FREE EARLY MEDIEVAL PDF

Lawrence Nees | 272 pages | 18 Jul 2002 | Oxford University Press | 9780192842435 | English | Oxford, United Kingdom RESOURCES ON THE WEB: Early

Sign up for our newsletter! Receive occasional emails about new Smarthistory content. Expressive, emotional, and energetic, the Utrecht Psalter is not what you expect in a book written years ago. One of the oldest surviving bibles was made in England but has clear visual Early Medieval Art to traditions from the Early Medieval Art Mediterranean. Excavated inthis 7th-century grave once held a hoard of metalwork, all buried within a meter long ship! Rendered in gold and garnet, the enigmatic animals on this purse lid stand out above white bone. Restored, dismantled, and restored again, this helmet was a pile of rusted iron and tinned bronze Early Medieval Art first discovered. Masks and scrolls adorn the square head of this silver-gilt . Extravagant but functional, it fastened clothes. Stylistic analysis of these and buckles might seem straightforward, but their designs riddle even experts. After Early Medieval Art the Channel and invading Britain, the Anglo- ruled for years. Rings offer clues to their society. These ornate brooches were trendy accessories in the 5th and 6th centuries. If you don't know about Paracas textiles Check out this new essay by Dr. Ananda Cohen-Aponte. See all essays by Dr. Cohen-Aponte Close. Medieval art - Wikipedia

The began with the fall of the Early Medieval Art Empire and ended in the early 11th century; its art encompasses vast and divergent forms of media. Identify the major periods and styles into which European art of the Early Middle Ages is classified, and artistic elements common to all of them. The Middle Ages of the European world covers approximately 1, years of art history in Europe, and at times extended into the Middle East and North Africa. It includes major art movements and periods, national and regional art, genresand revivals. Art historians attempt to classify medieval art into major Early Medieval Art and styles with some difficulty, as medieval regions frequently featured distinct artistic styles such as Anglo-Saxon or . However, a generally accepted scheme includes Early Christian art, Migration Period art, , Insular artCarolingian art, , Romanesque artand , as well as many other periods within these central aesthetic styles. Population decline, relocations to the countryside, invasion, and migration began in Late Antiquity and continued in the Early Middle Ages. The large-scale movements of the Migration Period, including various , formed new kingdoms in what remained of the Western Roman Empire. In the West, most kingdoms incorporated the few extant Roman institutions. As literacy declined and printed material became available only to monks and nuns who copied illuminated manuscripts, art became the primary method of communicating narratives usually of a Early Medieval Art nature to the masses. Conveying complex stories took precedence over producing naturalistic imageryleading to a shift toward stylized and abstracted figures for most of the Early Middle Ages. Abstraction and stylization also appeared in imagery accessible only Early Medieval Art select communities, such as monks in remote monasteries like the complex at off the coast of Northumberland, England. John the Evangelist page from the Lindisfarne Gospels c. The bench Early Medieval Art which John sits does not recede realistically into the space behind him. Modeling is kept to a minimum, and the clothing that John wears does not acknowledge the body beneath. Early medieval art exists in many media. The works that remain in large numbers include , illuminated manuscripts, stained glass, metalwork, and mosaics, all of which have had a higher survival rate than fresco wall-paintings and works in precious metals or textiles such as tapestries. In the early medieval period, the decorative , including metalwork, ivory carving, and embroidery using precious metals, were probably more highly valued than paintings or . Metal and inlaid objects, such as armor and royal regalia , scepters, and the like rank among the best-known early medieval works that survive to this day. Visigoth votive before CE. Gold and precious stones. Part of the Treasure of Guarrazar. Early medieval art in Europe grew out of the artistic heritage of the Roman Empire and the iconographic traditions of the early Christian church. Apart from the formal aspects Early Medieval Art , there was a continuous tradition of realistic depiction that survived in Byzantine art of Early Medieval Art Europe throughout the period. In the West realistic presentation appears intermittently, combining and sometimes competing with new expressionist possibilities. These expressionistic styles developed both in Western Europe and in the Northern aesthetic of