is, while Guillaume, an Abbot at Dijon, was
at the head of the works of forty monasteries. Guillaume probably
had almost as wide an influence upon French art as St. Bernward
had on the German, or Nicola Pisano on that of Italy. In Metz were
two noted architects, Adelard and Gontran, who superintended the
building of fourteen churches, and an early chronicler says that
the expense was so great that "the imperial treasury would scarce
have sufficed for it."

At Arles are two of the most famous monuments of Romanesque art,
the porches of St. Trophime, and of St. Gilles. The latter exhibits
almost classical feeling and influence; the former is much blunter
and more Byzantine; both are highly interesting for purposes
of study, being elaborately ornamented with figure sculptures and
other decorative motives.

Abbot Suger, the art-craftsman par excellence of the Ile de France,
was the sculptor in chief of St. Denis from 1137 to 1180. This
magnificent facade is harmonious in its treatment, betokening plainly
that one brain conceived and carried out the plan. We have not the
names of the minor architects and sculptors who were employed,
but doubtless they were the scholars and followers of Suger, and
rendered work in a similar manner.

There are some names which have been handed down from early times
in Normandy: one Otho, another Garnier, and a third, Anquetil,
while a crucifix carved by Auquilinus of Moissac was popularly
believed to have been created by divine means. If one will compare
the statues of St. Trophime of Arles with those at St. Denis, it
will be found that the latter are better rounded, those at St.
Trophime being coarsely blocked out; although at first glance one
would say that there was little to choose between them.

The old font at Amiens is very ancient, older than the church. It
is seven feet long, and stands on short square piers: it resembles
a stone coffin, and was apparently so made that a grown person
might be baptized by immersion, by lying at full length. Angels
holding scrolls are carved at its four corners, otherwise it is
very plain. There is an ancient Byzantine crucifix at Amiens, on
which the figure of Our Lord is fully draped, and on his head is
a royal crown instead of thorns. The figure, too, is erect, as if
to invite homage by its outstretched arms, instead of suggesting
that the arms had to bear the weight of the body. Indeed, it is a
Christ triumphant and regnant though crucified--a