This analytical catalogue of sculpture from the historic counties of Devon, Dorset, Somerset and Wiltshire provides a new perspective on the artistic achievement of the late Saxon kingdom. The volume includes individual pieces of the highest quality such as the Bradford-on-Avon and Winterbourne Steepleton angels or the newly discovered figures from Congresbury. Most of the monuments were carved at a time when Wessex art was at its zenith in the tenth and eleventh centuries, a formative period for English cultural identity. This volume sets the sculpture within an historical, topographical and art-historical context, highlighting the close links with contemporary styles in manuscripts and metalwork. Full photographic records of each monument present many new illustrations unique to this volume. An indispensable research tool for all those interested in the early medieval world, this volume is also an authoritative aid for local historians.

The visual heritage of Northern Yorkshire in the pre-Conquest period is revealed in this addition to the Corpus series. This volume surveys the sculpture in the historic North Riding of Yorkshire (excluding those parts covered in Volume three).

This is the first scholarly art-historical appraisal of Anglo-Saxon coinage, from its inception in the late sixth century to Offa's second reform of the penny c.792. Outside numismatic circles, this material has largely been ignored because of its complexity, yet artistically this is the most vibrant period of English coinage, with die-cutters showing flair and innovation and employing hundreds of different designs in their work. By analysing the iconography of the early coinage, this book intends to introduce its rich legacy to a wide audience. Anna Gannon divides the designs of the coins into four main categories: busts (including attributes and drapery), human figures, animals and geometrical patterns, presenting prototypes, sources of the repertoire and parallels with contemporary visual arts for each motif. The comparisons demonstrate the central role of coins in the eclectic visual culture of the time, with the advantages of official sanctioning and wide circulation to support and diffuse new ideas and images. The sources of the motifs clarify the relationship between the many designs of the complex Secondary phase (c.710-50). Contemporary literature and theological writings often offer the key to the interpretation of motifs, hinting at a universal preoccupation with religious themes. The richness of designs and display of learning point to a sophisticated patronage with access to exotic prototypes, excellent craftsmanship and wealth; it is likely that minsters, as rich, learned, and well-organized institutions, were behind some of the coinage. After the economic crises of the mid-eighth century this flamboyant iconography was swept away: with the notable exeption of the coins of Offa, still displaying exciting designs of high quality and inventiveness, reformed issues bore royal names and titles, and strove towards uniformity.

WINNER OF THE FRANK WATSON BOOK PRIZE 2021. SHORTLISTED IN SCOTLAND'S NATIONAL BOOK AWARDS 2021 The first full-scale, interdisciplinary treatment of the wide-ranging connections between the Gaelic world and the Northumbrian kingdom.

Splendid . . . the major overview of Anglo-Saxon clothing and textile from the 5th to 11th centuries. . . . Owen-Crocker has become the authority reconstructors call upon. . . . A wise and scholarly book. TOEBI Newsletter Based on the revised and expanded edition of 2004, this paperback is an encyclopaedic study of English dress from the fifth to the eleventh centuries, drawing evidence from archaeology, text and art (manuscripts, ivories, metalwork, stone sculpture, mosaics), and also from re-enactors' experience. It examines archaeological textiles, cloth production and the significance of imported cloth and foreign fashions. Dress is discussed as a marker of gender, ethnicity, status and social role - in the context of a pagan burial, dress for holy orders, bequests of clothing, commissioning a kingly wardrobe, and much else - and surviving dress fasteners and accessories are examined with regardto type and to geographical/chronological distribution. There are colour reconstructions of early Anglo-Saxon dress and a cutting pattern for a gown from the Bayeux tapestry; Old English garment names are discussed, and there isa glossary of costume and other relevant terms. GALE OWEN-CROCKER is Professor of Anglo-Saxon Culture at the University of Manchester. She has a special interest in dress throughout the medieval period - she advises ondress entries to the Toronto Old English Dictionary and has consulted for many museums and television companies. She is co-editor of the journal Medieval Clothing and Textiles.

This volume offers comprehensive coverage of the archaeology of Anglo-Saxon England, bringing together essays on specifi fields, sites and objects, and offering the reader a representative range of both traditional and new methodologies and interdisciplinary approaches to the subject.

The book examines the lived experience of worship in early medieval England and Ireland, ranging from public experience of church and stone sculptures, to monastic life, to personal contemplation of, and meditation on, manuscript illuminations and other devotional objects.