History of mediæval art . Fig. 271.—Carved Support from the Crypt of the Cathedral of Freising. at Hildesheim itself, and at Halberstadt, Hamersleben, Hecklingen,and Koenigslutter, with all the traditional types and Byzantinelimitations, especially apparent in the draperies, betray a betterunderstanding of form, even approaching to the classic style. Ro-manic sculpture, however, attained its greatest eminence in EasternSaxony. The works there preserved almost equal in artistic excel- GERMANY. 445 lence those of the Pisani. The pulpit of Wechselburg {Fig. 272),notwithstanding its striking resem
History of mediæval art . Fig. 271.—Carved Support from the Crypt of the Cathedral of Freising. at Hildesheim itself, and at Halberstadt, Hamersleben, Hecklingen,and Koenigslutter, with all the traditional types and Byzantinelimitations, especially apparent in the draperies, betray a betterunderstanding of form, even approaching to the classic style. Ro-manic sculpture, however, attained its greatest eminence in EasternSaxony. The works there preserved almost equal in artistic excel- GERMANY. 445 lence those of the Pisani. The pulpit of Wechselburg {Fig. 272),notwithstanding its striking resemblance to the similar creations ofNiccolo Pisano, can by no means be considered as an imitation,since it must have been executed soon after, if not at the time of,the completion of that church in 1184. It may be, however, that,as in the beginning of this period, during the reign of Henry II.,. Fig. 272.—The Pulpit of Wechselburg. the classic impulse was strongly felt in the North, as would naturallyresult from the considerable intercourse between Germany and Italythrough the expeditions of the emperors to Rome. This was es-pecially the case in the time of the Hohenstaufens, who broughtthe classic style into fashion in the same manner as the Ottos hadfostered Byzantinism at their court. The Italian character of thearchitectural framework of the pulpit is no less surprising than are 446 SCULPTURE OF THE ROMANIC EPOCH. the classic forms of the sculptures in high-relief upon the threepanels of the parapet. These represent, upon the front, Christ, withthe symbols of the Evangelists, the Virgin, and St. John ; upon oneside, the miracle of the Brazen Serpent, and, upon the other, the sac-rifices of Cain, Abel, and Abraham. While the connection of these sculptures with those of Saxonybefore mentioned is still evident, it is scarcely to be traced in thealtar-piece of the same chur
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