorraine they worked at the cathedrals of Toul and Verdun, and the abbey of St. Viton. In the diocese of Metz Gontran and Adélard, celebrated abbots of St. Trudon, covered Hasbaye with new buildings. “Adélard,” says a chronicler, “superintended the construction of fourteen churches, and his outlay was so great that the imperial treasury would scarcely have sufficed for it.” In Alsace, the cathedral at Strasbourg and the two churches of Colmar and Schelestadt simultaneously arose, and in Switzerland the Cathedral of Basle. These magnificent edifices are still standing to show the vigour and majestic simplicity with which the art of sculpture was then able to embody its ideas; and, by lending its aid to architecture, to manifest, so to speak, the faith which actuated it. It was in this century that Fulbert, Bishop of Chartres, who was doubtless a sculptor also, superintended the restoration of his church, the splendour of which is still open to the admiration of all. Art, too, did not less distinguish herself in the decoration of certain additions made at that time to edifices already existing. The doorways of the churches of Laon, Châteaudun, and St. Ayoult of Provins, grand works of the earliest years of the twelfth century, yield the palm only to the splendid external ornamentation of the Abbey of St. Denis, executed between the years 1137 and 1180. The Abbot Suger, who was himself an eminent artist, does not name any of the sculptors to whose care this important task was committed. We are equally ignorant as to the sculptors of the statues of Dagobert and of Queen Nanthilde, his wife; and also as to the artists of a large golden crucifix, the foot of which was enriched with bas-reliefs, and the figure of Christ, that presented, says Suger, “an expression really divine.” The names of the sculptors of the cathedral church of Paris are likewise concealed from our admiration. One might suppose that a body of artists fired with the same inspiration, and with a common sentiment both in thought and action, had there assembled to design their works; some sculpturing in marble the sarcophagus of Philip of France; some peopling the rood-loft and the apse with tall figures and a long gallery of Biblical subjects; others decorating the façade and exterior with statues, all of every diversified character, but yet all appearing to unite in the expression of the same feelings and the same faith (Fig. 279). In the twelfth century, the Burgundian artists continued their marvellous [Illustration: Fig. 279.--External Bas-relief of Norte-Dame, in Paris, representing Citizens relieving Poor Scholars. (The work of Jean de Chelles. Date 1257.)]