History of mediæval art . e-stroyed. The four male figures whichuphold this altar are sculptured in thefull round; they are, however, of butslight artistic value. The same maybe said of the statue of the Lampa-dophorus in the Cathedral of hardness and helplessness these areeven surpassed by the figure of Arch-bishop Gisilerius, executed in high-re-lief, soon after 1004, in gigantic crucifix of Bernward ofHildesheim, in the Cathedral of Bruns-wick, is also exceedingly stiff; the con-ception of the Saviour as living, wear-ing a long tunic and without the crownof thorns, i
History of mediæval art . e-stroyed. The four male figures whichuphold this altar are sculptured in thefull round; they are, however, of butslight artistic value. The same maybe said of the statue of the Lampa-dophorus in the Cathedral of hardness and helplessness these areeven surpassed by the figure of Arch-bishop Gisilerius, executed in high-re-lief, soon after 1004, in gigantic crucifix of Bernward ofHildesheim, in the Cathedral of Bruns-wick, is also exceedingly stiff; the con-ception of the Saviour as living, wear-ing a long tunic and without the crownof thorns, is, however, remarkable in iconographic respects. The next fol-lowing work of importance which canbe accurately dated is the funeral mon-ument of the Pretender Rudolph ofSuabia, who died in 1080 {Fig. 276).It shows no progress commensuratewith the great advance made in architecture during this age. In-deed, more was achieved at that time by the school of Dinant,which must be considered as belonging to France, notwithstand-. Fig. 276.—Tomb of the Pretender Ru-dolph of Suabia, in the Cathedralof Merseburg. ing the fact that it derived its origin from the Carolingian foun- GERMANY. 453 dery of Aix-la-Chapelle. The artistic excellence of the school ofDinant was equalled in Germany only towards the close of thetwelfth century, at which time bronze casting was again cultivatedin the Saxon countries. The baptismal font in the Cathedral ofOsnabrueck, with its five representations in relief, can scarcely becompared with that of Liege; neither can the tombstone of thearchbishop to Frederick Barbarossa, in the Cathedral of Magdeburg,nor the brazen lion on the Cathedral Square of Brunswick, datingto 1166, though all these works are of tolerable perfection in tech-nical respects. At all events, the magnificent font in the Cathedralof Hildesheim, referable to the first half of the thirteenth century,far surpasses all preceding works in beauty of form and allegorical figures o
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