nature of medieval books as sacred objects to be venerated in their
own right as well as embodiments of the eternal Word of God.
The dedicatory page (FIG. 16-27) at the front of the Uta Codex
depicts the Virgin Mary with the Christ Child in her lap in the central
medallion. Labeled Virgo Virginum (Virgin of Virgins), Mary is the
model for Uta and the Niedermünster nuns. Uta is the full-length fig-
ure presenting a new book—thisbook—to the Virgin. An inscription
accompanies the dedicatory image: “Virgin Mother of God, happy be-
cause of the divine Child, receive the votive offerings of your Uta of
ready service.”^5 The artist painted Uta last, superimposing her figure
upon the design and carefully placing it so that Uta’s head touches the
Virgin’s medallion but does not penetrate it, suggesting the interplay
between, but also the separation of, the divine and human realms.LECTIONARY OF HENRY II Uta presented her codex to the
Niedermünster convent about the time the last Ottonian emperor,
Henry II (r. 1002–1024), died. The Lectionary of Henry II,a book of
Gospel readings for the Mass, was a gift to Bamberg Cathedral. In theOttonian Art 42716-28Annunciation to the Shepherds,
folio in the Lectionary of Henry II,from
Reichenau, Germany, 1002–1014. Tempera
on vellum, 1 5 1 1 . Bayerische Staats-
bibliothek, Munich.
The golden background of the illuminations
in the Lectionary of Henry IIreveals Byzantine
influence on Ottonian art, which received
added impetus when Otto II married the
Byzantine princess Theophanu.full-page illumination (FIG. 16-28) of the
Annunciation of Christ’s birth to the shep-
herds, the angel has just alighted on a hill,
his wings still beating, and the wind of his
landing agitates his robes. The angel looms
immense above the startled and terrified
shepherds, filling the golden sky, as he ex-
tends his hand in a gesture of authority and
instruction. Emphasized more than the mes-
sage itself are the power and majesty of God’s
authority. The painting is a highly successful
fusion of the Carolingian-Ottonian anecdo-
tal narrative tradition, elements derived from
Late Antique painting—for example, the rocky landscape setting with
grazing animals (FIG. 11-16)—and the golden background of Byzantine
book illumination and mosaic decoration. Byzantine influence on Ot-
tonian art had received added impetus when Otto II (r. 973–983) mar-
ried a Byzantine princess (see “Theophanu: A Byzantine Princess in
Ottonian Germany,” page 428).GOSPEL BOOK OF OTTO III Henry II’s predecessor was his
cousin, Otto III, son of Otto II and Theophanu. Of the three Ottos,
the last dreamed the most of a revived Christian Roman Empire.
Indeed, it was his life’s obsession. Otto III was keenly aware of his de-
scent from both German and Byzantine imperial lines. It is said that
he was prouder of his Constantinopolitan than his German roots.
He moved his court, with its Byzantine rituals, to Rome and there set
up theatrically the symbols and trappings of Roman imperialism.
Otto’s romantic dream of imperial unity for Europe never material-
ized. He died prematurely, at age 21, and, at his own request, was
buried beside Charlemagne at Aachen.1 in.