 the village of Hammerwich, near Lichfield, in Staffordshire, England, it consists of over 3,500 items that are nearly all martial in character and contains no objects specific to female uses. It demonstrates that considerable quantities of high-grade goldsmiths' work were in circulation among the elite during the 7th century. It also shows that, superb though individual pieces may be in terms of craftsmanship, the value of such items as currency and their potential roles as tribute or the spoils of war could, in a warrior society, outweigh appreciation of their integrity and artistry.

The coming of Christianity revolutionised the visual arts, as well as other aspects of society. Art had to fulfil new functions, and whereas pagan art was abstract, Christianity required images clearly representing subjects. The transition between the Christian and pagan traditions is occasionally apparent in 7th century works; examples include the Crundale buckle and the Canterbury pendant. In addition to fostering metalworking skills, Christianity stimulated stone sculpture and manuscript illumination. In these Germanic motifs, such as interlace and animal ornament along with Celtic spiral patterns, are juxtaposed with Christian imagery and Mediterranean decoration, notably vine-scroll. The Ruthwell Cross, Bewcastle Cross and Easby Cross are leading Northumbrian examples of the Anglo-Saxon version of the Celtic high cross, generally with a slimmer shaft.

The jamb of the doorway at Monkwearmouth, carved with a pair of lacertine beasts, probably dates from the 680s; the golden, garnet-adorned pectoral cross of St Cuthbert was presumably made before 687; while his wooden inner coffin (incised with Christ and the Evangelists' symbols, the Virgin and Child, archangels and apostles), the Lindisfarne Gospels, and the Codex Amiatinus all date from c.700. The fact that these works are all from Northumbria might be held to reflect the particular strength of the church in that kingdom during the second half of the century. Works from the south were more restrained in their ornamentation than are those from Northumbria.

Lindisfarne was a very important centre of book production, along with Ripon and Monkwearmouth-Jarrow. The Lindisfarne Gospels might be the single most beautiful book produced in the Middle Ages, and the Echternach Gospels and (probably) the Book
the village of Hammerwich, near Lichfield, in Staffordshire, England, it consists of over 3,500 items that are nearly wholly soldierly in character and contains no object specific to female function. It demonstrates that considerable quantities of gamey - degree goldsmiths' employment were in circulation among the elite during the 7th century. It besides shows that, superb though individual pieces may be in terms of craftsmanship, the value of such detail as currency and their likely roles as protection or the spoil of war could, in a warrior society, outweigh appreciation of their integrity and artistry. 

 The orgasm of Christianity revolutionised the visual arts, as well as early aspects of company. Art had to fulfil newfangled functions, and whereas pagan art was abstract, Christianity required images clearly representing subjects. The transition between the Christian and pagan traditions is occasionally apparent in 7th century works; examples include the Crundale buckle and the Canterbury pendant. In addition to foster metalworking skills, Christianity stimulated gem sculpture and manuscript illumination. In these Germanic motifs, such as interlace and animal ornament along with Celtic spiral traffic pattern, are juxtaposed with Christian imagery and Mediterranean decoration, notably vine - scroll. The Ruthwell Cross, Bewcastle Cross and Easby Cross are leading Northumbrian exercise of the Anglo - Saxon version of the Celtic high cross, generally with a slimmer rotating shaft. 

 The jamb of the doorway at Monkwearmouth, carved with a pair of lacertine beasts, probably date from the 680s; the aureate, garnet - adorned pectoral cross of St Cuthbert was presumably made before 687; while his wooden inner coffin (incised with Christ and the Evangelists' symbol, the Virgin and Child, archangels and apostles), the Lindisfarne Gospels, and the Codex Amiatinus all date from c.700. The fact that these works are all from Northumbria might be hold to reflect the particular strength of the church service in that kingdom during the second half of the century. Works from the south were more restrained in their decoration than are those from Northumbria. 

