sculptors. This carving is treated in the same way as the Greek heads called Eginetic. There is the same simplicity of model, the same purity of outline, the same style of execution, at once broad and delicate. It well represents the features of Christ as a man: a blending of sweetness with firmness, a gravity devoid of sadness.” This is not the place to assert any minute comparisons between different manners and styles; even the bare enumeration of the many monuments to which this fervent age gave birth might prove wearisome. We call it a “fervent age,” and fully are we justified, for, at a time when a whole world of artist-sculptors of ornaments and figures were devoting themselves to the most delicate and marvellous works of sculpture (Fig. 282), none seemed desirous of displaying his own personal distinction. We find, for instance, numerous sculptors setting aside all claim to individual merit, and carrying this self-denial so far that, instead of their own names, they inscribed that of the Virgin Mary on the carvings of the churches which they had enriched with their finest works: “Hoc panthema pia cælaverat ipsa Maria.” In Germany, Christian art became specially enthroned in Saxony; and Dresden, which has been justly styled the German Athens, can date back her architecto-sculptural adornments to the tenth century. On the banks of the Rhine, at Cologne, Coblentz, and Mayence, we find again the school of Saint-Gall, which, having been planted in 971, under the auspices of Notker, Bishop of Laodicea, left its stamp, during a period of two centuries, in a series of remarkable works. England, as early as the seventh century, had called to her aid some of the French “masters in stone” and best workmen, and she subsequently continued to do so for the building and ornamentation of her finest religious edifices. William of Sens, a very skilful artist (_artifex subtilissimus_), proceeded, in 1176, to rebuild Canterbury Cathedral. Norman and French artists also restored the abbeys of Croyland and Wearmouth, and York Cathedral, already enriched with Byzantine and French sculpture. Spain and Portugal, the soil of which had long been the theatre of an inveterate conflict between two races embracing two irreconcilable religions, were destined to inherit from these very struggles the creation of a singularly characteristic style of art. In adopting the Byzantine style, the Moors had deprived it of its character of simple earnestness, and made it to harmonise with the tendencies of their refined sensualism. Even when Christian art was able to exercise an undivided rule, it could not fail to be influenced by the buildings erected by the Moors; and the fact that this alliance of architectural and sculptural styles succeeded in producing masterpieces is well attested by the cathedrals of Cuenca, Vittoria, and some portions of those of Seville, Barcelona, and Lugo in Galicia.