One of the most brilliant times for the production of works of art in gold and silver, was when Constantine, upon becoming Christian, moved the seat of government to Byzantium.  Byzantine ornament lends itself especially to such work.  The distinguishing mark between the earlier Greek jewellers and the Byzantine was, that the former considered chiefly line, form, and delicacy of workmanship, while the latter were led to expression through colour and texture, and not fineness of finish.

The Byzantine emperors loved gold in a lavish way, and on a superb scale.  They were not content with chaste rings and necklets, or even with golden crowns.  The royal thrones were of gold; their armour was decorated with the precious metal, and their chariots enriched in the same way.  Even the houses of the rich people were more endowed with precious furnishings than most of the churches of other nations, and every family possessed a massive silver table, and solid vases and plate.

The Emperor Theophilus, who lived in the ninth century, was a great lover of the arts.  His palace was built after the Arabian style, and he had skilful mechanical experts to construct a golden tree over his throne, on the branches of which were numerous birds, and two golden lions at the foot.  These birds were so arranged by clockwork, that they could be made to sing, and the lions also joined a roar to the chorus!

A great designer of the Middle Ages was Alcuin, the teacher of Charlemagne, who lived from 735 to 804; he superintended the building of many fine specimens of church plate.  The school of Alcuin, however, was more famous for illumination, and we shall speak of his work at more length when we come to deal with that subject.

Another distinguished patron of art was the Abbot Odo of Cluny, who had originally been destined for a soldier; but he was visited with what Maitland describes as “an inveterate headache, which, from his seventeenth to his nineteenth year, defied all medical skill,” so he and his parents, convinced that this was a manifestation of the disapproval of Heaven, decided to devote his life to religious pursuits.  He became Abbot of Cluny in the year 927.

[Illustration:  Crown of Charlemagne]

Examples of ninth century goldsmithing are rare.  Judging from the few specimens existing, the crown of Charlemagne, and the beautiful binding of the Hours of Charles the Bold, one would be inclined to think that an almost barbaric wealth of closely set jewels was the entire standard of the art of the time, and that grace of form or contour was quite secondary.  The tomb was rifled about the twelfth century, and many of the valuable things with which he was surrounded were taken away.  The throne was denuded of its gold, and may be seen to-day in the Cathedral at Aachen, a simple marble chair plain and dignified, with the copper joints showing its construction.  Many of the relics of Charlemagne are in the treasury at Aachen,