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Anglo-Saxon Art (Medieval Studies)

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  1. Introduction
  2.  
  3. Anglo-Saxon art is the art of England between roughly the years 600 and 1100, although dates will vary depending on individual focus. Some scholars prefer to see “Anglo-Saxon” art as something that could exist only from the period of King Alfred in the late 9th century onward; others will see it as something that could not exist after the Norman Conquest of 1066. In both cases the period is defined tacitly by external political events rather than the internal development of the art forms themselves. The term “Insular” is applied to the art of the British Isles and Ireland from the 6th to 8th centuries, but this leads to confusion in discussions of such subjects as Southumbrian art (the art of England south of the Humber River) of the period, or the Lindisfarne Gospels, which are classed both as Anglo-Saxon and Insular. In general, scholarship has now come to recognize that there is no easy way of delimiting the material with any such precision. The study of Anglo-Saxon art, however defined chronologically, has a long history, although until early 21st century theoretical perspectives have been lacking, with most studies focusing on style, medium, iconography, and, less often, patronage. Very few publications take in historiography, and these are noted here where relevant. The study of Anglo-Saxon art remains a conservative field dominated by iconographic and stylistic studies, as well as by approaches that focus on the influence of the Roman or Carolingian worlds on Anglo-Saxon England.
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  5. General Overviews
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  7. General introductions to or overviews of the period are relatively scarce, and the most general (Brown 1903–1937, Dodwell 1982, Wilson 1984) are now largely out of date. The best place to start is with Karkov 2011 and Webster 2012. The approaches taken by the two authors are complementary, so it is well worth reading them in conjunction with each other. Work in individual media is covered in general surveys of medieval painting, sculpture, and so forth, but usually in so limited a way that it is not particularly illuminating of the period as a whole. Though dated in their approach to the monuments, some of the older surveys preserve valuable images of sculpture and architecture in a much less weathered condition than that in which they survive today. More-recent overviews tend to focus on particular aspects of Anglo-Saxon art, such as ecclesiastical art (Gameson 1995), the art of particular geographic areas (Neuman de Vegvar 1987), or themes (Karkov 2004).
  8.  
  9. Brown, G. Baldwin. The Arts in Early England. 6 vols. London: John Murray, 1903–1937.
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  11. Individual volumes include The Life of Saxon England in Relation to the Arts; Ecclesiastical Architecture in England from the Conversion of the Saxons to the Norman Conquest; Saxon Art and Industry in the Pagan Period; The Ruthwell and Bewcastle Crosses the Gospels of Lindisfarne, and Other Church Monuments of Northumbria; Completion of the Study of the Monuments of the Great Period of the Art of Anglian Northumbria; and Anglo-Saxon Sculpture. The organization of the volumes and their chapters is idiosyncratic, but Brown was one of the first to stress the artistic merits of Anglo-Saxon art and architecture. He was also one of the first to consider such topics as the artistic aspects of Anglo-Saxon coinage. His work marks a shift from 19th-century antiquarianism toward an art-historical methodology. Available online.
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  13. Dodwell, C. R. Anglo-Saxon Art: A New Perspective. Ithaca, NY: Cornell University Press, 1982.
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  15. A survey of what literary sources reveal about Anglo-Saxon taste and attitudes toward art, and of the enormous losses of objects that have occurred over the centuries. Dodwell was the first to give sustained attention to the way in which such losses have distorted our understanding of the period. Inadequately illustrated.
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  17. Gameson, Richard. The Role of Art in the Late Anglo-Saxon Church. Oxford: Clarendon, 1995.
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  19. Coverage is limited to art produced by and for the church in the 10th and 11th centuries, and the approach is one of traditional stylistic and iconographic analysis, but the book is especially interesting for its treatment of such subjects as the relationship between inscriptions and images, or borders and images, topics that receive short shrift in the other books in this section.
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  21. Henderson, George. Vision and Image in Early Christian England. Cambridge, UK: Cambridge University Press, 1999.
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  23. This book attempts to eliminate the traditional divisions between “Insular” and “Anglo-Saxon” art by adopting the Continental descriptor “Early Christian” (a term applied more generally to European, especially Mediterranean, art and architecture from the 4th to 8th centuries). Most of the book is actually devoted to manuscript art, with art in other media discussed as it relates to the questions generated by issues such as narrative, color, or artistic production. Informative, if idiosyncratic.
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  25. Karkov, Catherine E. The Ruler Portraits of Anglo-Saxon England. Woodbridge, UK: Boydell, 2004.
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  27. An analysis of imagery and patronage of the courts of Anglo-Saxon England. Although narrower in scope than the other works listed here, it does provide coverage of all media, including coins, seals, and architecture. It also examines the question of what we mean by “portrait.”
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  29. Karkov, Catherine E. The Art of Anglo-Saxon England. Boydell Studies in Medieval Art and Architecture. Woodbridge, UK: Boydell, 2011.
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  31. An overview of Anglo-Saxon art from a primarily postcolonial perspective. Includes chapters on “Object and Voice,” and “Art and Conquest,” the latter considering the art of the century or so after the Norman Conquest. Read in conjunction with Webster 2012.
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  33. Neuman de Vegvar, Carol. The Northumbrian Renaissance: A Study in the Transmission of Style. Selinsgrove, PA: Susquehanna University Press, 1987.
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  35. Although the subject of this book is the art of Northumbria from the 6th to the late 8th centuries, Neuman de Vegvar is careful to locate that art within its broader Anglo-Saxon and European context. The material is presented largely in terms of style and stylistic development, with the importance of the Mediterranean world to that development greatly overemphasized. Scholars have tended to attribute to the Anglo-Saxons a monolithic sense of romanitas that has yet to be analyzed critically.
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  37. Webster, Leslie. Anglo-Saxon Art: A New History. London: British Museum, 2012.
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  39. A basically chronological approach to the period that covers the immediately post-Roman period through to the end of the Viking age. The author takes a formal and iconographic approach to the material and includes useful archaeological and historical information. Read in conjunction with Karkov 2011.
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  41. Wilson, David M. Anglo-Saxon Art from the Seventh Century to the Norman Conquest. London: Thames and Hudson, 1984.
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  43. Written in conjunction with an exhibition of Anglo-Saxon art at the British Museum, the book’s largely chronological approach and focus on individual objects give it something of the feel of an exhibition catalogue—though with significantly fewer color plates. It covers an enormous amount of material and is written for a general readership.
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  45. Exhibition Catalogues
  46.  
  47. Backhouse, et al. 1984; Hawkes 1996; and Webster and Backhouse 1991 are excellent for providing both a general visual overview of the art of the period and descriptive analyses of individual objects. Introductory essays provide contextual information and are usually written for the nonspecialist reader. These catalogues do provide much higher-quality illustrations than other types of printed books, with the exception of facsimiles. Williams, et al. 2014 is good for information on Viking-age Britain.
  48.  
  49. Backhouse, Janet, D. H. Turner, and Leslie Webster, eds. The Golden Age of Anglo-Saxon Art 966–1066. London: British Museum, 1984.
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  51. Although the bibliography and some of the information in this catalogue are now out of date, and the choice of 966 as a start date is problematic, this catalogue still provides an excellent overview of the best-known works of the period, along with some that deserve to be better known. Some of the black-and-white illustrations are murky, but otherwise the rich colors and abundant use of gold (which gave the exhibition its title) shine through.
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  53. Hawkes, Jane. The Golden Age of Northumbria. Newcastle upon Tyne, UK: Tyne and Wear Museum Services, 1996.
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  55. Much smaller in scope than the other catalogues listed here, and concerned only with the art of Northumbria, this catalogue is particularly noteworthy for its attention to sculpture. It is aimed more at the tourist and general public than the scholarly world.
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  57. Webster, Leslie, and Janet Backhouse, eds. The Making of England: Anglo-Saxon Art and Culture A.D. 600–900. London: British Museum, 1991.
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  59. Designed as a sort of prequel to the Golden Age of Anglo-Saxon Art exhibition, this catalogue (and exhibition) position themselves as taking a more explicitly political approach to their subject (as the title makes clear), although that is not always apparent in the individual catalogue entries. The title implies an active role for art in the making of a nation and national culture that few would now deny, but the attempts at suggesting cultural unity either in the Anglo-Saxon period or today are problematic.
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  61. Williams, Gareth, Peter Pentz, and Matthias Wemhoff, eds. Vikings: Life and Legend. London: British Museum, 2014.
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  63. Includes Anglo-Scandinavian material, and discussion of the Vikings in England and their relation with other Viking-age cultures.
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  65. Bibliographies
  66.  
