Ekkehard relates another royal visit from King Conrad I., which took place in 912. The king being at Constance on Christmas-day, the bishop happened after dinner to speak of the processions which were celebrated at that season at St. Gall’s. “Why should we not go there to-morrow?” said the king; and his courtiers eagerly assenting, the next day very early they set out in boats across the lake, and so reached the abbey, where they spent three days. They specially admired the procession of the children; and to test their discipline, the king threw an apple among them, which none of them so much as looked at, whereat he greatly wondered. He dined with them in the refectory, and took pleasure in hearing the boys read in succession. As they came down from the desk, he sent some gold to be put into their mouths, which one of them spitting out again, Conrad declared he would make an excellent monk. His visit ended pleasantly to the children, for after causing himself to be enrolled as a conscript brother, he granted the scholars three extra play-days, and discharged the expenses of a great feast, furnishing the pepper, as he said, to season their beans. When Conrad II. and his empress paid a similar visit in 1033, they contrived to coax Abbot Dietbald to give them the German Psalter and the book of Job, which had been written out by Notker Labeo, a treasure worth more to the community than many such instalments of royal pepper. I have lingered so long on the history of St. Gall’s as to leave little space for noticing the other monastic schools of the period. Most of those in Germany were remarkable for their cultivation of the arts, in which they far outstripped their Italian contemporaries. Godeschard, the successor of St. Bernward of Hildesheim, thoroughly shared his tastes, and carried on his designs. He even founded a school of painting in his episcopal palace which propagated the art through all the German dioceses. The subjects chosen were mostly scenes from the Old and New Testaments, being professedly intended for the instruction of the unlearned. Rio fixes the latter part of the tenth century as the date of the invention of glass painting, and the first fabrication of carpets and hangings. These new branches of industry were at once taken up by the monks, and at St. Florent de Saumur, in 985, a manufactory was established for weaving tapestries adorned with flowers and figures of animals. Sometimes the love of nature, so inherent in the monkish soul, induced them to decorate their cloisters with woodland scenes, in which the figures of men, dogs, horses, and deer, appear taking part in the chase. This was, of course, a departure from the principles on which the art of religious painting rested; and in the twelfth century these artistic caprices drew down severe reproofs from St. Bernard, who particularly disliked the representation of monsters, such as centaurs, and quadrupeds with a fish’s tail. He thought that they savoured of heathenism,