ON THE BRONZE DOORS OF THE CATHEDRAL OP GNESEN. 347 Of these examples, the one at Basle comes the nearest to the doors of Gnesen ; the foliage is, however, more con- ventional, and indicates a rather earlier period. Its date is not precisely known, but there is good reason to refer it to the middle of the twelfth century.^ A superb instance of metal-^vork of a rather later period, but of considerable similarity of character (as regards the design), is afforded by the noble candelabrum which stands in the north transept of the Cathedral of Milan, and is known as the Albero della Madonna. This magnificent object is about 1 5 feet high, and of bronze gilt ; it contains a multi- tude of statuettes from the Old Testament, signs of the Zodiac, lions, serpents, dogs, sheep, birds, fish, heads of men, &c, &c., interlaced with foliage of a character approaching to our own early English, It is attributed to the end of the twelfth, or the beginning of the thirteenth century (vide Bulletin Monumental, vol. 17, p. 181, where a portion of the base is engraved). In the foregoing pages, some proofs have been adduced that these doors show traces of relation both to German and to Italian works of sculpture of the twelfth century ; and when the political history of the eleventh and twelfth centuries in Germany and Italy, and the frequent presence of the Saxon, Franconian, and Hohenstaufen emperors in the latter country are called to mind, it cannot be a matter of surprise that tho monuments of art in the two countries should exhibit many marks of connexion. That Italian art ^ had in these times an influence upon Germany, we know in some cases historically : as in the instance of Bishop Bernward, of llildeshcim, who, wlien the tutor of Otho the Third, and accompanying him in his travels and residences in Italy, not only studied golden tabula formerly belonging to this coiTect as regards the ninth and tentli cathedral, the date of which is confidently centuries, but 1 apprehend that there given as 1019, has a frieze of very similar exist evidences of an independent style character. (particularly of ornamental art) in the
- Many more instances of the same eleventh, and still more in the twelfth
description of ornament may be found centuries. Compare the sculi)tural deco- in the twelfth century buildings in this rations of the Cathedral of Athens, of St. country, in France, and particularly in Mark's at Venice, and of tiie Duomo of Germany. Torcello, with those of the Lombard and 6 It has been the custom of many German churches of corrcsi)onding dates, German writers on the history of art to and the Byzantine reliquary in the treas -y ascribe all progress to the influence of of the Cathedral of A i.-la-fliapelle,which Greeii artists, and to call every work of conUiins the hea<l of St. Anastasius, with art anterior to the thirteenth century By- those of western fabrication in the same zantine. This may be in a great degree repository.