  67. Bibliographic surveys of Anglo-Saxon art are few, and the best are undoubtedly the “art” sections of the annual journal bibliographies. The categories into which they divide art are not always those of an art historian, but they are clear. Brown 1988, Deshman 1984, and Werner 1984 are now out of date. For art-historical material, the International Medieval Bibliography (IMB) provides the best coverage. Entries on Anglo-Saxon art in all media are included in the annual bibliographies of Anglo-Saxon England and the Old English Newsletter. Brown 1988, Deshman 1984, and Werner 1984 provide historiographic information within individual entries, but none include an overall synthesis.
  68.  
  69. Anglo-Saxon England.
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  71. The preeminent journal on matters Anglo-Saxon. Most articles deal with historical or literary material, but there is a fair amount of art history and archaeology, and the bibliography does cover all disciplines.
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  73. Brown, Shirley Ann. The Bayeux Tapestry: History and Bibliography. Woodbridge, UK: Boydell, 1988.
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  75. Includes coverage of historical as well as art-historical studies of the Bayeux Tapestry and related materials up to 1988. It remains particularly useful for its entries on earlier scholarship.
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  77. Deshman, Robert. Anglo-Saxon and Anglo-Scandinavian Art: An Annotated Bibliography. Boston: G. K. Hall, 1984.
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  79. Now out of date, but still a convenient guide to pre-1984 sources. It does tend to privilege stylistic and iconographic sources over other approaches.
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  81. International Medieval Bibliography.
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  83. The most complete annual bibliography available. It also provides greater coverage of European scholarship than the other entries in this section. The IMB is available online by subscription.
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  85. Old English Newsletter.
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  87. Provides information on projects, research, conference opportunities, and so on, alongside short articles. The annual bibliography is limited and often does not include articles appearing in the journals of local archaeological societies, but it does provide a brief review of each entry, whereas the bibliography of Anglo-Saxon England does not.
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  89. Werner, Martin. Insular Art: An Annotated Bibliography. Boston: G. K. Hall, 1984.
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  91. This is the companion volume to Deshman 1984 and is now equally out of date. It includes entries on pre-10th-century Anglo-Saxon art, along with entries on the early medieval art of Ireland, Wales, and Scotland.
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  93. Collections of Papers
  94.  
  95. There are many collections of papers on particular periods of, regions of, or theoretical approaches to Anglo-Saxon England, as well as Festschriften that include art-historical papers, but the contributions to such collections tend to be focused on specific objects, buildings, or media. The papers in Karkov and Brown 2003, for example, explore aspects of the politics of style both in art and literature, whereas Carol Farr’s paper in Karkov, et al. 1997 takes a feminist approach to the Ruthwell Cross. Collections of conference papers are particularly useful because they often include the latest thoughts on a given subject, new discoveries, and new approaches to material, presented in such a way that the nonspecialist will find them easy to follow. Moss 2007; Redknap, et al. 2001; Hawkes 2013; Hawkes and Mills 1999; Spearman and Higgitt 1993; and Ryan 1987 are especially useful for understanding Anglo-Saxon art in its larger insular context.
  96.  
  97. Hawkes, Jane, ed. Making Histories: Proceedings of the Sixth International Conference on Insular Art. Papers presented at the Sixth International Conference on Insular Art, held 18–22 July 2011 in York, UK. Donington, UK: Shaun Tyas, 2013.
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  99. Includes papers on the influence of Roman architecture on Anglo-Saxon architecture (by Luisa Izzi), discussion of the iconography of Ruthwell Cross in an Insular context (by Colleen Thomas and Heather Pulliam), images of the evangelists (by Nick Baker), coins (by Anna Gannon), and modern accounts of Anglo-Saxon art (by Carol Farr and Hawkes).
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  101. Hawkes, Jane, and Susan Mills, eds. Northumbria’s Golden Age. Stroud, UK: Alan Sutton, 1999.
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  103. This volume contains the papers from the conference that accompanied the Golden Age of Northumbria exhibition (see Hawkes 1996, cited under Exhibition Catalogues). The collection includes papers on Anglo-Saxon history, literature, and archaeology, along with others on the reconstruction of timber buildings, the motif of Romulus and Remus in Anglo-Saxon art, Anglo-Saxon sculpture, inscribed stones from the monastery at Hartlepool, Northumbrian vine-scroll ornament, the Ruthwell and Bewcastle standing stone crosses, and the Franks casket (an 8th-century ivory box). Two papers are devoted to Anglo-Saxon metalwork: R. A. Hall and E. Patterson’s “The Ripon Jewel,” and a paper by Susan Youngs on a plaque from Asby Winderwath, Cumbria. Nancy Netzer writes on the Northumbrian connections of the Book of Durrow, Christopher Verey writes on the Lindisfarne Gospels and Ireland, and papers by Carol A. Farr and Perette Michelli are devoted to the Codex Amiatinus.
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  105. Karkov, Catherine E., and George Hardin Brown, eds. Anglo-Saxon Styles. Albany: State University of New York Press, 2003.
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  107. This book includes papers on artistic, codicological, and literary style from across the Anglo-Saxon period. The art-historical contents include papers by Leslie Webster on style in metalworking and ivory carving, by Fred Orton on the Ruthwell and Bewcastle crosses, by Jane Hawkes on stone sculpture, by Perette Michelli on ivory carving, and by Carol Farr and Michelle Brown on manuscript illumination.
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  109. Karkov, Catherine E., Robert T. Farrell, and Michael Ryan, eds. The Insular Tradition. Albany: State University of New York Press, 1997.
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  111. Includes papers on the wooden cross erected at Heavenfield by St. Oswald in the 7th century (by Douglas Mac Lean), the iconography of the 8th-century Bewcastle Cross (by Karkov), issues of gender on the 8th-century Ruthwell Cross (by Carol Farr), the iconography of the 9th-century Rothbury cross head (by Jane Hawkes), and questions of survival and revival in Anglo-Saxon sculpture (by James Lang), as well as a paper on the Echternach Gospels and early Insular manuscript illumination (by Carol Neuman de Vegvar).
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  113. Moss, Rachel, ed. Making and Meaning in Insular Art: Proceedings of the Fifth International Conference on Insular Art. Dublin, Ireland: Four Courts, 2007.
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  115. Includes papers on the Sutton Hoo garnets (by Lawrence Nees), Anglo-Saxon zoomorphic pins (by Anna Gannon), W. G. Collingwood and the historiography of Anglo-Saxon sculpture (by Jane Hawkes), and the Durham Gospels Crucifixion page (by Jennifer O’Reilly).
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  117. Redknap, Mark, Nancy Edwards, Susan Youngs, Alan Lane, and Jeremy Knight, eds. Pattern and Purpose in Insular Art: Proceedings of the Fourth International Conference on Insular Art. Oxford: Oxbow, 2001.
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  119. Includes papers on strap ends in late Anglo-Saxon and Anglo-Scandinavian Britain (by Gabor Thomas); the image of Christ in early Insular religious art, including the Ruthwell Cross (by Shirley Ann Brown and Michael W. Herren); 7th-century Anglo-Saxon goldsmithing (by Michael Pinder); the Barbarini Gospels (by George Henderson); and the St. Petersburg Gospels (by Victoria Bruno).
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  121. Ryan, Michael, ed. Ireland and Insular Art A.D. 500–1200. Proceedings of a conference at University College Cork, 31 October–3 November 1985. Dublin, Ireland: Royal Irish Academy, 1987.
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  123. The proceedings of the First International Conference on Insular Art, the book is devoted mostly to Irish art and archaeology but contains valuable papers on Insular gospel books (by Carl Nordenfalk), carved motif pieces (by Uaininn O’Meadhra), the rough-hewn cross in Anglo-Saxon art (by Jennifer O’Reilly), and the Ruthwell Cross (by Éamonn Ó Carragáin).
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  125. Spearman, R. Michael, and John Higgitt, eds. The Age of Migrating Ideas: Early Medieval Art in Northern Britain and Ireland. Edinburgh: National Museums of Scotland, 1993.
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  127. The proceedings of the Second International Conference on Insular Art, this volume contains important papers on interlace (by Ernst Kitzinger), the influence of Northumbrian art on Continental art (by Nancy Netzer), the Codex Amiatinus and related manuscripts (by George Henderson), the Marian imagery of the Hovingham panel (by Jane Hawkes), and Northumbrian sculpture (by James Lang).
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  129. Illuminated Manuscripts
  130.  
