The death of Otho III. in 1002 did not affect materially the steady advance of monastic art. Bamberg, St. Gall, Corvey, Luxeuil, Bobbio, Monte Cassino continued their accustomed labours. Under the Capetian Kings the French foundations maintained the reputations they had won during the Carolingian times, while others were added from time to time throughout the Rhineland, Limousin, and the South of France, where the Romanesque or Byzantine tastes had not yet penetrated, and whose work therefore remained distinct from that of Italy and the German Empire. Henry II. and the Empress Cunigunda made Bamberg the great centre of German art, and it is to Bamberg, St. Gall, Luxeuil, Monte Cassino, and Magdeburg that we have to look for the finest productions of the eleventh century. Among the earlier works of the Othonian period we may mention the famous Gospel-book executed for the minister of Otho II., Egbert, Archbishop of Trèves, and known as the Codex Egberti. It was written in 980 at Reichenau on the Lake of Constance (or Bodensee, as it is locally known) by two monks, Kerald and Heribert, whose dwarfish figures appear beneath that of the archbishop on the frontispiece. It contains fifty-seven illuminations and several folios of violet parchment with golden ornaments and lettering. But its pictures are rather remarkable, mostly the figures are too short and the limbs and extremities badly drawn, but in some of the statelier personages the error is reversed and they are too tall--this seems to be owing to Greek influence, while the Byzantine taste shows itself in the treatment of the border-foliages. Beasts are unnatural--demons and swine are alike, both in form and colour (Pub. Lib., Trèves). An Evangeliary, formerly in the Cathedral Treasury at Bamberg, but now in the Royal Library at Munich (Cimel. 58), is a good example of the kind of work that at first glance appears to be actually Carolingian both in the figures, attitudes, and treatment of drapery, but which on closer examination proves to be really due to the reign of Otho II. In this MS. the beginning of St. Matthew contains four medallions--two of Henry I. (the Fowler), one of Otho I., his son, and another of his grandson, Otho II. (Nat. Lib., Paris, Lat. 8851). A still more notable MS. is kept in the Munich Library (Cimel. 58), containing a two-paged picture of tributary cities bringing gifts to the Emperor Otho III. In the painting in this MS., notwithstanding the exaggerated solemnity of expression, the faces are well drawn and the features carefully modelled. The painting is in the Greek manner, as is also the general character of the draperies. The small, ill-drawn feet are by no means comparable with the heads.