To that period belongs the famous gold altar of the basilica of St. Ambrose of Milan, executed in 835, by order of Archbishop Angilbert, by Volvinius; and which, notwithstanding its immense intrinsic value, has come down to our time. “The four sides of this monument,” says M. Labarte, “are of extreme richness. The front, entirely of gold, is divided into three panels by a border of enamel. The centre panel represents a cross of four equal projections, formed by fillets of ornaments in enamel, alternating with precious stones uncut but polished. Christ is seated in the centre of the cross. The symbols of the Evangelists occupy its branches. Three of the Apostles are placed in each angle. All these figures are in relief. The right and left panels contain each six bas-reliefs, the subjects of which are taken from the life of Christ; they are encircled by borders of enamels and precious stones alternately disposed. The two sides, in silver relieved with gold, exhibit very rich crosses, treated in the same style as the borders. The back, which is also of silver relieved with gold, is likewise divided in three large panels; that in the centre contains four medallions, and each of the others six bas-reliefs, of which the life of St. Ambrose supplied the subjects. In one of the medallions of the centre panel is seen St. Ambrose receiving the gold altar from the hands of Archbishop Angilbert; in the other, St. Ambrose is giving his benediction to Volvinius, the master goldsmith (magister faber), as he is designated in the inscription transmitting to us the name of the author of this work, of which no description can give an exact idea.”
It was not Italy alone which possessed skilful goldsmiths, and encouraged them. We have in particular, among other enlightened and active supporters of ecclesiastical gold-work, a succession of the bishops of Auxerre, to whom must be added Hincmar, bishop of Rheims, who caused a splendid shrine to be made for the relics of the illustrious patron of his church. It was cased in plates of silver, and statues of twelve bishops adorned its borders.
But, notwithstanding all its artistic magnificence, the jewellery of the West could only appear to be the reflex of the wonders produced at the same epoch by the goldsmiths of the East, or the Byzantines, to adopt a term generally sanctioned.
One of the most curious specimens of Byzantine art, preserved in Russia, is a gold reliquary lined with a plate of silver, in the centre of which is an embossed representation of the Crucifixion. Above the head, on a gilt nimbus, is an inscription in Greek, “Jesus Christ, King of Glory.” This treasure, remarkable for its extreme finish, is covered with a mosaic of precious stones of different colours, in partitions of gold; the cross being quartered in enamel, with silver filigree. At the back the names of the archimandrite Nicolos are engraved. It is a work of the tenth century, and was found in the Iberian monastery on Mount Athos.
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.
Fig. 90.—Altar of Gold, presented to the ancient Cathedral of Basle by the Emperor Henry II., now in the Cluny Museum.