illuminated and decorated in an Insular style that blends Irish and Western Mediterranean elements and incorporates imagery from the Eastern Mediterranean, including Coptic Christianity. The Codex Amiatinus was produced in the north of England at the same time and has been called the finest book in the world. It is certainly one of the largest, weighing 34 kilograms. It is a pandect, which was rare in the Middle Ages, and included all the books of the Bible in one volume. The Codex Amiatinus was produced at Monkwearmouth-Jarrow in 692 under the direction of Abbot Ceolfrith. Bede probably had something to do with it. The production of the Codex shows the riches of the north of England at this time. We have records of the monastery needing a new grant of land to raise 2,000 more cattle to get the calf skins to make the vellum for the manuscript. The Codex Amiatinus was meant to be a gift to the pope, and Ceolfrith was taking it to Rome when he died on the way. The copy ended up in Florence, where it still is today – a ninth-century copy of this book is in the possession of the pope. In the 8th century, Anglo-Saxon Christian art flourished with grand decorated manuscripts and sculptures, along with secular works which bear comparable ornament, like the Witham pins and the Coppergate helmet. The flourishing of sculpture in Mercia occurred slightly later than in Northumbria and is dated to the second half of the 8th century. The Book of Cerne is an early 9th century Insular or Anglo-Saxon Latin personal prayer book with Old English components. This manuscript was decorated and embellished with four painted full-page miniatures, major and minor letters, and continuing panels. Further decorated motifs used in these manuscripts, such as hunched, triangular beasts, also appear on objects from the Trewhiddle hoard (buried in the 870s) and on the rings which bear the names of King Æthelwulf and Queen Æthelswith, which are the centre of a small corpus of fine ninth-century metalwork. There was demonstrable continuity in the south, even though the Danish settlement represented a watershed in England's artistic tradition. Wars and pillaging removed or destroyed much Anglo-Saxon art, while the settlement introduced new Scandinavian craftsmen and patrons. The result was to accentuate the pre-existing distinction between the art of the north and that of the south. In the 10th and 11th