History of mediæval art . owever, often executed by native monks and nuns, or even byprofane hands. Among the few German works of this kind whichhave been preserved, the most important are the dorsels from Qued-linburg, with representations of the nuptials of Philologia and Mer-cury, according to the allegory of Marcianus Capella, and dating tothe end of the twelfth century {Fig. 254). They may have been GERMANY. 411 worked for some unconsecrated hall, such as the Caminatas, whichwere common in the palaces built of wood as well as those of chief information in regard to Romanic paint
History of mediæval art . owever, often executed by native monks and nuns, or even byprofane hands. Among the few German works of this kind whichhave been preserved, the most important are the dorsels from Qued-linburg, with representations of the nuptials of Philologia and Mer-cury, according to the allegory of Marcianus Capella, and dating tothe end of the twelfth century {Fig. 254). They may have been GERMANY. 411 worked for some unconsecrated hall, such as the Caminatas, whichwere common in the palaces built of wood as well as those of chief information in regard to Romanic painting in Ger-many is to be obtained from the illuminated manuscripts.* Thesewere quite as universal as mural decorations, and, owing to the nat-ure of their materials, far more of them have been preserved. Theart of miniature painting was practised exclusively by the monks, as,indeed, all the culture of the Romanic epoch in Germany was main-tained by the clergy. When persons of distinction, either priestly ?ri^f^rTnlitQ^^. Fig. 254.—Woven Dorsel from Quedlinburg. or secular, appear in the inscriptions, they are generally to be con-sidered as patrons rather than as artists, and the word fecit inthe signature is in such cases to be understood as fieri the artistic activity of Bernward of Hildesheim, after he be-came bishop, was more that of a maecenas and director than thatof a practical designer. The Ottos had continued the protection of the arts formerly * A. Springer, Die Psalterillustrationen im friiheren Mittelalter, mit besonderer Riick-sicht auf den Utrechtspsalter. AbH. d. phil. hist. A. d. k. sachs. Ges. d. Wiss. Leipzig,1880, VIII.—F. X. Kraus, Die Miniaturen des Codex Egberti in der Stadtbibliothek zuTrier. Freiburg, 1884. 412 PAINTING OF THE ROMANIC EPOCH. afforded by the Carolingians, and their works of architecture, muralpainting, and illuminated manuscripts are of much the same charac-ter as those of their predecessors. The connection of the imperialc
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