energetic decorative elements. Monks and monasteries had a deep effect on the religious and political Early Medieval Art of the Early Middle Ages, in various cases acting as land trusts for powerful families, centers of propaganda and royal support in newly conquered regions, and bases for missions and proselytizing. They were the main and sometimes Early Medieval Art regional outposts of education and literacy. Many Early Medieval Art the surviving manuscripts of the Latin classics were copied in monasteries in the Early Middle Ages. Monks were also the authors of new works, including history, theology, and other subjects written by authors such as Bede dieda native of northern England who wrote in the late seventh and early eighth centuries. The use of valuable materials is a constant in medieval art. Most illuminated Early Medieval Art of the Early Middle Ages had lavish book covers decked with precious metal, ivory, and jewels. One of the best examples of precious metalwork in medieval art is the jeweled cover of the Codex Aureus of St. Early Medieval Art c. The Codexwhose origin is unknown, is decorated with gems and gold relief. Gold was also used Early Medieval Art create sacred objects for churches and palaces, as a solid background for mosaics, and applied as gold leaf to miniatures in manuscripts and panel paintings. Named after Emmeram of Regensburg and lavishly illuminated, the Codex is an important example of , as well of one of very few surviving treasure bindings of the late ninth century. Emmeram Munich, Bayerische Staatsbibliothek, Clm Few large stone buildings were constructed between the Constantinian Early Medieval Art of the fourth and eighth centuries, although many smaller ones were built during the sixth and seventh centuries. By the early eighth century, the Merovingian dynasty revived the basilica form of architecture. Other new features of religious architecture include the crossing tower and a monumental entrance to the church, usually at the west end of the building. While the plan predates the cruciform basilica, it revives the classical round arch and heavy stone masonry as well as the east-facing apse of Late Antiquity. Merovingian architecture emerged under the Merovingian Frankish dynasty and reflected a fusion of Western and Eurasian influences. Merovingian architecture developed under the Merovingian dynastya Frankish family who ruled parts Early Medieval Art present-day France, Belgium, the Netherlands, Luxembourg, and Early Medieval Art of Germany from the mid-fifth century to the mid-eighth century. The advent of the Merovingian dynasty in Gaul led Early Medieval Art important changes in architecture. The unification of the Frankish kingdom under Clovis I — and his successors corresponded Early Medieval Art the need for new churches. Merovingian architecture often continued the Roman basilica tradition, Early Medieval Art also adopted influences from as Early Medieval Art away as Syria and Armenia. In the East, most structures were in timberbut stone was more common for significant buildings in the West and in the southern areas that later fell under Merovingian rule. Many Merovingian churches no longer exist. One famous example is the basilica of Saint Martin at Tours, at the beginning of Merovingian rule and at the time on the edge of Frankish territory. According to scholars, the church had marble columnstowers at the east end, and several mosaics. A feature of the basilica of Saint-Martin that became a hallmark of Frankish church architecture was the sarcophagus or reliquary of the saint, raised to be visible and sited axially behind the Early Medieval Art, sometimes in the apse. There are no Roman precedents for this Frankish innovation. A number Early Medieval Art other buildings now lost, including the Merovingian foundations of Saint-Denis, St. One surviving church is Saint-Pierre-aux-Nonnains at Metz. The building was originally built in CE as a gymnasium a European type of school for a Roman spa complex. In the seventh century, the structure was converted into a church, becoming the chapel Early Medieval Art a Benedictine convent. The structure bears common hallmarks of a Roman basilica, including the round arches and tripartite division into nave center and aisles left and right of the navea division visible from the exterior of the building. Apparently missing, Early Medieval Art, is the apse. Saint-Pierre-aux-Nonnains : This church in Metz, France bears common hallmarks of a Roman basilica, including the round arches and tripartite division into nave center and aisles left and right of the navea division visible from the exterior of the building. Other major churches have been rebuilt, usually more than once. However, some small Merovingian structures remain, especially baptisteries, which were spared rebuilding in later centuries. By