work. The tomb of Hugues, Abbot of Cluny; the doorway of the monastery of St. Jean, that of the Church of St. Lazare at Autun; the nave and the west front of Semur-en-Auxois, are all of this school, and of this epoch. The school of Champagne raised to the memory of Count Henry I., in the Church of St. Etienne, at Troyes, a tomb surrounded with forty-four columns of gilded bronze, surmounted by a slab of silver on which were placed, in a recumbent position, the statues of the Count and of one of his sons; bas-reliefs, in bronze and silver, representing the Holy Family, the celestial court, angels, and prophets, surrounded this monument. The tomb of Count Henry was a triumph of sculpture in metal; and, at that time, surpassed all other tombs in France, just as the Cathedral of Rheims was destined, ere long, to excel all others. In Normandy we find the same enthusiasm, the same zeal, the same skill in Art; and there, at least, we learn the names of some of the artists: Otho, the builder of the Cathedral of Séez; Garnier, of Fécamp; Anquetil, of Petit-Ville, &c. The masons and sculptors, too, formed at this epoch a numerous and powerful corporation. In the South, Asquilinus, Abbot of Moissac, near Cahors, ornamented with fine statues the cloister and front of his church, and affixed to the sides of the apse a Crucifixion so skilfully carved, that it was believed to have emanated from some divine hand (“ut non humano, sed divino artificio facta”). In Auvergne, Provence, and Languedoc, many other important works of sculpture were executed. But the chief masterpiece of all, which combines the different styles of the southern schools, is the famous Church of St. Trophimus of Arles, the front of which, where the breadth and grace of the Greek style is allied with the purest Christian simplicity, carries back the imagination to the brightest epochs of the art. Towards the end of the eleventh and the commencement of the twelfth century, the sculptors’ studios of the districts of Messin and Lorraine were in full activity. Several magnificent churches having been destroyed by fire, particularly that of Verdun, the whole population assisted, either with money or labour, in the restoration of these edifices. It was a perfect artistic crusade, in which several bishops and abbots, who were clever artists as well as spiritual chiefs, took the lead in the movement. In Alsace, art asserted its position in the magnificent Cathedral of Strasbourg,[48] a kind of challenge thrown out to the artists on the other side of the Rhine, who were unable, even at Cologne, to carry an edifice to such an [Illustration: CLOVIS I. AND CLOTILDE HIS WIFE. Statues formerly at the Entrance of the Church of Notre Dame at Corbeil. Twelfth Century.]