St. Gallen and its artists, however, must not be permitted to monopolise our attention too long. The reader must for the rest refer to Dr. Rahn and the writers whom he quotes. Sometimes it is said that the illuminations of the eleventh century are proofs of the rapid decline of art, and to demonstrate the fact that they are frankly hideous, some writers bring forward instances such as the miniatures of a Missal, especially a Crucifixion, said to be at Paris,[22] and a MS. at Berlin said to have been executed in the earlier days of the Franconian dynasty (1034-1125) containing another Crucifixion, which, though not quite so horrible as the one just referred to, is sufficiently bad. These miniatures are irredeemably barbaric and not in any sense typical of the age. Such examples, in fact, can be found in any age and in any country. Were they really representative of the best art of the time, there might be an excuse for their reproduction, but they are not, and therefore no reliance can be placed on their evidence. [22] _Le Livre, etc._, par M.P. Louisy, Paris, 1886, 8°, p. 79. In the miniatures of MSS. executed for the Othos and Henrys of the early Saxon dynasty the worst they can be charged with, as compared with the periods before and after them, is slavish imitation. The portrait of Henry II. (Saint Henry, husband of Cunegunda) in MS. 40 at Munich is by no means barbaric--it is more Greek than anything else--but it is down to the smallest element of composition a direct imitation of the similar portrait of Charles the Bald in the Emmeram Gospels. It is not a copy, for there is a significant difference in the attitudes of the emperors. Henry holds a sceptre in his right hand and an orb in his left, like Otho III. in the miniature already described, whereas Charles is empty handed. Then both on the Emperor's head and on the smaller figures the crowns are different--the panelling of the Imperial canopy is different, and, of course, there is a different inscription. Lastly, it may be said that some of the differences are improvements. Another change is characteristic--Charles was beardless, Henry has a pointed beard. It is true this is an example belonging to the very brightest years of the Othonian revival. But to pass over other Saxon MSS., there are extant examples from Evroul (when Roger de Warenne, son of the great Earl of Surrey, practised as a scribe and illuminator on his retirement to that monastery), St. Martin's of Tournay, St. Amand, Benedictbeuern, Lobbes, and Weissobrunn could all boast accomplished calligraphers. The last establishment produced the celebrated Diemudis, who, though a woman, was distinguished by a most extraordinary activity and skill.