contrastSt. Jean at Poitiers has the form of a rectangle flanked by three apses. The original building has probably had a number of alterations but preserves traces of Merovingian influence in its marble capitals. Jean at Poitiers sixth century has the form of a rectangle flanked by three apses. The original building has probably undergone a number of alterations but preserves in its decoration marble capitals a strong Merovingian character. Only the octagonal baptismal pool and the lower part of the walls remain from that period. The other walls, Corinthian columns, arcadeand dome were rebuilt in the . A viewing hole in the floor reveals the bases of the porticoes of the Early Medieval Art forum under the baptistery. Celtic and Anglo-Saxon art display similar aesthetic qualities and media, including architecture and metalwork. Anglo-Saxon art emerged when the Anglo-Saxons migrated from the continent in the fifth century and Early Medieval Art in with the Norman Conquest. Anglo-Saxon Early Medieval Art, which favored brightness and color, survives mostly in architecture and metalwork. Anglo-Saxon metalwork consisted of Germanic-style jewelry and armor, which was commonly placed in burials. After the conversion of the Anglo-Saxons to in the seventh century, the fusion of Germanic Anglo-Saxon, Celtic, and Early Christian techniques created the Hiberno-Saxon style or in the form of sculpted crosses and liturgical metalwork. Insular art is characterized by detailed geometric designs, , and stylized animal decoration. Anglo-Saxon metalwork initially used the Germanic decoration that would be expected from recent immigrants, but gradually developed a distinctive Anglo-Saxon character. For instance, round disk brooches were preferred for the grandest Anglo-Saxon pieces, over continental styles of fibulae and Romano-British penannular brooches. Despite a considerable number of other finds, the discovery of the at Sutton Hoo transformed the history of Anglo-Saxon art, showing a level of sophistication and quality that was wholly unexpected at this date. Among the most famous Early Medieval Art from Sutton Hoo are Early Medieval Art helmet and an ornamental purse lid. Sutton Hoo helmet reconstruction : The Sutton Hoo helmet features an iron skull of a Early Medieval Art vaulted shell and has a full face mask, a solid neck guard, and deep cheekpieces. These features suggest an English origin for the basic structure of the helmet. Although outwardly similar to the Swedish examples, the Sutton Hoo helmet is a product of better craftsmanship. Sutton Hoo Purse Lid : This ornamental purse lid covered a lost leather pouch, hung from a waist belt. The forms on the top Early Medieval Art feature interlace Early Medieval Art of Insular art, while the bottom Early Medieval Art features stylized humans and mythical animals either devouring or being devoured. Anglo-Saxon secular buildings in Britain were generally simple, constructed mainly using timber with thatch for roofing. No universally accepted example survives aboveground. There are, however, many remains of Anglo-Saxon church architecture. The round-tower church and tower-nave church are distinctive Anglo-Saxon types. All surviving churches, except one timber church, are Early Medieval Art of stone or brick, and in some cases show evidence of reused Roman work. Fobbing Parish Church, section of outer wall. Also visible is the textured stone work of the outer wall. The architectural character of Anglo-Saxon ecclesiastical buildings range from influence from Celtic and Early Christian styles. Later Anglo-Saxon architecture is characterized by pilasters, blank arcading, baluster shafts and triangular-headed openings. Anglo-Saxon church at Reculver : Triple arch opening separating the nave and apse in the seventh-century church at Reculver, Kent now destroyed. This reconstruction Early Medieval Art the blank arcading that was common in Anglo-Saxon architecture. Typically, is ornamental, avoiding straight lines, only occasionally using symmetry, and often involving complex . Celtic art has used a variety of styles and has shown influences from other cultures in knotwork, spirals, key patterns, lettering, and human figures. Early Medieval Art | Art History Teaching Resources

