[Illustration: Fig. 89.--Byzantine Reliquary, in Enamel, brought from Mount Athos. Tenth Century. (Collection of M. Sebastianof.)] If rare specimens only of jewellery have come down to us of a date prior to the eleventh century, this may be accounted for not merely by their intrinsic value having indicated them to the uncivilised as fit objects of plunder during the invasions which took place after the reign of Charlemagne, but also, as we have elsewhere remarked, by the re-introduction of church furniture, which was in some measure a necessary result of renovated architecture. It was right to adapt the style of plate to that of the edifice it was to adorn. The forms which were then employed for various objects of church-service showed the influence of the severe style derived from the original Byzantine type; the latter, moreover, explained itself by the repute, especially in metallurgy, enjoyed by the city of Constantine, to which the East generally had recourse when taking in hand any work of importance. The _German_ school particularly would acquire a Byzantine character, owing to the marriage of the Emperor Otho II. with the Greek princess Theophania (972)--an alliance which naturally bound the two empires in closer ties, and attracted a considerable number of artists and artisans to Germany from the East. Of the works of that period still in existence, one of the most remarkable is the rich gold cover of the book of the Gospels, now in the Royal Library, Munich; on which are executed, in the embossed style, various bas-reliefs of great delicacy, and designed with the purity at that time distinguishing the Greek school. [Illustration: Fig. 90.--Altar of Gold, presented to the ancient Cathedral of Basle by the Emperor Henry II., now in the Cluny Museum.] The Emperor Henry II. was therefore welcomed (_bien-venu_), and, if one may say so, well served by the condition of art in Germany, when, elevated to the throne in 1002, and inspired by ardent piety, he sought, by princely liberality to the churches, to surpass even Constantine and [Illustration: Fig. 91.--Enamelled Shrine, in Limoges Work of the Twelfth Century. (Museum of Cluny.)]