is Greensted Church in Essex, no earlier than the 9th century, and no doubt typical of many parish churches. On the continent during the eleventh century, a group of interrelated Romanesque styles developed, associated with the rebuilding of many churches on a grand scale, made possible by a general advance in architectural technology and mason-craft. The first fully Romanesque church in England was Edward the Confessor's rebuilding of Westminster Abbey (–60, now entirely lost to later construction), while the main development of the style only followed the Norman Conquest. However, at Stow Minster the crossing piers of the early 1050s are clearly proto-Romanesque. A more decorative interpretation of Romanesque in lesser churches can be dated only somewhere between the mid and late 11th century, e.g. Hadstock (Essex), Clayton and Sompting (Sussex); this style continued towards the end of the century as at Milborne Port (Somerset). At St Augustine's Abbey in Canterbury (–61) Abbot Wulfric aimed to retain the earlier churches while linking them with an octagonal rotunda, but the concept was still essentially Pre-Romanesque. Anglo-Saxon churches of all periods would have been embellished with a range of arts, including wall-paintings, some stained glass, metalwork and statues. Art Early Anglo-Saxon art is seen mostly in decorated jewellery, like brooches, buckles, beads and wrist-clasps, some of outstanding quality. Characteristic of the 5th century is the quoit brooch with motifs based on crouching animals, as seen on the silver quoit brooch from Sarre, Kent. While the origins of this style are disputed, it is either an offshoot of provincial Roman, Frankish, or Jutish art. One style flourished from the late 5th century and continued throughout the 6th and is on many square-headed brooches, it is characterised by chip-carved patterns based on animals and masks. A different style, which gradually superseded it, is dominated by serpentine beasts with interlacing bodies. By the later 6th century, the best works from the south-east are distinguished by greater use of expensive materials, above all gold and garnets, reflecting the growing prosperity of a more organised society which had greater access to imported precious materials, as seen in the buckle from the Taplow burial and the jewellery from Sutton Hoo, c.600 and c.625 respectively. The possible symbolism of the decorative elements like interlace and beast forms that were used in these early works remains unclear. These objects were the products of a society that invested its modest surpluses