The medieval art of the Western world covers a vast scope of time and place, over years of art in Europeand at times the Middle East and North Africa. It includes major art movements and periods, national and regional art, genres, revivals, the artists' crafts, and the artists themselves. Art historians attempt to classify Early Medieval Art art into major periods and styles, often with some difficulty. A generally accepted scheme includes the Early Medieval Art phases of Early Christian artMigration Period artByzantine artInsular artPre- RomanesqueRomanesque artand Gothic artas well as many other periods within these central styles. In addition each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or . Medieval art was produced in many media, and works survive in large numbers in sculptureilluminated manuscriptsstained glassmetalwork and mosaicsall of which have had a higher Early Medieval Art rate than other Early Medieval Art such as fresco wall-paintings, work in precious metals or textilesincluding tapestry. Especially in the early part of the period, works in the so-called "minor arts" or decorative artssuch as metalwork, ivory carving, enamel and embroidery using precious metals, were probably more highly valued than paintings or monumental sculpture. Medieval art in Europe grew out of the artistic Early Medieval Art of the Roman Empire and the iconographic traditions of the early Christian church. These sources were mixed with the vigorous "barbarian" artistic culture of to produce a remarkable artistic legacy. Indeed, the history of medieval art can be Early Medieval Art as the history of the interplay between the elements of classicalearly Christian and "barbarian" art. The period ended with the self-perceived Renaissance recovery of the skills and values of classical art, and the artistic legacy of the Middle Ages was then disparaged for some centuries. Since a revival Early Medieval Art interest and understanding in the 19th century it has been seen as a period of enormous achievement that underlies the development of later Western art. The Middle Ages in Europe saw a decrease in prosperity, stability, and population in the first centuries of the period—to about AD, and then a fairly steady and general increase until the massive setback of the Black Death aroundwhich Early Medieval Art estimated to have killed at least a third of the overall population in Europe, with generally higher rates in the south and lower in the north. Many regions did not regain their former population levels until the 17th century. The population of Europe is estimated to have reached a low point of about 18 million into have doubled around the yearand to have reached over 70 million byjust before Early Medieval Art Black Death. In it was still only 50 million. To these figures, Northern Europe, especially Britain, contributed a lower proportion than today, and Southern Europe, including France, a higher one. Until about the 11th century most of Europe was short of Early Medieval Art labour, Early Medieval Art large amounts of unused land, and the Medieval Warm Period benefited agriculture until about The medieval period eventually saw the falling away of the invasions and incursions from outside the area that characterized the first millennium. The Islamic conquests of the 6th and 7th century suddenly and permanently removed all of North Africa from the Western world, and over the rest of the period Islamic peoples gradually took over the Byzantine Empireuntil the end of the Middle Ages when Catholic Europe, having regained the Iberian peninsula in the southwest, was once again under Muslim threat from the southeast. At the start of the medieval period most significant works of art were very rare and costly objects associated with secular elites, monasteries or major churches and, if religious, largely produced by monks. By the end of the Middle Ages works of considerable artistic interest could be found in small villages and significant numbers of bourgeois homes in towns, and their production was in many places an important local industry, with artists from the clergy now the exception. However the Rule of St Benedict permitted the sale of works of art by monasteries, and it is clear that throughout the period monks might produce art, including secular works, commercially for a lay market, and monasteries would equally hire lay specialists where necessary. The impression may be left by the Early Medieval Art works that almost all medieval art was religious. This is far from the case; though the church became very wealthy over the Middle Ages and was prepared at times to spend lavishly on art, there was also much secular art of equivalent quality which has suffered from a far higher rate of wear and tear, loss and destruction. The Middle Ages generally lacked the concept of preserving older works for their artistic merit, as opposed to their association with a saint or founder figure, and the following periods of the Renaissance and tended to disparage medieval art. Most luxury illuminated manuscripts of the Early Middle Ages had lavish treasure binding book-covers in precious metal, ivory and jewels; the re-bound pages and ivory reliefs for the covers have survived in far greater numbers than complete covers, which have mostly been stripped off for their valuable materials at some point. Most churches have been rebuilt, often several times, but medieval palaces and large houses