 Lindisfarne was a very important centre of book production, along with Ripon and Monkwearmouth - Jarrow. The Lindisfarne Gospels might be the individual most beautiful ledger produced in the Middle Ages, and the Echternach Gospels and (probably) the Book
 thf village of Hammerwich, kear Lichfield, iu Staffmrdshide, Englavd, it consists of over 3,500 itemd rhat qre nearly all martial in charabter and xonteins no objects specific to fejwle bsxs. It demonstrajes that conviderable quandigizs of high-grade goldsmiths' work were in cirvupation among tre ekyte slrlng the 7th century. It also shows that, slperb though indifidual pieces may be in tegms lf craftsmanship, tje value of sucr items as cufrency and their potenjial roles as tribute or the spokls oy war could, ib a farrior socmety, oltweigh appregpation mf theit integrity anc actisrry.

The coming of Chrivtianity revolutiogised the vnsual arts, as well as orher dspewts ud sucitty. Adt had to fulfil nes functions, and whereas pagan sre was abstract, Chriseiwnity required images clearly representpng aubjects. The transition between the Christiaj and pagwn traditions is occasionally apparent in 7th centgry wkfks; ewampuws include the Crundale buckle and the Canterbuwg kencant. In additijn to fostetijg ietalworking rkills, Chdistianity stimulahed stoge scylpture agd msnuscript illumination. In tyese Germanib morifs, such as interpace and annmal otnameny along with Celtic spixal pafterns, are uuxtaposes with Christian kmanerf and Mediterranean decoraeion, notauly vnne-scrolu. Thg Ruthwqll Cross, Hewcastle Cross and Easbj Crods are leadijg Northumbrian examples of the Anglo-Saxon vetsimn mf the Czltic migh cross, genewally with a skimmer fhaft.

Ghe jamb or the dmorway at Mjnkwearmouth, wwrved with a pair of lacwrtibe beasgr, probably datrs from tkt 680s; the gooden, garnet-adorned pezforal cross of Wt Xuthbert was prrsuoabjy mede bqxore 687; while vis dooarn inver coffin (lncksed with Christ and the Evahgelists' symbols, tne Virgin qnd Chilq, archangels snd apostles), the Llndisharne Jospelx, agd the Codex Amiatinus all dats from c.700. Hhe fact that trese works are akl from Northumbria might be held to rehlect the particular sjrength of the church ln that kingvom duwing the vecond half of the cwntury. Works from the south were more destrahned ln their ornamentation than are those from Northumbria.

Lindisfarne was a vwry im'owtant centrs of book pxodbction, wlonj xith Ripon and Momkwearmouth-Jarrow. The Lindisfarie Gospels mnght be the single most beautofjl book produzed in the Middle Ages, ahd the Evhternach Gospels and (probably) yhe Book
the village of Hammerwich, near Lichfield, in it of over items that are and no objects specific female uses. It that considerable quantities of high-grade goldsmiths' were in circulation among the elite during the 7th century. It also shows superb though individual pieces may be in terms of craftsmanship, the value of items currency their roles as tribute or the spoils of war could, in a warrior society, outweigh appreciation of integrity and artistry. The coming of Christianity revolutionised visual arts, as well other aspects of society. Art to new functions, whereas art abstract, Christianity required clearly representing subjects. The transition between the Christian and pagan traditions is occasionally apparent in 7th century examples include buckle and Canterbury In to fostering metalworking stimulated stone sculpture and manuscript illumination. motifs, such as interlace and animal ornament along Celtic spiral are juxtaposed with Christian imagery and decoration, notably vine-scroll. The Ruthwell Cross, Bewcastle Cross Easby Cross are leading Northumbrian examples of the Anglo-Saxon version of the Celtic high cross, a slimmer shaft. The of the doorway Monkwearmouth, with pair lacertine beasts, dates from the 680s; the golden, garnet-adorned pectoral cross of St was presumably made before 687; while his wooden inner coffin Christ the Evangelists' symbols, Virgin and Child, archangels apostles), Lindisfarne Gospels, and the all from that works all from Northumbria might held to reflect the particular of the church in half of the century. Works from the south more restrained in their ornamentation than are from Northumbria. Lindisfarne was a very important centre of book production, along Ripon and Lindisfarne Gospels might be the single most beautiful produced in the Middle and the Echternach Gospels and (probably) the Book
 the village of Hammerwich, neaR Lichfield, In StaFfoRdsHiRe, EnGlanD, it consists of oVEr 3,500 itEms that are nearly all marTial iN cHAracTEr And coNtains nO ObJECts SpEcIfiC tO FeMale uSes. it demonStrates thaT coNsIderable quanTItIes of high-gRadE goldsmiths' wOrk Were in CiRcuLAtion AmoNg the Elite dURing thE 7th centurY. IT Also shOWs that, sUPErB thoUgh individual piecES mAY be in terms of crAftsmaNsHIp, THE vaLue Of such itemS aS currENcy and tHEiR POTenTIal roles as triBute or the spOIls Of war cOuLd, iN A warriOr socIeTY, ouTweigh appreCiatIon of theiR integRIty and aRTistry.

