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 Rome. This displacement of the political centre was naturally followed by a complete displacement of artistic centres. Both these sides of life were fostered by Otho with a keen personal interest the building up of his empire and the encouragement of art going hand in hand. Moreover, owing to his close ties with Italy and the East, and the element of classic tradition inevitably induced by such ties, art received an added stimulus and grace. Oriental monks were to be found in the monasteries. Learned men and artists were summoned from Italy and Constantinople. The number and influence of these were increased when Otho's son, afterwards Otho the Second, married Theophano, a Greek princess, who, bringing many compatriots in her train, sought to reflect in her German home something of the learning and splendour of the Byzantine Court. The ivory, shown in illustration, commemorating this marriage, is an example of the work of some Byzantine craftsman in her employ, whilst the jewelled and gold-wrought cover of the Gospels of St. Emmeran (now at Munich) shows to how high a level the goldsmith's art of the time had been raised by the influences alluded to. Perhaps the one place which retains in the most varied and concentrated form the traces of this wave of artistic development then passing over Germany, is Hildesheim. This is of interest here because the bishops of Hildesheim