  131. The literature on Insular and Anglo-Saxon manuscripts is enormous and expanding exponentially with the growth of digital collections and facsimiles. The publications presented here are subdivided into overviews, catalogues, facsimiles, and monographs on individual manuscripts. There are many catalogues of the manuscript collections of individual libraries, both in print form and online, but only catalogues devoted to Anglo-Saxon manuscripts are included here. Some studies deal with unresolved questions of provenance, patronage or audience/reception, the role of religious manuscripts in promoting political agenda, gender, and the relationship between text and image. Brown 2007 is beautifully illustrated and thus best for getting a sense of the style and range of Anglo-Saxon illumination, although the text of the book should be used with caution because there are errors in factual information and captions, and some hypotheses are presented as fact. Owen-Crocker 2009 is best for providing a general overview of the various aspects of manuscript study and is an especially good place for students to begin. Deshman 1976 and Deshman 1988 are specialist studies of important themes in manuscript illumination of the mid- to late-8th-century reform era. They are included here because they combine a survey of a broad range of material with a more in-depth focus on the political themes and issues that were made manifest in the art of the reform. Together, they set the standard for later scholarship on Anglo-Saxon manuscripts and court culture. Toswell 2014 is excellent for the psalter, an especially important type of Anglo-Saxon manuscript.
  132.  
  133. Brown, Michelle P. Manuscripts from the Anglo-Saxon Age. London: British Library, 2007.
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  135. Beautifully illustrated with numerous color photographs, this book provides a basic survey of Anglo-Saxon manuscripts from the earliest days to the immediate post-Conquest period. Unfortunately, there are many factual errors both in the text and the captions, so it must be used with caution.
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  137. Deshman, Robert. “Christus Rex et Magi Reges: Kingship and Christology in Ottonian and Anglo-Saxon Art.” Frühmittelalterliche Studien 10 (1976): 367–405.
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  139. A valuable comparative study of the iconography and function of the crowned Christ and Magi in the art of Anglo-Saxon England and Ottonian Germany in the 10th and 11th centuries. Art-historical developments are located firmly within the context of the political and theological ideologies, and political and artistic contacts of the two countries. Deshman also shows how a Christological concept and image of kingship developed at the two courts, although important differences between the nature of the courts and the images produced for each are not developed.
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  141. Deshman, Robert. “Benedictus Monarcha et Monachus: Early Medieval Ruler Theology and the Anglo-Saxon Reform.” Frühmittelalterliche Studien 22 (1988): 204–240.
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  143. Examines the parallel development of the images of the king and queen and those of Christ and Mary in the art of the 10th and 11th centuries, in the context of a form of sacred rulership developed by the leaders of the 10th-century monastic reform.
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  145. Owen-Crocker, Gale, ed. Working with Anglo-Saxon Manuscripts. Exeter, UK: Exeter University Press, 2009.
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  147. This book is aimed at the graduate student and the nonspecialist and offers a wealth of information on the practicalities of working with Anglo-Saxon manuscripts of all varieties. Chapters move from how to handle manuscripts to their construction and codicology, to different types of manuscripts (prose, poetry, Latin), to glosses, manuscript art, and manuscripts in the digital age.
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  149. Toswell, M. J. The Anglo-Saxon Psalter. Medieval Church Studies 10. Turnhout, Belgium: Brepols, 2014.
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  151. This is a holistic study of the manuscripts rather than one devoted exclusively to illumination; however, it does include discussion and illustration of some of the most important Anglo-Saxon psalters.
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  153. Wormald, Francis. English Drawings of the Tenth and Eleventh Centuries. London: Faber and Faber, 1952.
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  155. Drawing was a major art form in Anglo-Saxon England, arguably much more so than anywhere else in the early medieval world, and this is the first study to draw attention to that fact. It presents the material in terms of a linear stylistic development and classification of schools that is no longer accepted, but it still contains many valuable insights.
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  157. Catalogues
  158.  
  159. Alexander 1978 and Temple 1976 provide the best general introductions to Anglo-Saxon manuscripts because they provide complete coverage of illuminated manuscripts known at the time of their publication. Images are mostly small and in black and white, but the catalogue descriptions are generally good.
  160.  
  161. Alexander, J. J. G. Anglo-Saxon Illumination in Oxford Libraries. Oxford: Bodleian Library, 1970.
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  163. Good descriptions of the catalogued manuscripts, although almost all the illustrations have now been superseded by the digital images available through the Early Manuscripts at Oxford University project.
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  165. Alexander, J. J. G. Insular Manuscripts: 6th to the 9th Century. A Survey of Manuscripts Illuminated in the British Isles 1. London: Harvey Miller, 1978.
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  167. Essential catalogue for images and basic information on early Anglo-Saxon manuscripts such as the Lindisfarne Gospels, Book of Cerne, Codex Amiatinus, and Stockholm Codex Aureus. As with Temple 1976, much information is dated, but it is still essential for an early bibliography and comparative images.
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  169. Budny, Mildred. Insular, Anglo-Saxon and Early Anglo-Norman Manuscript Art at Corpus Christi College Cambridge: An Illustrated Catalogue. 2 vols. Kalamazoo, MI: Medieval Institute, 1997.
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  171. A massive and beautifully illustrated catalogue of Anglo-Saxon manuscripts in the Parker Library. The information provided on individual manuscripts is uneven and sometimes overwhelmingly descriptive and very hard to follow. Information on some of the decorative letters in the Red Book of Darley (Cambridge, Corpus Christi College MS 422), for example, is included in the introduction but is neither mentioned nor cross-referenced in the catalogue entry for that manuscript. Though difficult to use, the information included is basically correct.
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  173. Ohlgren, Thomas. Insular and Anglo-Saxon Manuscripts: An Iconographic Catalogue, c. A.D. 625 to 1100. New York: Garland, 1986.
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  175. This catalogue provides the complete shelfmark and folio number for a wealth of different iconographic motifs. It is easy to use for standard scenes, such as “the Ascension,” but the terminology used for other motifs can be idiosyncratic because the actual subject of some images and scenes may be controversial or carry more than one meaning. Most so-called ornamental or decorative motifs are not included.
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  177. Pächt, Otto, and J. J. G. Alexander. Illuminated Manuscripts in the Bodleian Library, Oxford. Vol. 3, British, Irish and Icelandic Schools. Oxford: Clarendon, 1973.
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  179. Still a basic and readily available catalogue, though again largely superseded by Early Manuscripts at Oxford University project, which provides magnificent digital images but only summary information on the included manuscripts, and not all manuscripts are included.
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  181. Temple, Elżbieta. Anglo-Saxon Manuscripts 900–1066. A Survey of Manuscripts Illuminated in the British Isles 2. London: Harvey Miller, 1976.
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  183. The source to go to for a quick and relatively complete overview of Anglo-Saxon illuminated manuscripts from the death of Alfred to the Conquest. Extensively illustrated, although mostly in black and white. Some information, especially the bibliographies, is now dated, but this is still an essential starting point.
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  185. Facsimiles
  186.  
  187. The scope and quality of manuscript facsimiles vary a great deal. Some, such as Prescott 2002, provide complete full-color reproductions of the manuscript. Failing access to the original, these types of facsimiles are best. Digital facsimiles such as Kiernan 2004 or Muir 2004 generally contain higher-quality images and are excellent for details of images and script, but they cannot convey a sense of what it is like to use the actual book.
  188.  
  189. Barker, Nicholas, ed. The York Gospels: A Facsimile. London: Roxburghe Club, 1986.
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  191. A complete facsimile of the manuscript, although not all pages are reproduced in full color. The book includes introductory essays by Jonathan Alexander, Patrick McGurk, Simon Keynes, and Bernard Barr. The manuscript itself is important for its cycle of evangelist portraits, as well as for the involvement of the Canterbury scribe Eadwig Basan in its production.
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  193. Brown, Michelle P., ed. The Lindisfarne Gospels: Cotton MS Nero D.iv of the British Library, London. Lucerne, Switzerland: Faksimile Verlag, 2002–2003.
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  195. Limited edition with 290 of 980 copies bound in a reproduction of the 19th-century Victorian binding of the original manuscript. The quality of the images is excellent but cannot compare with the quality of digital facsimiles such as Muir 2004, which allows the user to zoom in on details both of imagery and script. The commentary volume, Brown 2003 (cited under Monographs on Individual Manuscripts), serves both as a companion to the facsimile and a stand-alone study of the manuscript.
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  197. Gollancz, Israel, ed. The Caedmon Manuscript of Anglo-Saxon Biblical Poetry. Oxford: British Academy, 1927.
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  199. A facsimile of the late-10th- or early-11th-century Oxford, Bodleian Library MS Junius 11, with a lengthy introduction on the codicology and provenance of the manuscript, and the style and iconography of the drawings. The images have been superseded by those in Muir 2004 and those available through the Early Manuscripts at Oxford University project.
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  201. Kendrick, T. D., T. Julian Brown, Rupert L. S. Bruce-Mitford, et al., eds. Evangeliorum quattuor codex lindisfarnensis. 2 vols. Lausanne, Switzerland: Urs Graf, 1956–1960.
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  203. Although this volume has been replaced by the facsimile in Brown 2002–2003, it remains more accessible to many than the facsimile volume of that edition because the price of the latter was prohibitive for many libraries. The introductory essays, though dated in many respects, are still useful.
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  205. Kiernan, Kevin, ed. Electronic Beowulf. London: British Library, 2004.
