Belvedere: Monatsschrift für Sammler und Kunstfreunde (1.1922)

PI. LXXX), and the copper cloisonne disc, with the half-length figure of Christ,
in the Guelf Treasury; further the Lindau book-cover in the British Museum
(Fig. 4, PL LXXXI) which probably proceeded from the school of the Irish
convent of St. Gallen at the time of Charlemagne.
The remarkable technical progress of cloisonne work in Upper Burgundy
at this same period is obviously due to direct contact with Milanese gold-
smiths’ work. Rosenberg illustrates this influence emanating from Milan by
means of a new auxiliary method; by comparing the pure outline drawings
of the enclosures, the stylistic diversities in the designs between the works
of the Byzantine and Occidental schools become strikingly clear. By this new
method of Illustration the Beresford Hope pectoral cross in the South Ken-
sington Museum is distinetly brought together with the cloisonne cross out
of the Lateran Chapel Sancta Sanctorum (Fig. 5, PL LXXXII), a work of great
pictorial richness, dedicated by Pope Paschalis (817—824). The valuable work
of Rosenberg’s has at present been brought to a close with the origin of the
early monuments up to about 800 A. D.

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