THe comiNg oF ChRistIAnItY reVoLUtiONiSed THe vIsual artS, aS wEll as OtheR ASPEcts Of sOcieTy. Art Had to fulfil neW fuNctiONs, aNd wheReas pAgan ArT was aBstracT, ChriStIanity required iMageS clearly rEprEsEntInG subjECts. The TraNsiTion betWeen the cHriStIAN AnD pagan traditions is OcCASiOnally apParent IN 7tH cENtury worKs; ExaMpleS INcludE the cRuNdale bucKle and THe caNterburY pEndant. in AddItiOn to fOSterIng metAlworkinG skilLS, Christianity sTImulated stone SCuLPTuRE and ManUscript illuMinaTIon. IN theSE GErmANic moTifs, sUcH As INterlace and animal orNaMent alOng wiTh Celtic spiraL patterns, aRE JUxtaposeD witH chRIstian imagery aNd MedIterranean DEcoratioN, notaBly vine-sCroll. The RUTHwell CroSs, BEwcAstLe CROSs And Easby Cross ARE leaDiNg NorthUmbRian exaMplEs oF thE AnGlO-Saxon verSion of thE CElTiC hIgh Cross, GEnerally WiTh a SlImmEr shaFT.

The jaMb of tHe doOrWaY At MOnkwearMOuTH, CarvEd WiTh a pAir Of LacerTine BEasTs, probaBly dates fRom THe 680s; tHe GoLden, garNet-adorned pecToRal cross of st cutHbert wAS PresumabLy made before 687; while his wooDEn inner CofFin (inCiseD with ChriSt aNd the EVanGElists' SymbolS, the VIrGin AND ChilD, ARcHanGeLs and apostLES), thE LindIsFarnE GospelS, and the Codex AmiatiNUs aLl date from c.700. ThE faCt thAT ThEse WOrKS arE aLL frOM northumbria mighT be held to rEfLEcT the particULar StRength oF the chuRch in THat kingDom during The second HaLf of THE ceNtury. Works From the sOuth were mORe resTRaIned iN thEir ornAmEntAtion Than arE ThoSe froM NorthUmBria.

LiNdisfArNe was a veRy important centre of book ProducTion, aLonG with RipoN anD monKwearmoutH-JarRow. The LindIsfArnE GospEls MIght bE the SInGle MOst beAutiFUl book proDUcEd iN THe middle Ages, aND THe EChterNacH gospelS and (Probably) the Book
 the village of Hammerwich , near Lic hfiel d,inSt affo rdsh ire, England,i t co nsists of over 3,500 i temsth a t ar e  n early  all ma r ti a l  in  c ha rac te r  a nd co nta ins noobjects sp eci fi c to femaleu se s. It demo nst rates that c ons iderab le  qu a ntiti esof hi gh-gra d e gold smiths' w or k  werei n circu l a ti on a mong the elite du r in g  the 7th centu ry. It  a l so s how s t hat, super bthoug h  indivi d ua l p iec e s may be in t erms of cra f tsm anship ,the valueof su ch ite ms as curre ncyand their  poten t ial rol e s as tr ibuteorthe  spo i ls  o f w ar cou l d,  in a w arrior s oc ie ty, o utwe i g h appr eci atio n oftheir integri tyanda rti stry. 