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  207. Numerous editions of this electronic resource exist because it is updated regularly to take account of new discoveries and interpretations as well as advances in digital technology. For a study of the texts and paleography of the manuscript, it is superb, but its reproduction of the important illuminated Marvels of the East cycle remains disappointing.
  208. Find this resource:
  209. Muir, Bernard. A Digital Facsimile of Oxford, Bodleian Library MS. Junius 11. Oxford: Bodleian Library, 2004.
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  211. This is one of a handful of digital facsimiles that set the standard for the digitizing of medieval manuscripts. It presents an integrated view of the text and drawings of this important late Anglo-Saxon poetic manuscript, although its analysis of the style, iconography, and function of the drawings tends to repeat somewhat uncritically the work of earlier scholars.
  212. Find this resource:
  213. Ohlgren, Thomas H., ed. Anglo-Saxon Textual Illustration: Photographs of Sixteen Manuscripts with Descriptions and Index. Kalamazoo, MI: Medieval Institute, 1992.
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  215. Includes black-and-white reproductions of the illuminated pages of sixteen manuscripts, not the manuscripts as a whole. Manuscripts included are the Æthelstan Psalter (London, British Library, Cotton MS Galba A. xviii and Oxford Bodleian Library, MS Rawl. B. 484, fol. 85); the Harley Psalter (London, British Library, MS Harley 603); the Bury Psalter (Vatican City, Biblioteca Apostolica Vaticana MS Reg. Lat. 12); the Paris Psalter (Paris, Bibliothèque Nationale MS lat. 8824); the Boulogne Gospels (Boulogne-sur-Mer, Bibliothèque Municipale MS 11); the Arenberg Gospels (New York, Pierpont Morgan Library M. 869); the Trinity Gospels (Cambridge, Trinity College MS B.10.4); the Eadui Codex (Hanover, Kestner Museum WM XXI, 36); the Cambridge, Pembroke College MS 301 Gospels; the Bury Gospels (London, British Library, MS Harley 76); Judith of Flanders Gospels (New York, Pierpont Morgan Library M. 709); Judith of Flanders Gospels (New York, Pierpont Morgan Library M. 708); the Monte Cassino, Archivio della Badia MS BB. 437, 439 gospel book; the Hereford Gospels (Cambridge, Pembroke College MS 302); and the London, British Library, MS Cotton Cleopatra C. viii Psychomachia; Oxford, Bodleian Library, MS Junius 11.
  216. Find this resource:
  217. Prescott, Andrew, ed. The Benedictional of St. Æthelwold: A Masterpiece of Anglo-Saxon Art. London: British Library, 2002.
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  219. A full-color affordable facsimile of one of the most lavish and most important illuminated Anglo-Saxon manuscripts ever produced. The brief introduction and commentary are based almost exclusively on Deshman 1995 (cited under Monographs on Individual Manuscripts).
  220. Find this resource:
  221. Early English Manuscripts in Facsimile Volumes
  222.  
  223. This series, which grew out of the destruction of libraries during World War II, ceased publication in 2002. The volumes are of varying quality. Gameson 2001–2002 is the only full-color facsimile. Keynes 1996 and McGurk, et al. 1983 are particularly noteworthy for the quality of their introductory essays.
  224.  
  225. Argart, O., ed. The Leningrad Bede. Early English Manuscripts in Facsimile 2. Copenhagen: Rosenkilde & Bagger, 1952.
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  227. Now known as the St. Petersburg Bede, this manuscript contains among its illuminations one of the earliest historiated initials to survive, enclosing an image of Gregory the Great. Historiated initials are an Anglo-Saxon innovation that became a feature of later Anglo-Saxon illumination and were subsequently taken up by scribes and artists across the medieval world. The manuscript is also important as a nearly contemporaneous copy of Bede’s Ecclesiastical History.
  228. Find this resource:
  229. D’Aronco, M. A., and M. L. Cameron, eds. The Old English Illustrated Pharmacopoeia: British Library Cotton Vitellius C.iii. Early English Manuscripts in Facsimile 27. Copenhagen: Rosenkilde & Bagger, 1998.
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  231. Facsimile of an 11th-century manuscript containing the herbal of Apuleius and the Medicina de quadrupedibus. Along with McGurk, et al. 1983, it is an excellent example of late Anglo-Saxon interest in “scientific” and encyclopedic types of manuscript. The original manuscript is beautifully illuminated with over two hundred miniatures, although only eight are reproduced in color in the facsimile.
  232. Find this resource:
  233. Dodwell, C. R., and Peter Clemoes, eds. The Old English Illustrated Hexateuch: British Museum Cotton Claudius B.iv. Early English Manuscripts in Facsimile 18. Copenhagen: Rosenkilde & Bagger, 1974.
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  235. The reproductions in this facsimile are mostly all in black and white (only five of the four hundred color drawings are reproduced in color). In addition to the iconography and style of the miniatures, the introduction provides information on origin, provenance, codicology, painting technique, and the authorship of the text, which is partly by Ælfric. There is much discussion of the manuscript’s lost exemplar, although most scholars today would stress the originality of the miniatures over their derivation from any one model or set of models. See Withers 2007 (cited under Monographs on Individual Manuscripts) for a more recent analysis.
  236. Find this resource:
  237. Gameson, Richard, ed. The Codex Aureus: An Eighth-Century Gospel Book; Stockholm, Kunglige Bibliotek, A. 135. 2 vols. Early English Manuscripts in Facsimile 28–29. Copenhagen: Rosenkilde & Bagger, 2001–2002.
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  239. A rich, full-color facsimile of this luxury mid-8th-century Anglo-Saxon manuscript, in two volumes. Vol. 1 contains a lengthy introduction that is less informative about the art than it is about the codicology and history of the manuscript. The manuscript is also known as the Canterbury Codex Aureus because it is believed to have been produced in Canterbury, although that attribution is increasingly coming under fire. This was the last facsimile published in the Early English Manuscripts in Facsimile (EEMF) series.
  240. Find this resource:
  241. Keynes, Simon, ed. The Liber Vitae of the New Minster and Hyde Abbey, Winchester: British Library Stowe 944 together with Leaves from British Library Cotton Vespasian A.viii and British Library Cotton Titus D.xxvii. Early English Manuscripts in Facsimile 26. Copenhagen: Rosenkilde & Bagger, 1996.
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  243. The exceptionally lengthy and detailed introduction to this volume makes clear the historical importance of the Liber Vitae and related manuscripts both individually and as a group. They are important because of what they reveal about manuscript production at Winchester in the 11th century, because of the relationship between the style and iconography of the miniatures they contain, and because of what they reveal about concepts and images of king- and queenship in 10th- and 11th-century England. The Liber Vitae contains the earliest surviving portrait of an Anglo-Saxon queen, a portrait that is noted for its innovative iconography.
  244. Find this resource:
  245. McGurk, Patrick, David N. Dumville, Malcolm R. Godden, and Ann Knock, eds. An Eleventh-Century Anglo-Saxon Illustrated Miscellany: British Library Cotton Tiberius B.v together with Leaves from British Library Cotton Nero D.ii. Early English Manuscripts in Facsimile 21. Copenhagen: Rosenkilde & Bagger, 1983.
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  247. Still essential to any study of this manuscript because many of its images have not been reproduced elsewhere. The manuscript contains one of only two Anglo-Saxon illustrated metrical calendars, one of three Anglo-Saxon versions of the East, and an important mappamundi, along with other texts and images. Although still not completely understood, the range of texts that were brought together to form this manuscript makes it important to questions of patronage and collecting in Anglo-Saxon England. As with all other volumes in this series, there are lengthy introductory chapters on all aspects of the manuscript, its production, and its history.
  248. Find this resource:
  249. Verey, Christopher D., T. Julian Brown, and Elizabeth Coatsworth, eds. The Durham Gospels: Together with Fragments of a Gospel Book in Uncial, Durham, Cathedral Library, MS A.II.17. Early English Manuscripts in Facsimile 20. Copenhagen: Rosenkilde & Bagger, 1980.
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  251. This important 8th-century manuscript is part of a group of illuminated Insular gospels that also includes the Books of Durrow and Kells and the Lindisfarne Gospels. It is copiously decorated throughout in the style of Lindisfarne but is perhaps most famous for the image of the Crucifixion on folio 38 verso with its complex interaction of word and image (on this, see the important paper by Jennifer O’Reilly in Moss 2007, cited under Collections of Papers).
  252. Find this resource:
  253. Wright, David H., ed. The Vespasian Psalter: British Museum Cotton Vespasian A.i. Early English Manuscripts in Facsimile 14. Copenhagen: Rosenkilde & Bagger, 1967.
