In the chapter on Othonian art we saw how the ornamentation of books was drawn away from the great French centres, and began to take a new departure from the various leading cities of Germany, such as Bamberg, which the Othos had made their capital. Whilst the decline, which was the inevitable consequence of a personal government like that of Charlemagne, took place in France, it was but natural that the new artistic movement at Bamberg should become the fashion, and Germany predominant in art, as she was in politics. In the twelfth century the German Empire was the principal power in Europe. France, Italy, England, and Spain were all more or less secondary. Italy, however, was already on the alert. She was initiating certain movements in social life that must soon withdraw the cultivation of all the arts from the control of the monasteries. At the same time the love of learning and personal accomplishments of the second and third Othos and (St.) Henry II. soon prepared the Imperial Court to become as brilliant as classical scholarship and artistic skill of the highest class could make it. The wave of Byzantine influence which had passed over Germany by the time of Henry II. had immensely benefited the Germans. We notice it especially in the miniatures of the Gospel-books. The technic is much more masterly, the painting really methodical in soundly worked body-colour with a delicate sense of harmony, and showing no longer that coarse handling and slovenliness of execution that marks some of the Carolingian miniatures. In the figure a sense of proportion has been gained, the tendency, perhaps, being rather to excessive tallness, as compared with the thick-set proportions of the Carolingian work. Again, expression is improved--the faces are more intellectual--not beautiful but strong, and quite superior to the utterly expressionless faces of the Carolingian type. Take, for example, that fine Missal now at Munich (Cimel. 60--Lat. 4456), in which St. Henry, who is bearded, receives his crown from a bearded Christ, his arms being upheld by two bishops, Ulrich of Augsburg and Emmeram of Regensburg, the two great saints of Bavaria. We know these to be the personages represented, because two inscriptions tell us so. To the one supporting the King's right hand: "Huius VODALRICVS cor regis signet et actus." To the other: "EMMERANVS ei faveat solamine dulci." The Christ is seated on a rainbow within a cusped aureola or "amande" of several bands of different colours, on the central one being inscribed in a mixture of Greek and Latin characters--one of the new fashions brought in by the Greek revival: "Clemens XPE tuo longum da vivere XPIC to: Ut tibi devotus non perdat temporis usus." Some writers have thought this to be a picture of the Emperor's apotheosis, and that the crown is that of Life or Immortality; but such is certainly not the import of the above verses.