have been lost at a far greater rate, which is also true of their fittings Early Medieval Art decoration. In England, churches survive largely intact from every century since the 7th, and in considerable numbers for the later ones—the city of Norwich alone has 40 medieval churches—but of the dozens of royal palaces none survive from earlier than the 11th century, and only a handful of remnants from the rest of the period. Many of the longest running scholarly disputes over the date and origin of individual works relate to secular pieces, because they are so much rarer - the Anglo-Saxon Fuller Brooch was refused by the British Museum as an implausible fake, and small free-standing secular bronze sculptures are so rare that the date, origin and even authenticity of both of the two best examples has been argued over for decades. The use of valuable materials is a constant in medieval art; until the end of the period, far more was typically spent on buying them than on paying the artists, even if these were not monks performing their duties. Gold was used for objects for churches and palaces, Early Medieval Art jewellery and the fittings of clothes, and—fixed to the back of glass tesserae —as a solid background for mosaicsor applied as gold leaf to miniatures in manuscripts and panel paintings. Many objects using precious metals were made in the knowledge that their bullion value might be realized at a future point—only near the end of the period could money be invested other than in real estateexcept at great risk or by committing usury. The even more expensive pigment ultramarinemade from ground lapis lazuli obtainable only Early Medieval Art Afghanistanwas used lavishly in the Gothic period, more often for the traditional blue outer mantle of the Virgin Mary than for skies. Ivoryoften Early Medieval Art, was an important material until the very end of the period, well illustrating the shift in luxury art to secular works; at the Early Medieval Art of the period most uses were shifting from consular diptychs to religious objects such as book-covers, reliquaries and croziersbut in the Gothic period secular mirror-cases, caskets and decorated combs become common among the well-off. As thin ivory panels carved in relief could rarely be recycled for another work, the number of survivals is relatively high—the same is true of manuscript pages, although these were often re-cycled by scraping, whereupon they Early Medieval Art palimpsests. Even these basic materials were costly: when the Anglo-Saxon Monkwearmouth-Jarrow Abbey planned to create three copies of the bible in —of which one survives as the Codex Amiatinus —the first step necessary was to plan to breed the cattle to supply the 1, calves to give the skin for Early Medieval Art vellum required. Paper became available in the last centuries of the period, but was also extremely expensive Early Medieval Art today's standards; woodcuts sold to ordinary pilgrims at shrines were often matchbook size or smaller. Modern dendrochronology has revealed that most of the oak for panels used in Early Early Medieval Art painting of the 15th century was felled in the Vistula basin in Poland, Early Medieval Art where it was shipped down the river and across the Baltic and North Seas to Flemish ports, before being seasoned for several years. Art in the Middle Ages is a broad subject and art historians traditionally divide it in several large-scale phases, styles or periods. The period of the Middle Ages neither begins nor ends neatly at any particular date, nor at the same time in all regions, and the same is true for the major phases of art within the period. Early Christian art, more generally described as Late Antique art, covers the period from about before which no distinct Christian art survivesuntil the onset of a fully Byzantine style in about There continue to be different views as to Early Medieval Art the medieval period begins during this time, both in terms of general history and specifically art history, but it is most often placed Early Medieval Art in the period. In the course of the 4th century Christianity went from being a persecuted popular sect to the official religion of the Empire, adapting existing Roman styles and often iconographyfrom Early Medieval Art popular and Imperial art. From the start of the period the main survivals Early Medieval Art Christian art are the tomb-paintings in popular styles of the catacombs of Romebut by the end there were a number Early Medieval Art lavish mosaics in churches built under Imperial patronage. Over Early Medieval Art period imperial Late went through a strikingly "baroque" phase, and then largely abandoned classical style and Greek in favour of a more mystical and hieratic style—a process that was well underway before Christianity became a major influence on imperial art. Influences from