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  255. The original 8th-century manuscript is believed to have been written at Canterbury. Both the script and the illumination of this manuscript are of the highest quality, but unfortunately, as is the rule with most predigital facsimiles, very few images are reproduced in color—only three in this volume. The facsimile includes commentary on the gloss added to the manuscript in the 9th century by a Mercian scribe.
  256. Find this resource:
  257. Monographs on Individual Manuscripts
  258.  
  259. These books tend to focus on the best-known and often most luxurious manuscripts such as the Lindisfarne Gospels (Brown 2003) from the early period or the later Benedictional of Æthelwold (Deshman 1995). Karkov 2001 and Withers 2007 are studies of vernacular manuscripts that were possibly intended for secular readers.
  260.  
  261. Brown, Michelle P. The Book of Cerne: Prayer, Patronage and Power in Ninth-Century England. London: British Library, 1996.
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  263. This is an in-depth codicological, paleographic, and iconographic study of this manuscript, a product of the golden age of Mercia. Much attention is devoted to the influences at work both on text and imagery in the manuscript, and what they might have to tell us about its origins and original owner. The organization and presentation of material within chapters are sometimes confusing, with subsidiary information frequently presented in smaller type and only summarily synthesized in the main text. In this respect, it shows all the hallmarks of its origins as a doctoral dissertation.
  264. Find this resource:
  265. Brown, Michelle P. The Lindisfarne Gospels: Society, Spirituality and the Scribe. London: British Library, 2003.
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  267. Both a stand-alone study and the commentary volume to the facsimile of the manuscript in Brown 2002–2003 (cited under Facsimiles), the chapters of this book cover the origins, provenance, script, codicology, and art of the Lindisfarne Gospels. It is exemplary for setting the book not only within the historical and theological context of 8th-century Northumbria, where it was produced, but also within the larger international world of the early church and its intellectual and trading networks. Some assertions, especially when it comes to the iconography of the full-page illuminations, are less convincing than others, but overall this is an exemplary treatment of the manuscript as more than just the sum of its parts.
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  269. Deshman, Robert. The Benedictional of Æthelwold. Princeton, NJ: Princeton University Press, 1995.
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  271. This is the first book-length study of the art, text, and function of this important monument of the art of reform-period Winchester. Deshman offers a thorough iconographic and stylistic analysis of each of the full-page miniatures and synthesizes the material to give the reader a sense of what the book as a whole meant both as a personal possession and as vehicle for reform ideology. All the full-page miniatures and major initials are reproduced in full color, and the illustration of comparative material (reproduced in black and white) is impressive. It also provides an English translation of the colophon and some of the benedictions.
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  273. Karkov, Catherine E. Text and Picture in Anglo-Saxon England: Narrative Strategies in the Junius 11 Manuscript. Cambridge, UK: Cambridge University Press, 2001.
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  275. This is a study of the complex interrelationship between the texts and drawings in this late-10th- or early-11th-century manuscript, the only one of the great Anglo-Saxon vernacular poetic codices to be illuminated. The quality of the plates is disappointing, but all the images are available in high resolution through the Early Manuscripts at Oxford University project.
  276. Find this resource:
  277. Noel, William. The Harley Psalter. Cambridge, UK: Cambridge University Press, 1995.
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  279. The focus of this book is the making of the Psalter rather than art-historical analysis, though valuable information on the latter is included. It is most important for demonstrating how this manuscript, often dismissed as simply an 11th-century copy of the 8th-century Utrecht Psalter, is in fact highly original. Noel also discusses the place of the Harley Psalter in the “Utrecht Psalter tradition” that was to continue into the 13th century.
  280. Find this resource:
  281. Withers, Benjamin C. The Illustrated Old English Hexateuch, Cotton Claudius B.iv: The Frontier of Seeing and Reading in Anglo-Saxon England. London: British Library, 2007.
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  283. The Old English Hexateuch contains the earliest vernacular translation of the first five books of the Bible into English. Part of the text of this manuscript was composed by the monk Ælfric, making it a particularly important manuscript for literary scholars. It is also one of the most heavily illuminated of Anglo-Saxon manuscripts, with many of its drawings left unfinished, allowing study of the processes through which Anglo-Saxon artists completed their miniatures. Like the Junius 11 manuscript (Karkov 2001), it is not a luxury book, and it thus raises questions about patronage, literacy, and audience in late Anglo-Saxon England.
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  285. Wall Painting
  286.  
  287. The study of wall painting in Anglo-Saxon England remains overshadowed by that of manuscript illumination, even though more and more evidence for its existence is emerging. There are very few publications that give a general overview (Cather, et al. 1990 is the exception). Most information is to be found in the excavation reports of individual sites, or interdisciplinary studies of individual buildings, but these do not always set the particular program of painting within the larger context. There is also some overlap between studies devoted to wall painting and those devoted to painted sculpture, because architectural sculpture that forms part of a painted composition and the painting of freestanding sculpture are often discussed together. More and more evidence is emerging for the painting of Anglo-Saxon sculpture as part of the overall decorative, liturgical, or narrative program of individual churches. Bagshaw, et al. 2006 and Gem, et al. 2008 provide the most-current information on the analysis of Anglo-Saxon wall painting, and Karkov 2008 deals with a lost cycle of wall paintings.
  288.  
  289. Bagshaw, Steve, Richard Bryant, and Michael Hare. “The Discovery of an Anglo-Saxon Painted Figure at St Mary’s Church, Deerhurst, Gloucestershire.” Antiquaries Journal 86 (2006): 66–109.
  290. DOI: 10.1017/S0003581500000068Save Citation »Export Citation »E-mail Citation »
  291. In 1993, a 10th-century wall painting was discovered at the Church of St. Mary’s, and this is an account both of its preservation and of analysis of its composition style and iconography. Analysis of the painting also provides further evidence for the existence of an upper floor in the church.
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  293. Cather, Sharon, David Park, and Paul Williamson, eds. Early Medieval Wall Painting and Painted Sculpture in England: Based on the Proceedings of a Symposium at the Courtauld Institute of Art, February 1995. British Archaeological Reports, British Series 216. Oxford: British Archaeological Reports, 1990.
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  295. The twenty-two papers in this volume bring together art-historical and archaeological evidence and approaches, with papers devoted to conservation and literary sources. Most of them also focus on later Anglo-Saxon England, although both wall painting and painted sculpture existed in the early part of the period as well. The introduction provides an excellent overview of the subject that is still generally valid.
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  297. Crook, John. “King Edgar’s Reliquary of St Swithun.” Anglo-Saxon England 21 (1992): 177–202.
  298. DOI: 10.1017/S026367510000421XSave Citation »Export Citation »E-mail Citation »
  299. An analysis of a wall painting discovered in the library of Winchester Cathedral in 1909 and what it reveals about the now-lost reliquary of St. Swithun, believed to be depicted in the painting. The painting itself is post-Conquest but is intimately concerned with the Anglo-Saxon origins of and objects within the building. The article is divided into two parts: the first devoted to the wall painting and the second to the reliquary represented within it.
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  301. Gem, Richard, and Emily Howe, with Richard Bryant. The Ninth-Century Polychrome Decoration at St Mary’s Church, Deerhurst Gloucestershire. Dorchester, UK: Friends of Deerhurst Church with the Society of Antiquaries of London, 2008.
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  303. Also published as an article of the same title in Antiquaries Journal 88.4 (2008): 109–164. A highly informative account of the scientific analysis of paint surviving on the chancel arch and Virgin and Child panels at St. Mary’s. The authors provide a full description of the original program of painting within the church and place it in the context of 9th-century polychrome decoration within England and on the Continent. Includes excellent color illustrations.
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  305. Karkov, Catherine E. “Pictured in the Heart: The Ediths at Wilton.” In Intertexts: Studies in Anglo-Saxon Culture Presented to Paul E. Szarmach. Edited by Virginia Blanton and Helene Scheck, 273–285. Tempe: Arizona Center for Medieval and Renaissance Studies, 2008.
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  307. This paper is built around a study of the literary account of the painted wooden chapel St. Edith had built at her monastery at Wilton in the 10th century. The paintings are described in some detail by her biographer, Goscelin, although it is not clear that they could actually still have been seen at the time he wrote. More importantly, the language of Goscelin’s account calls into question the divisions we now make between artist and patron, and suggests the existence of an early form of mysticism at Wilton.
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  309. Architecture
  310.  
  311. There are surprisingly few studies devoted to architecture, although both excavation reports and the Journal of the British Archaeological Association should be consulted for studies of individual churches. Fernie 1983 provides the broadest overview and is the best place to start. Blair 2005 and Morris 1989 are best for an understanding of how Anglo-Saxon architecture functioned within society and within the landscape, respectively. As with sculpture, what is essential is that architecture be understood in relation to its setting and the people who used it.
  312.  
