History of mediæval art . nd in the copy of the gospels, executed be-tween 980 and 1018 for Bishop Henry of Wurzburg, and now in theUniversity Library of that place (M. Perg. Theol., No. 661). In theGospel now in Gotha, illuminated by order of Theophano duringher regency for Otto III., A. D. 983 to 991, and removed by the lat-ter to Echternach, the influence of Byzantium, which appears to- 414 PAINTING OF THE ROMANIC EPOCH. gether with many naive and life-like traits, is readily accounted forby the nationality of the queen {Fig. 256). The same considera-tions explain the introduction of Greek
History of mediæval art . nd in the copy of the gospels, executed be-tween 980 and 1018 for Bishop Henry of Wurzburg, and now in theUniversity Library of that place (M. Perg. Theol., No. 661). In theGospel now in Gotha, illuminated by order of Theophano duringher regency for Otto III., A. D. 983 to 991, and removed by the lat-ter to Echternach, the influence of Byzantium, which appears to- 414 PAINTING OF THE ROMANIC EPOCH. gether with many naive and life-like traits, is readily accounted forby the nationality of the queen {Fig. 256). The same considera-tions explain the introduction of Greek elements into the manu-scripts of Otto III. and Henry II., at a time when they were almostentirely lacking in the works of the monks of Reichenau (comparethe dedicatory illustration in the Gospel in the Library of Munich,Cim. 58). The character of the art at the court of the last Saxon emperoris best represented by the school of illumination in Ratisbon, theworks of which, especially those now in Munich and Bamberg, prove. Fig. 255.—The Healing of the Blind. Miniature of the Codex Egberti, Treves. it to have been the most important of that period in Germany.*Ratisbon, the favorite residence of Henry II.,—already in possessionof the Codex Aureus of Charles the Bald, one of the finest examplesof Carolingian miniature painting,—was further enriched by receivingthe books of Otto III. This led to the combination of Carolingiantraditions with the Byzantine methods evident in the manuscriptsof Otto III. The study of these models enabled the artists, after * B. Riehl, Zur Bayrischen Kunstgeschichte. I.—Die altesten Denkmale der Malerei. Stuttgart, 1885. GERMANY. 415 having acquired the necessary training, to undertake tasks of inde-pendent importance. This is the character not only of the worksgiven by Henry II. to Bamberg, but of those executed for the im-perial court of that age. The missal of Henry II., now in theLibrary of Munich (),—referable with certainty, from
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