the Anglo-Saxons, creating what is called Insular art (or the Hiberno-Saxon style) and such masterpieces as the Book of Kells, the Ardagh Chalice and the Tara Brooch, the most spectacular of about fifty elaborate Celtic brooches in precious metal that have been found. The stone high cross was a distinctive insular type of monument, of which many examples survive. Later in the period, Scandinavian influences were added through the Vikings. These earlier styles largely came to an end with the Norman invasion of 1169–1170 and the subsequent wide adoption of Romanesque art. Through the Gothic and Renaissance periods Irish art was essentially a regional variation of wider European styles, with many works imported from England or further afield, and some English artists and craftsmen active in Ireland. Many objects of a distinctively Irish form from the first millennium, such as bell or book shrine reliquaries, were renovated or repaired in the contemporary style. Early Modern period The visual arts were slow to develop in Early Modern Ireland, due to political disruption, and the lack of patrons in either government, the church, and wealthy resident landowners or business class interested in art. Yet beginning in the late 17th century, Irish painting began to develop, especially in portraiture and landscape painting. These painters typically looked outside Ireland for influence, training and clients who were wealthy enough to afford the purchase of art. For example, Walter Frederick Osborne developed his open air painting in France whereas Sir William Orpen studied in London. However, what is now the National College of Art and Design in Dublin has existed since founded as the Dublin Art School in 1746. Its founder Robert West had studied drawing and painting at the French Academy under François Boucher and Jean-Baptiste van Loo. In the second half of the 19th century a climate of cultural resurgence and nationalist ideals contributed to the development of an Irish style. A revived interest in the Irish language and Celtic history prompted a revival in the Irish visual arts as well. Belfast born Sir John Lavery may be the most internationally known painter of this generation. He trained in Glasgow and France, but unlike Orpen, maintained close ties to his native land. In 1928 he was commissioned to paint the symbol of Éire which would be used as the central image on the bank note of the new Irish Free State. Other paintings embodied