  313. Blair, John. The Church in Anglo-Saxon Society. Oxford: Oxford University Press, 2005.
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  315. Covers the history of the church in England from the Roman inheritance to c. 1100, with an emphasis on the role of the minister within the social structure of church and state, with regard to the laity and within the landscape. It includes numerous plans and illustrations and provides a useful overview of previous scholarship.
  316. Find this resource:
  317. Fernie, Eric. The Architecture of the Anglo-Saxons. London: Batsford, 1983.
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  319. A survey of Anglo-Saxon architecture written for the student and general reader, and still the best place to start for a sense of the style, presence, and space of Anglo-Saxon buildings, especially churches.
  320. Find this resource:
  321. Fernie, Eric. “The History of Medieval Architecture from Carolingian to Romanesque: Criteria and Definitions from 1925 to the Present Day.” In Special Issue: K. A. C. Creswell and His Legacy. Muqarnas 8 (1991): 36–39.
  322. DOI: 10.2307/1523150Save Citation »Export Citation »E-mail Citation »
  323. A brief but excellent review of the periodization and historiography of medieval architecture, with a large section devoted to Anglo-Saxon studies.
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  325. Fernie, Eric. The Architecture of Norman England. Oxford: Oxford University Press, 2000.
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  327. Part I, which gives a general historical background that starts in the 4th century and then a more detailed consideration of Anglo-Saxon architecture, are particularly relevant. However, Anglo-Saxon influences on Norman structures such as Durham Cathedral or the crypt at Canterbury Cathedral are profound and well documented and are discussed in Part II.
  328. Find this resource:
  329. Gem, Richard. Studies in English Pre-Romanesque and Romanesque Architecture. Vol. 1. London: Pindar, 2003.
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  331. This volume collects fourteen of Gem’s previously published volumes on early medieval architecture. Some are devoted to specific structures, such as “The Anglo-Saxon Church at Cirencester: A Reconstruction and Evaluation,” whereas others are broader studies, such as “Pre-Romanesque and Romanesque Architecture in England.” The volume includes his seminal “Towards an Iconography of Anglo-Saxon Architecture,” first published in the Journal of the Warburg and Courtauld Institutes 46 (1983): 1–18. Gem’s primary interest is issues concerning the periodization and meaning of architecture. Vol. 2 (published in 2008) is devoted to Romanesque architecture.
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  333. Journal of the British Archaeological Association.
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  335. Founded in 1843 to promote the study of archaeology, art, and architecture in England and the British Isles, volumes in the series are often devoted to studies of individual buildings.
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  337. Morris, Richard. Churches in the Landscape. London: Dent, 1989.
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  339. A survey that moves from the early Middle Ages to the modern world, the strength of this book lies in its presentation of why and how churches came to be situated where they did, and how they became a part of natural, civic, and social landscapes. Includes discussion of important Anglo-Saxon sites such as Canterbury.
  340. Find this resource:
  341. Taylor, Harold M., and Joan Taylor. Anglo-Saxon Architecture. 3 vols. Cambridge, UK: Cambridge University Press, 1965–1978.
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  343. An essential reference book. Vols. 1 and 2 cover the characteristics of Anglo-Saxon architecture and descriptions of individual churches (arranged alphabetically). Vol. 3 (by H. M. Taylor alone) is a study of the individual features of Anglo-Saxon structures.
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  345. Stone Sculpture
  346.  
  347. Although manuscripts tend to get more attention, stone sculpture is one of the most important and most original forms of Anglo-Saxon art. Long a subject of antiquarian interest, Collingwood 1927 marks the passage of the study of Anglo-Saxon stone sculpture into a scholarly discipline. Indeed, one can still see the influence of some of W. G. Collingwood’s classifications and archaeological approaches to the material in the volumes of the Corpus of Anglo-Saxon Stone Sculpture. Methodologically, this has remained a very conservative field, though that has begun to change (e.g., see Orton, et al. 2007). There are many articles devoted to regional sculpture and individual monuments, which space does not allow mentioning here. An up-to-date bibliography can be found in the annual bibliographies listed in this entry (see Bibliographies). Three important publications on the Ruthwell and Bewcastle crosses (Cassidy 1992; Ó Carragáin 2005; Orton, et al. 2007) are listed because of the importance of their approaches to the study of Anglo-Saxon sculpture as a whole. For the general reader, Bailey 1996 is the best place to start. Maddern 2013 focuses on a little-studied type of memorial monument, and Kopár 2013 concentrates on the iconography of a select group of Viking-age sculptures.
  348.  
  349. Bailey, Richard N. Viking Age Sculpture in Northern England. London: Collins, 1980.
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  351. Far more Anglo-Scandinavian than Anglo-Saxon sculpture remains in areas of the North of England, and this is still the best volume on the subject—though it should now be supplemented with Bailey’s 2010 volume in the Corpus of Anglo-Saxon Stone Sculpture. The book is aimed both at a general and scholarly audience, so that while it provides much valuable detail on historical context, regional groupings, dating, iconography, and monument type, it is also immensely readable.
  352. Find this resource:
  353. Bailey, Richard N. England’s Earliest Sculptors. Toronto: Pontifical Institute of Mediaeval Studies, 1996.
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  355. The seven chapters that make up this book began as the Teetzel Lectures, delivered at the University of Toronto in 1993, and provide an excellent starting point for anyone interested in an overview of the subject. In addition to chapters on types of monument and the geographical and chronological divisions of the field, the book includes chapters on approaches to and pitfalls of the study of Anglo-Saxon sculpture, and sculpture and sculptors in relation to the other arts.
  356. Find this resource:
  357. Cassidy, Brendan, ed. The Ruthwell Cross: Papers from the Colloquium Sponsored by the Index of Christian Art, Princeton University, 8 December 1989. Princeton, NJ: Princeton University Press, 1992.
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  359. The volume includes Cassidy on the later life of the Ruthwell Cross; Robert T. Farrell on its construction, destruction, and reconstruction; Douglas Mac Lean on its date; David Howlett on its inscriptions; and Paul Meyvaert on the iconography of Ecclesia and Vita Monastica on the cross. The last essay has proven problematic because of its attempts to argue that a section of the cross should be reversed in order to fit the iconographic program proposed. It has since been proven that this would, in fact, be impossible. The book also contains an extensive bibliography.
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  361. Collingwood, W. G. Northumbrian Crosses of the Pre-Norman Age. London: Faber and Gwyer, 1927.
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  363. Although Collingwood’s methodology and much of his information are now out of date, this book remains essential reading as one of the pioneering publications in the field, and as a monument to the late-19th- and early-20th-century interest in an originary medieval heritage. The volume is illustrated entirely with the author’s own drawings, many of which capture details that are now lost to the eye. The drawings are also a tribute to Collingwood’s own artistic eye and talent. Reprinted in 1989 (Lampeter, UK: Llanerch).
  364. Find this resource:
  365. Corpus of Anglo-Saxon Stone Sculpture.
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  367. This is the first source to go to for information on stone sculpture of any sort. Organized by county, the volumes in this series provide introductory essays on the context of the sculptures; a full photographic record and informative catalogue entries with information on origin, date, and provenance; and bibliography, descriptions, and discussion of each work. A complete list of titles, updates, and information on the Corpus project and photographs from some of the volumes in the series may be found on the website. The photographs on the site are digitized versions of the black-and-white prints from the volumes rather than digital images, but the black-and-white format many times does reveal details that are lost in color reproductions.
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  369. Hawkes, Jane. The Sandbach Crosses: Sign and Significance in Anglo-Saxon Sculpture. Dublin, Ireland: Four Courts, 2002.
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  371. This book examines the meaning of a group of badly damaged 9th-century stone crosses at Sandbach, Cheshire, in terms of their figural iconography and their probable meaning within the local community for which they were made. The crosses are interpreted as material expressions of ecclesiastical power that borrow, in turn, from the traditions of the Columban church and the Carolingian Empire.
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  373. Karkov, Catherine E., and Fred Orton, eds. Theorizing Anglo-Saxon Stone Sculpture. Morgantown: West Virginia University Press, 2003.
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  375. The seven essays in this book grew out of an eponymous seminar held as part of the 1998 Leeds International Medieval Congress. Jane Hawkes’s “Reading Stone” examines the visual narratives of the Sandbach crosses, as well as issues of historiography, and Catherine Karkov’s paper explores issues of name, voice, and gender in a group of early Northumbrian sculptures. The rest of the contributors (Richard Bailey, Fred Orton, Ian Wood, and Éamonn Ó Carragáin) are concerned with the debate over the date, form, and function of the Ruthwell and Bewcastle crosses. The book is especially valuable for the new approaches it incorporates: social history (Orton), feminism (Karkov), and narrativity (Hawkes).
  376. Find this resource:
  377. Kopár, Lilla. Gods and Settlers: The Iconography of Norse Mythology in Anglo-Scandinavian Sculpture. Studies in the Early Middle Ages 25. Turnhout, Belgium: Brepols, 2013.
