of carved stones, particularly in the north and east of the country, which hold a variety of recurring images and patterns, as at Dunrobin (Sutherland) and Aberlemno stones (Angus). It can also be seen in elaborate metal work that largely survives in buried hoards like the St Ninian's Isle Treasure. Irish-Scots art from the Kingdom of Dál Riata is much more difficult to identify, but may include items like the Hunterston brooch, which with other items like the Monymusk Reliquary, suggest that Dál Riata was one of the places, as a crossroads between cultures, where the Insular style developed. Insular art is the name given to the common style that developed in Britain and Ireland after the conversion of the Picts and the cultural assimilation of Pictish culture into that of the Scots and Angles, and which became highly influential in continental Europe, contributing to the development of Romanesque and Gothic styles. It can be seen in elaborate jewellery, often making extensive use of semi-precious stones, in the heavily carved High crosses found most frequently in the Highlands and Islands, but distributed across the country and particularly in the highly decorated illustrated manuscripts such as the Book of Kells, which may have been begun, or wholly created on Iona. The finest era of the style was brought to an end by the disruption to monastic centres and aristocratic life of the Viking raids in the late eighth century. Scotland adopted the Romanesque in the late twelfth century, retaining and reviving elements of its style after the Gothic had become dominant elsewhere from the thirteenth century. Much of the best Scottish artwork of the High and Late Middle Ages was either religious in nature or realised in metal and woodwork, and has not survived the impact of time and of the Reformation. However, examples of sculpture are extant as part of church architecture, including evidence of elaborate church interiors like the sacrament houses at Deskford and Kinkell and the carvings of the seven deadly sins at Rosslyn Chapel. From the thirteenth century, there are relatively large numbers of monumental effigies like the elaborate Douglas tombs in the town of Douglas. Native craftsmanship can be seen in items like the Bute mazer and the Savernake Horn, and more widely in the large number of high quality seals that survive from the mid thirteenth century onwards. Visual illustration can be seen in the