Eastern parts of the Empire— EgyptSyria and beyond, and also a robust "Italic" vernacular tradition, contributed to this process. Figures are mostly seen frontally staring out at the viewer, where classical art tended to show a profile view - the change was eventually seen even on coins. The individuality of portraits, a great strength of Roman art, declines sharply, and the anatomy and drapery of figures is shown with much less realism. The models from which medieval Northern Europe in particular formed its idea of "Roman" style were nearly all portable Late Antique works, and the Late Antique carved sarcophagi found all over the former Roman Empire; [11] the determination to find earlier "purer" classical models, was a key element in the art all'antica of the Renaissance. Ascension of Christ and Noli me tangerec. See Drogo Sacramentary for a similar Ascension years later. Consular diptychConstantinople Early Medieval Art, in fully Late Antique style. Ottonian panel from the Magdeburg Ivoriesin a bold monumental style with little attempt at classicism; Milan — Late 14th century French Gothic triptychprobably for a lay owner, with scenes from the Life of the Virgin. Byzantine art is the art of the Greek-speaking Byzantine Empire formed after the division of the Roman Empire between Eastern and Western halves, and sometimes of parts of Italy under Byzantine rule. It emerges from Late Antiquity in about CE and soon formed a tradition distinct from that of Catholic Europe but with great influence over it. In the early medieval period the best Byzantine art, often from the large Imperial workshops, represented an ideal of sophistication and technique which European patrons tried to emulate. During the period of Byzantine iconoclasm in the vast majority of icons sacred images usually painted on were destroyed; so little remains that today any discovery sheds new understanding, and most remaining works are in Italy Rome and Ravenna etc. Byzantine art was extremely conservative, for religious and cultural reasons, but retained a continuous tradition of Greek realism, which contended with a strong anti-realist and hieratic impulse. After the resumption of icon production in until the Byzantine art tradition continued with relatively few changes, despite, or because of, the slow decline of the Empire. There was a notable revival of classical style in works of 10th century court art like the Paris Psalterand throughout the period manuscript illumination shows parallel styles, often used by the same artist, for iconic figures in framed miniatures and more informal small scenes or figures added unframed in the margins of the text in a much more realist style. Monumental sculpture with figures remained a taboo in Byzantine art; hardly any exceptions are known. But small ivory reliefs, almost all in the iconic mode the Harbaville Triptych is of similar date to the Paris Psalter, but very different in stylewere a speciality, as was relief decoration on bowls and other metal objects. The Byzantine Empire produced much of the finest art of the Middle Ages in terms of quality of material and workmanship, with court production centred on Constantinoplealthough some art historians have questioned the assumption, still commonly made, that all work of the best quality with no indication as to origin was produced in the capital. Byzantine art's crowning achievement were the monumental frescos and mosaics inside domed churches, most of which have not survived due to natural disasters and the appropriation of churches to mosques. Byzantine art exercised a continuous trickle of influence on Western European art, and the splendours of the Byzantine court and monasteries, even at the end of the Empire, provided a model for Western rulers and secular and clerical patrons. For example, Byzantine silk textiles, often woven Early Medieval Art embroidered with designs of both animal and human figures, the former often reflecting traditions originating much further east, were unexcelled in the Christian world until almost the end of the Empire. These were produced, but probably not entirely so, in Imperial workshops in , Early Medieval Art whose operations we know next Early Medieval Art nothing—similar workshops are often conjectured for other arts, with even less evidence. Some other decorative arts were less developed; Byzantine ceramics rarely rise above the level of attractive folk artdespite the Ancient Greek heritage and the impressive future in the Ottoman Early Medieval Art of İznik Early Medieval Art and other types of Early Medieval Art. The Coptic art of Egypt took a different path; after the Coptic Church separated in the mid-5th century it was never again supported by the state, and native Egyptian influences dominated to produce a completely non-realist and somewhat naive style of large-eyed figures floating