among other interesting items, the bones of the right arm of the Emperor in a golden shrine in the form of a hand and arm.  There is a thrill in contemplating the remains of the right arm of Charlemagne after all the centuries, when one remembers the swords and sceptres which have been wielded by that mighty member.  The reliquary containing the right arm of Charlemagne is German work (of course later than the opening of the tomb), probably between 1155 and 1190.  Frederic Barbarossa and his ancestors are represented on its ornamentation.

There is little goldsmith’s work of the Norman period in Great Britain, for that was a time of the building of large structures, and probably minor arts and personal adornment took a secondary place.

[Illustration:  Bernward’s cross and candlesticks, Hildesheim]

Perhaps the most satisfactory display of mediaeval arts and crafts which may be seen in one city is at Hildesheim:  the special richness of remains of the tenth century is owing to the life and example of an early bishop—­Bernward—­who ruled the See from 993 to 1022.  Before he was made bishop, Bernward was tutor to the young Emperor Otto III.  He was a student of art all his life, and a practical craftsman, working largely in metals, and training up a Guild of followers in the Cathedral School.  He was extremely versatile:  one of the great geniuses of history.  In times of war he was Commander in Chief of Hildesheim; he was a traveller, having made pilgrimages to Rome and Paris, and the grave of St. Martin at Tours.  This wide culture was unusual in those days; it is quite evident from his active life of accomplishment in creative art, that good Bishop Bernward was not to be numbered among those who expected the end of the world to occur in the year 1000 A. D. Of his works to be seen in Hildesheim, there are splendid examples.  The Goldsmith’s School under his direction was famous.

He was created bishop in 992; Taugmar pays him a tribute, saying:  “He was an excellent penman, a good painter, and as a household manager was unequalled.”  Moreover, he “excelled in the mechanical no less than in the liberal arts.”  In fact, a visit to Hildesheim to-day proves that to this man who lived ten centuries ago is due the fact that Hildesheim is the most artistic city in Germany from the antiquarian’s point of view.  This bishop influenced every branch of art, and with so vital an influence, that his See city is still full of his works and personality.  He was not only a practical worker in the arts and crafts, but he was also a collector, forming quite a museum for the further instruction of the students who came in touch with him.  He decorated the walls of his cathedral; the great candelabrum, or corona, which circles above the central aisle of the cathedral, was his own design, and the work of his followers; and the paschal column in the cathedral was from his workshop, wrought as delightfully as would be possible in any age, and yet executed nearly a thousand years ago.  No bishop ever deserved sainthood more, or made a more practical contribution to the Church.  Pope Celestine III. canonized him in 1194.