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  379. Excellent discussion of the meanings and differences that depictions of Norse mythology on Anglo-Scandinavian sculptures (predominantly high crosses and hogbacks) may carry.
  380. Find this resource:
  381. Maddern, Christine. Raising the Dead: Early Medieval Name Stones in Northumbria. Studies in the Early Middle Ages 38. Turnhout, Belgium: Brepols, 2013.
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  383. Discusses the sources, iconography, epigraphy, and meaning of a set of a type of memorial monument characteristic of early Anglo-Saxon Northumbria. Most emphasis is placed on the location, date, and function of the stones.
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  385. Ó Carragáin, Éamonn. Ritual and the Rood: Liturgical Images and the Old English Poems of the Dream of the Rood Tradition. London: British Library, 2005.
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  387. A thorough iconographic and literary analysis of Ruthwell’s image and inscriptions that sets them squarely within the context of the early liturgy of the church, especially as it relates to Easter. There is a wealth of information here; however, the arguments of the book are compromised by the emotional prose style and the author’s insistence on a liturgical reading of and meaning for the cross at the expense of its social and political functions.
  388. Find this resource:
  389. Orton, Fred, and Ian Wood, with Clare Lees. Fragments of History: Rethinking the Ruthwell and Bewcastle Monuments. Manchester, UK: Manchester University Press, 2007.
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  391. The idiosyncratic prose style of this book makes it a difficult read in some places, but it is well worth the effort. The authors provide a very focused analysis of the different meanings of these monuments with regard to place, gender, time, style and inscriptions, and function. They argue quite rightly that the monuments would have meant one thing to the Northumbrian church that erected them in previously British territory, and quite another to the British inhabitants of those areas. The book is also noteworthy for its analysis of early antiquarian accounts of the crosses.
  392. Find this resource:
  393. Ivory, Bone, and Woodcarving
  394.  
  395. The vast majority of scholarship in this area is on the luxury ivory carvings for which Anglo-Saxon England became known, especially during the 10th and 11th centuries. The 8th-century Franks casket (Webster 1999) has attracted more attention than any other single object not only because of its quality, but also because of its complex and still-mysterious visual and textual narratives. The casket and other “ivories” are made from whale or walrus bone rather than elephant ivory. Information on other types of bone and woodcarving is generally confined to excavation reports, but see MacGregor 1985; MacGregor, et al. 1999; and Morris 2000. For general studies of luxury ivories, see Beckwith 1972 and Webster 2008. There is no doubt that wooden architecture would have included decorative carvings, and fragments have been found in the excavations of sites such as Whithorn, but there have been no studies dedicated to the subject of Anglo-Saxon England. Heslop 1980 is still the best place to start for information on seals.
  396.  
  397. Beckwith, John. Ivory Carvings in Early Medieval England. London: Harvey Miller and Medcalf, 1972.
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  399. Beckwith covers ivory carvings in England from the 8th through the 13th centuries, so the majority of the objects discussed are not Anglo-Saxon. However, this book remains the only one in which the corpus of carvings as it was known at the time of publication is discussed and illustrated together, and it is useful to see the Anglo-Saxon ivories set alongside the Romanesque objects on which they had such an influence.
  400. Find this resource:
  401. Bruce-Mitford, Rupert L. S. The Sutton Hoo Ship-Burial. Vol. 3, Late Roman and Byzantine Silver, Hanging-Bowls, Drinking Vessels, Cauldrons and Other Containers, Textiles, the Lyre, Pottery Bottle and Other Items. Edited by Angela Care Evans. London: British Museum, 1983.
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  403. This was the first and is still the most detailed account of the drinking horns and other organic vessels and objects from the ship burial in Mound 1, Sutton Hoo.
  404. Find this resource:
  405. Heslop, Thomas A. “English Seals from the Mid-Ninth Century to 1100.” Journal of the British Archaeological Association 133.1 (1980): 1–16.
  406. DOI: 10.1179/jba.1980.133.1.1Save Citation »Export Citation »E-mail Citation »
  407. Few Anglo-Saxon seals survive, so they are not a major subject of scholarly attention. Heslop’s article remains the most thorough survey of the subject to date, including information on the form, use, and dating of Anglo-Saxon seals—though with rather less attention paid to their iconography and social meaning. Seals are included in general surveys and exhibitions of Anglo-Saxon art, so that the works listed here under both categories should also be consulted.
  408. Find this resource:
  409. MacGregor, Arthur. Bone, Antler, Ivory and Horn: The Technology of Skeletal Materials since the Roman Period. London: Croom Helm, 1985.
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  411. This is the publication of the author’s MPhil thesis, and its aim is to provide a general background for individual objects. In this it succeeds. It is not limited to material from Anglo-Saxon England, however; a significant number of Anglo-Saxon and Anglo-Scandinavian objects are included. The book covers over fifty different types of objects, with combs and pins being the most numerous, but it is not comprehensive. Both the number and quality of the photographs and drawings are excellent, as is the bibliography.
  412. Find this resource:
  413. MacGregor, Arthur, A. J. Mainman, and Nicola S. H. Rogers. Craft, Industry and Everyday Life: Bone, Antler, Ivory and Horn from Anglo-Scandinavian and Medieval York. Archaeology of York 17.12. York, UK: Council for British Archaeology, 1999.
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  415. Most of the material discussed in this volume is bone and antler, rather than ivory, and it is, as the title suggests, about everyday objects rather than luxury objects. Although most of the material was uncovered as part of the excavations within the medieval city of York, objects from other sites are also included. The finds range in date from the mid-9th to the mid-15th centuries. Evidence of workshops, techniques of production, and conservation are also covered.
  416. Find this resource:
  417. Morris, Carole A. Craft, Industry and Everyday Life: Wood and Woodworking in Anglo-Scandinavian and Medieval York. Archaeology of York 17.13. York, UK: Council for British Archaeology, 2000.
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  419. Morris surveys the evidence for wood and woodworking from twenty years of excavations in the city of York. The finds include some fifteen hundred objects dating from the Roman period through the 15th century, but a significant number are of an Anglo-Scandinavian date. Originating from the tenements of York, this is everyday rather than high-status material, although objects from elsewhere, such as the Uttoxeter casket (Cleveland Museum of Art), make it clear that wood was also used for very elaborate and precious artworks.
  420. Find this resource:
  421. Neuman de Vegvar, Carol. “A Feast to the Lord: Drinking Horns, the Church and Liturgy.” In Objects, Images and the Word: Art in the Service of the Liturgy. Edited by Colum Hourihane, 231–256. Princeton, NJ: Princeton University Press, 2003.
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  423. This article provides a thorough discussion of the uses and perceptions of drinking horns in Anglo-Saxon England. Prestige items described in literary accounts of secular feasting, and often associated with burials, such as the Sutton Hoo mound 1 burial, they were denounced by the church due to their secular and “bloody” connotations.
  424. Find this resource:
  425. Webster, Leslie. “The Iconographic Programme of the Franks Casket.” In Northumbria’s Golden Age. Edited by Jane Hawkes and Susan Mills, 227–246. Stroud, UK: Alan Sutton, 1999.
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  427. This essay offers a close reading of all five of the carved faces (four sides and lid) of the Franks casket, the most elaborate ivory object to survive from Anglo-Saxon England. Long a puzzle because of the obscure nature of some of its imagery and inscriptions, Webster approaches the casket from the tradition of the riddle, which had a long visual and textual history in Anglo-Saxon England. She concludes that the casket asks the viewer to puzzle out a meaning centered on authority and salvation, and that a religious context for its production and use is likely—though ultimately it cannot be proven.
  428. Find this resource:
  429. Webster, Leslie. “Apocalypse Then: Anglo-Saxon Ivory Carving in the Tenth and Eleventh Centuries.” In Aedifica Nova: Studies in Honor of Rosemary Cramp. Edited by Catherine E. Karkov and Helen Damico, 226–253. Kalamazoo, MI: Medieval Institute, 2008.
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  431. The subject of this essay is the expression of apocalyptic imagery in the art of 10th- and 11th-century England, but the majority of the works discussed are ivories. Webster’s thesis is that far from being simply the product of millennial terror, the ivories and related works were objects that promoted a deeply personal meditation on salvation and the end of the world.
  432. Find this resource:
  433. Metalwork, Enamels, and Coins
  434.  
  435. Most information on Anglo-Saxon metalworking of all types is published in archaeological reports or specialist journals and is thus focused on particular types of object, technique, or design, or on only the objects found at individual sites. The most easily accessible studies are the catalogues of museum collections or of object types, and the most important of these are listed here. Coatsworth and Pinder 2002 stands out as the only major survey of the field. Although it is primarily about goldsmithing, other types of metalwork/metalworking are mentioned. Gannon 2003 is the only full-length study of coins as art-historical objects and is an excellent introduction to the material. Wilson and Blunt 1961 is still essential reading for an understanding of the style of 9th- and 10th-century metalwork.
