The Imperial crown is square, like those of the Magi in the Bremen MS. now in the Library of Brussels, or like that of Baldwin as Emperor of Constantinople. In the several enthronements which occur among the Imperial miniatures at Munich there are important and significant differences which might not be noticed unless pointed out. The changes in the shape and treatment of the orb, for instance, mean more than a mere advance in enrichment, or an improvement in artistic skill. The difference indicates a change in political usage. In the miniature of Charles it does not occur at all; in that of Otho III. it is a mere symbol; in that of Henry II. it is the actual emblem of sovereignty presented by the Pope to the Emperor, to be held by the latter in token of his investiture. It was Selden's opinion that the orb, surmounted by the cross, never appears in western art until the time of Henry II. Thus it is here one of the many seemingly insignificant details which, in the miniature art of the Middle Ages, contribute to the elucidation of History. CHAPTER XV FRANCONIAN ILLUMINATION The later Saxon schools--Bernward of Hildesheim--Tuotilo and Hartmut of St. Gallen--Portrait of Henry II. in MS. 40 at Munich--Netherlandish and other work compared--Alleged deterioration of work under the Franconian Emperors not true--Bad character of the eleventh century as to art--Example to the contrary. The MS. just referred to (Munich, Cimel. 58) brings us most probably to the time of the third. Otho, but it is really with his father's marriage to the Princess Theophano that the great revival in the arts began, and the names of St. Bruno of Cologne and Augsburg, Gerbert, Bernward of Hildesheim, Tuotilo, Salomon, Hartmut, Folchard, and Sintramn of St. Gallen, are, as it were, points of light and centres of expanding circles of artistic skill. Bruno and Gerbert are too well known to need any further remark. Bernward of Hildesheim, made bishop there in 992 by Theophano, and tutor to her son Otho III., "excelled no less in the mechanical than in the liberal arts. He was an excellent penman, a good painter, and as a household manager was unequalled." Such is Tangmar's tribute to his pupil's character. He was, indeed, an enthusiast in painting, mosaic, and metal-work, and used to collect all the objects of art he could lay hands on, to form a museum or studio for the instruction of a class of art students and workmen. The collection was formed mainly out of the numerous presents brought to the young Emperor from foreign, and especially Greek and Oriental, princes, and contained many examples of beautiful metal-work and Greek illumination. His own Cathedral of Hildesheim was supplied with jewelled service-books, in part at least the work of his own hand. The chalices and incense-burners and the massive golden corona or candelabrum of the cathedral were also the productions of his own workshops. The mural paintings, too, were executed by himself.