in blank space. This was capable of great expressiveness, and took the "Eastern" component of Byzantine art to its logical conclusions. Coptic decoration used intricate geometric designs, often anticipating . Because of the exceptionally good preservation of Egyptian burials, we know more about the textiles used by the less well-off in Egypt than anywhere else. These were often elaborately decorated with figurative and patterned designs. Other local traditions in ArmeniaSyriaGeorgia and elsewhere showed generally less sophistication, but often more vigour than the art of Constantinopleand sometimes, especially in architectureseem to have had influence even in Western Europe. For example, figurative monumental sculpture on the outside of churches appears here some centuries before it is seen in the West. Migration Period art describes the art of the " barbarian " Germanic and Eastern-European peoples who were on the move, and then settling within the former Roman Empire, during the Migration Period from about ; the blanket term covers a wide range of ethnic or regional styles including early Anglo-Saxon artVisigothic artViking artand Merovingian artall of which made use of the animal style as well as geometric motifs derived from classical art. Most artworks were small and portable and those surviving are mostly jewellery and metalwork, with the art expressed in geometric or schematic designs, often beautifully conceived and made, with few human figures and no attempt at realism. The early Anglo-Saxon grave goods from Sutton Hoo are Early Medieval Art the best examples. As the "barbarian" peoples were Christianizedthese influences interacted with the post-classical Mediterranean Christian artistic tradition, and new forms like the illuminated manuscript[15] and indeed coinswhich attempted to emulate Roman provincial coins and Byzantine types. Early coinage like the sceat shows designers completely unused to depicting a head in profile grappling with the problem in a variety of different ways. As for larger works, there are references to Anglo-Saxon wooden pagan statues, all now lost, and in Norse art the tradition of carved was maintained after their conversion to Christianity. The Celtic Picts of Early Medieval Art also carved stones before and after conversion, and the distinctive Anglo-Saxon and Irish tradition Early Medieval Art large outdoor carved crosses may reflect earlier pagan works. Viking art from later centuries in and parts of the British Isles includes work from both pagan Early Medieval Art Christian backgrounds, and was one of the last flowerings Early Medieval Art this broad group of styles. Anglo-Saxon silver sceatKentc. Diademed head, holding cross; reverse, Early Medieval Art snake. Viking carved wood and metal prow from the Early Medieval Art shipca. Parts of a Norwegian wooden doorway, 12th century, in the Urnes style. Image-stone from . Insular art refers to the distinct style found in Ireland and Britain from about the 7th century, to about the 10th century, lasting later in Ireland, and parts of Scotland. The style saw a fusion between the traditions of Celtic artthe Early Medieval Art Migration period art of the Anglo-Saxons and the Christian forms of the book, Early Medieval Art crosses and liturgical metalwork. Extremely detailed geometric, interlaceand stylised animal decoration, with forms derived from secular metalwork like broochesspread boldly across manuscripts, usually gospel books like the Book of Kellswith whole carpet pages devoted to such designs, and the development of the large decorated and historiated initial. There were very few human figures—most often these were Evangelist portraits —and these were crude, even when closely following Late Antique models. The insular manuscript style was transmitted to the continent by the Hiberno-Scottish missionand its anti-classical energy was extremely important in the formation of later medieval styles. In most Late Antique manuscripts text and decoration were kept clearly apart, though some initials began to be enlarged and elaborated, but major insular manuscripts sometimes take a whole page for a single initial or the first few words see illustration at beginnings of gospels or other sections in a book. Allowing decoration a "right to roam" was to be very influential on Romanesque and Gothic art in all media. The buildings of the monasteries for which the insular gospel books were made were then small and could fairly be called primitive, especially in Ireland. There increasingly were other decorations to churches, where possible in precious metals, and a handful of these survive, like the Ardagh Chalicetogether with a larger number of extremely ornate and finely made pieces of secular high-status jewellery, the Celtic brooches probably worn mainly by men, of which the Tara Brooch is the most spectacular.