Prior to this flowering of art in Northern France, the churches of the South of France developed a charming Romanesque of their own, a little different from that in Italy. A monk named Tutilon, of the monastery of St. Gall, was among the most famous sculptors of the Romanesque period. Another name is that of Hughes, Abbot of Montier-en-Der. At the end of the tenth century one Morard, under the patronage of King Robert, built and ornamented the Church of St. Germain des Près, Paris, 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 façade 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 very unusual treatment of the subject in the Middle Ages. It was brought from the East, in all probability, by a returning warrior from the Crusades.

The foundation of Chartres was very early: the first Bishop St. Aventin occupied his see as early as 200 A. D. The early Gothic type in figure sculpture is always characterized by a few features in common, though different districts produced varying forms and facial expressions. The figures are always narrow, and much elongated, from a monumental sentiment which governed the design of the period. The influence of the Caryatid may have remained in the consciousness of later artists, leading them to make their figures conform so far as expedient to the proportions of the columns which stood behind them and supported them. In any case, it was considered an indispensable condition that these proportions should be maintained, and has come to be regarded as an architectural necessity. As soon as sculptors began to consider their figures as realistic representations of human beings instead of ornamental motives in their buildings, the art declined, and poor results followed.

The west porch of Chartres dates from the twelfth century. The church was injured by fire in 1194. In 1226 certain restorations were made, and an old chronicle says that at that time it was quite fire-proof, remarking: "It has nothing to fear from any earthly fire from this time to the day of Judgment, and will save from fires eternal the many Christians who by their alms have helped in its rebuilding." The whole edifice was consecrated by St. Louis on Oct. 17, 1260. The King gave the north porch, and several of the windows, and the whole royal family was present at this impressive function.

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