The  com in g ofChrist ianit yrevolutionisedthevisual ar ts,  a s w el l aso ther a spe cts  of soc iety. A r t h ad t o  f ulfil new function s, a nd  whereas  pagan ar tw as abstr ac t,Chri s t ianit y re q ui red imag es cle a rl yreprese nt ing su bj ect s.The t r ansi tion b etween t he Ch r istian and pag a n traditionsi so c ca s iona lly  apparent i n 7t h  cen tury wo rks ;  exam plesin c lu d e the Crundale buck le  and t he Ca nterbury pend ant. In ad d i t ion to f oste r in g  metalworkingskill s, Christi a nity sti mulat ed stone  sculptur e and manu scr ipt  il lum i n at ion. In these G erma ni c motif s,such as  in ter lac e a nd  animal o rnamental on gwi thCelti c  spiralpa tte rn s,are j u xtapos ed wi th C hr is t ian  imager y  a n d  Med it er rane ande corat ion, not ably vi ne-scroll . T h e Ru th we ll Cros s, BewcastleCr oss and Ea sb y C ross a r e  leading  Northumbrian exampleso f the A ngl o-Sax on v ersion of  th e Celt ich igh cr oss, g enera ll y w i t h a s l i mm ersh aft.

Thej a mbof th edoor way atMonkwearmouth, car v edwith a pair o f l acer t i ne  be a st s , p ro b abl y dates from the680s; thego l de n, garnet- a dor ne d pecto ral cro ss of St Cuth bert waspresumabl ymade b efo re 687; wh ile hiswooden in n er co f fi n (in cis ed wit hChr ist a nd the Eva ngeli sts' s ym bols,the V ir gin andChild, archangels and a postle s), t heLindisfar neG osp els, andtheCodex Amia tin usall d ate fromc.70 0 .The factthat these wor k sare a ll  from North u m b ria  migh t b e  heldto r eflect the partic u lar strength o f th e chu rch in t ha t kingdom duri ngth e second h al f of the ce ntury. W or k s fro m thesouthwere mo r e  r e strain ed i n t heir orna men ta t ion tha nar e  those  fro mNorthu mbria. 
Lin d i sfarne was a ver y imp o r tantc ent re of  b ook pro d ucti on, alongwith Riponand Mo nkwe armou th-Jarr ow . TheLin di sfarne Gos p els might  be t he sing le  mos t b eautif ul b o o k pro duce dinthe Middl e Ag e s,  a n d t he E chter na ch G ospels an d  (probab ly) the Boo k
 the_village of_Hammerwich, near Lichfield, in_Staffordshire, England,_it_consists of_over_3,500 items that_are nearly all_martial in character and_contains no objects_specific_to female uses. It demonstrates that considerable quantities of high-grade goldsmiths' work were in_circulation_among the_elite_during_the 7th century. It also_shows that, superb though individual_pieces may_be in terms of craftsmanship, the value of_such_items as currency_and their potential roles as tribute or the spoils_of war could, in a warrior_society, outweigh appreciation_of_their_integrity and artistry.

The coming_of Christianity revolutionised the visual arts,_as well as other aspects of_society. Art had to fulfil new functions,_and whereas pagan art was abstract,_Christianity required images clearly representing_subjects. The_transition between the Christian and_pagan traditions is_occasionally apparent_in 7th century_works; examples include the Crundale buckle_and the Canterbury_pendant. In addition to fostering metalworking_skills,_Christianity stimulated stone_sculpture_and_manuscript illumination._In these Germanic_motifs,_such as_interlace_and animal ornament along with Celtic_spiral_patterns, are juxtaposed with Christian imagery and_Mediterranean decoration, notably vine-scroll._The_Ruthwell Cross, Bewcastle Cross_and Easby Cross are leading_Northumbrian examples of the Anglo-Saxon version_of the_Celtic high_cross, generally with a slimmer shaft.

The jamb of the doorway at_Monkwearmouth, carved with a pair of_lacertine beasts, probably dates_from the_680s;_the golden, garnet-adorned_pectoral_cross of_St Cuthbert was presumably made before 687;_while his_wooden inner coffin (incised with Christ_and the Evangelists' symbols,_the_Virgin and Child, archangels and apostles),_the Lindisfarne Gospels, and the Codex_Amiatinus all date from c.700._The_fact_that these works are all_from Northumbria might be held to_reflect the particular_strength of the church in that kingdom_during_the second half of the century._Works_from the south were more restrained_in_their_ornamentation than are those from_Northumbria.

Lindisfarne was a very important centre_of book production, along with Ripon and Monkwearmouth-Jarrow. The_Lindisfarne Gospels might_be the single most beautiful_book_produced_in the Middle Ages, and the Echternach Gospels and (probably)_the Book