History of mediæval art . poch is the cathedra of the Bishop Maximian,which was executed between the years 546 and 552, and is now pre-served in the sacristy of the Cathedral of Ravenna. It displaysnumerous representations of single figures and groups, surroundedby a framework of foliage and various animals. The different partsof the work are of very unequal value, the decorations being de-cidedly better than the figures. Mention must also be made of the work in precious metalswhich at this period flourished throughout the East, and particu-larly in Constantinople. Enamelling was most common,
History of mediæval art . poch is the cathedra of the Bishop Maximian,which was executed between the years 546 and 552, and is now pre-served in the sacristy of the Cathedral of Ravenna. It displaysnumerous representations of single figures and groups, surroundedby a framework of foliage and various animals. The different partsof the work are of very unequal value, the decorations being de-cidedly better than the figures. Mention must also be made of the work in precious metalswhich at this period flourished throughout the East, and particu-larly in Constantinople. Enamelling was most common, and those WORKS OF PRECIOUS METAL. 113 few branches of goldsmiths work which are to be considered underthe head of sculpture are but rarely of artistic importance. Thedie-cutting of Byzantium had at all times been inferior to that ofRome. Soon after the age of Constantine even gold coins showflat heads in full face, with but little individuality; and after Jus-tinian they were debased to most barbarous types. The artistic. Fig. 65.—The Two Marys at the Sepulchre. Relief of Gold in the Louvre. treatment of the large empaistic works in gold and silver did noteven equal the intrinsic value of the metals themselves. A relief ofgold, now in the Louvre, representing the two Marys before theangel who guards the sepulchre, may serve as an example {Fig. 65).The character of the Greek inscription makes it impossible to con-sider this work as antedating the tenth century, hence it is not 114 EARLY CHRISTIAN AND BYZANTINE SCULPTURE. surprising that its style shows no understanding of the principlesof modelling in relief, but is entirely dependent upon the designof late Byzantine paintings and miniatures. The golden cover ofthe binding of the Gospel of Charles the Bald, now in the Libraryof Munich, which is stated in an inscription to have been attachedto the codex in the year 975, by the Abbot Romuald of St. Em-meramnus in Ratisbon, is known to be of Italian or German work-manship, but
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