  436.  
  437. Coatsworth, Elizabeth, and Michael Pinder. The Art of the Anglo-Saxon Goldsmith. Woodbridge, UK: Boydell, 2002.
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  439. This book brings together an expert on Anglo-Saxon art (Coatsworth) with a practitioner (Pinder) and provides an excellent survey of the design and craftsmanship of Anglo-Saxon goldwork, along with art-historical analysis and information on the historiography of the field. Literary, archaeological, and historical evidence is also used to throw light on workshops and their tools and practices. The detail of many of the drawings and photographs is very useful.
  440. Find this resource:
  441. Gannon, Anna. The Iconography of Early Anglo-Saxon Coinage. Oxford: Oxford University Press, 2003.
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  443. This is the only in-depth study of coins as art-historical objects as opposed to objects of economic significance and exchange. It is well researched, accessibly written, and full of excellent reproductions. Gannon’s approach is almost exclusively iconographic, and there is a tendency to deal only with the possible religious meanings of the coins rather than any political meanings they might have carried, but the arguments are always both historically and visually logical.
  444. Find this resource:
  445. Haseloff, Günther. Email im Frühen Mittelalter: Früchristliche Kunst von der Spätantike bis zu den Karolingern. Marburg, Germany: Hitzeroth, 1990.
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  447. The highlight of this book is the beautiful color photographs both of objects and small details. Only the final part of the book is devoted to Anglo-Saxon and Insular material, but it is important that they be understood in the context of the larger European practices and traditions discussed here.
  448. Find this resource:
  449. Hinton, David A. A Catalogue of the Anglo-Saxon Ornamental Metalwork, 700–1100, in the Department of Antiquities, Ashmolean Museum. Oxford: Clarendon, 1974.
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  451. The Ashmolean collection of Anglo-Saxon metalwork is second only to that of the British Museum (see Wilson 1964). The descriptions and discussions of the individual catalogued pieces are thorough for their date, but knowledge about key pieces such as the Alfred Jewel has changed (see Hinton 2008).
  452. Find this resource:
  453. Hinton, David A. The Alfred Jewel and Other Late Anglo-Saxon Metalwork. Oxford: Ashmolean Museum, 2008.
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  455. Small but incredibly informative, this is the best general introduction to the Alfred Jewel and the other objects identified as “æstels” (book-pointers) at the time of publication. It also sets the corpus of aestels within the larger context of late Anglo-Saxon metalwork.
  456. Find this resource:
  457. MacGregor, Arthur. Ashmolean Museum Oxford: A Summary Catalogue of the Anglo-Saxon Collections (Non-ferrous Metals). British Archaeological Reports 230. Oxford: British Archaeological Reports, 1993.
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  459. A useful reference book both on the collection as a whole and the works that compose it.
  460. Find this resource:
  461. Wilson, David M. Anglo-Saxon Ornamental Metalwork, 700–1100 in the British Museum. London: Trustees of the British Museum, 1964.
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  463. The British Museum has one of the largest and most important collections of Anglo-Saxon metalwork in the world, and this remains an excellent basic survey of the collection.
  464. Find this resource:
  465. Wilson, David M., and Christopher E. Blunt. “The Trewhiddle Hoard.” Archaeologia, 2d ser. 98 (1961): 75–122.
  466. DOI: 10.1017/S0261340900010055Save Citation »Export Citation »E-mail Citation »
  467. Definitive report on the 9th-century hoard of coins, a chalice, and other silver and gold objects that gave its name to a distinctive style of Anglo-Saxon animal ornament featuring black niello inlay. The style was extremely popular in metalwork but also appears in manuscripts and sculpture in the third quarter of the 9th century.
  468. Find this resource:
  469. Textiles
  470.  
  471. Scholarship in this field is dominated by the Bayeux Tapestry, and scholarship on the tapestry is enormous. There is not space to cover all the major publications here, but the footnotes to the essays in Foys, et al. 2009 provide an almost complete bibliography. On other types of textiles, Owen-Crocker 2004 is the place to start. Information on the textile remains from individual Anglo-Saxon sites is included in the relevant excavation reports on those sites, as well as in larger surveys of medieval textiles.
  472.  
  473. Bernstein, David J. The Mystery of the Bayeux Tapestry. Chicago: University of Chicago Press, 1987.
  474. Save Citation »Export Citation »E-mail Citation »
  475. Bernstein tackles the debate over whether the tapestry takes a pro-Norman or pro-English point of view. His arguments are based on the belief that the tapestry was commissioned by or for William’s half brother, Bishop Odo of Bayeux, and that it was made at or near Canterbury under the eye of a male master designer. Such a scenario creates possible tensions between the conquered who produced the work and the conqueror for whom it was produced, and Bernstein’s thesis is that this led to subversive imagery being incorporated into the visual narrative.
  476. Find this resource:
  477. Bouey, Pierre, Brian Levy, and François Neveux, eds. The Bayeux Tapestry: Embroidering the Facts of History. Caen, France: University of Caen Press, 2004.
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  479. A collection of twenty-two essays originating from an international symposium held in 1999, this volume is very broad in its scope. Contributions range from a critical analysis of publications on the tapestry (1988–1999) by Shirley Ann Brown, to the publication of technical studies done on the tapestry in 1982 and 1983. There are also contributions on the history, patronage, and narrative of the tapestry.
  480. Find this resource:
  481. Budny, Mildred, and Dominic Tweddle. “The Maaseik Embroideries.” Anglo-Saxon England 13 (1984): 65–97.
  482. DOI: 10.1017/S0263675100003525Save Citation »Export Citation »E-mail Citation »
  483. This article presents the results of a dedicated research project on embroideries believed to be part of the “casula” of the 8th-century French saints Harlindis and Relindis. The embroideries are actually of 9th-century Anglo-Saxon workmanship and are in fact the earliest surviving example of the opus anglicanum for which later medieval England became famous.
  484. Find this resource:
  485. Coatsworth, Elizabeth. “The Embroideries from the Tomb of St Cuthbert.” In Edward the Elder 899–924. Edited by N. J. Higham and D. H. Hill, 292–306. London: Routledge, 2001.
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  487. Coatsworth reassesses the evidence for the production and donation of embroidered vestments to the shrine of St. Cuthbert in the 10th century. She provides an up-to-date review of scholarship on the embroideries, placing them within the context of early medieval textile production. The Cuthbert embroideries are especially important art-historically because of their place in the development of the “Winchester style.”
  488. Find this resource:
  489. Foys, Martin K. Bayeux Tapestry. Leicester, UK: Scholarly Digital Editions, 2002.
  490. Save Citation »Export Citation »E-mail Citation »
  491. This award-winning CD-ROM is the best source for images of the tapestry. The interface is very easy to use, the zoom features allow for viewing in close detail, and there are links from each scene to relevant interpretations and a bibliography. Background literature and images of the facsimiles of the tapestry and the battlefield at Hastings are also included.
  492. Find this resource:
  493. Foys, Martin K., Karen Eileen Overby, and Dan Terkla, eds. The Bayeux Tapestry: New Interpretations. Woodbridge, UK: Boydell, 2009.
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  495. A collection of eleven essays both by new and established scholars, this book combines traditional historical and iconographic studies of the tapestry with newer approaches that highlight the ways in which it constructs gender and historical or cultural identity, as well as its reception and materiality, and the history of tapestry studies. There are, however, unresolved contradictions in the information and hypotheses provided by individual essays. For example, some essays accept the patronage of Bishop Odo, whereas others call it into question. Together, the essays provide a thorough review of scholarship to date, and the volume includes a selective bibliography.
  496. Find this resource:
  497. McNulty, J. Bard. The Narrative Art of the Bayeux Tapestry Master. New York: AMS, 1989.
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  499. McNulty, like Bernstein and others, sees the tapestry as the product of a master male designer. Unlike Bernstein, he sees it as undeniable pro-Norman. His main thesis is that the tapestry is a quest narrative made up of seven episodes arranged in two parts, with the marginal scenes of the borders used to make allusions forward and backward in time. He also provides a detailed analysis of the visual design of the narrative, offering logical explanations for scenes, such as the funeral of Edward the Confessor, that appear to disrupt the narrative flow.
  500. Find this resource:
  501. Owen-Crocker, Gale. Dress in Anglo-Saxon England. Rev. ed. Woodbridge, UK: Boydell, 2004.
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  503. Originally published in 1986 and frequently cited for its encyclopedic coverage of all types of and terms for Anglo-Saxon dress, the book is designed for scholars, general readers, and even enthusiasts of reenactment. It is a truly interdisciplinary study, bringing together archaeological, art-historical, and literary evidence. This revised edition contains new material, analysis, and images.
  504. Find this resource:
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