By Catherine E. Karkov, George Hardin Brown
Considers the definitions and implications of fashion in Anglo-Saxon paintings and literature.
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George Speake, Anglo-Saxon Animal Art and Its Germanic Background, (Oxford, 1980), 50–51, ﬁgs. D. 600–900 (London, 1991), cat. no. 33, pp. 51–53. 17. See Webster and Backhouse, Making of England, cat. nos. 8 and 37, compared with Leeds, Early Anglo-Saxon Art and Archaeology, pl. 14. 18. ” 19. The plaque is decorated with animals concealed within a Tree of Life; at its center is a disc with a cross, symbol of Christ present in the consecrated Host, on which the faithful feed. Susan Youngs, “A Northumbrian Plaque from Asby Winderwath, Cumbria,” in Hawkes and Mills, Northumbria’s Golden Age, 281–95.
Each monument represents the ideas and beliefs of the aristocracy according to the institutional position of those persons who produced and used it; this was a position determined by their relation to the forces and relations of production, the property relations that were giving Northumbrian society its material character between around the 56 Fred Orton beginning of the eighth century and the middle of the ninth century. Though the class factional identity of these persons and their institutions may, occasionally, have seemed blurred, nevertheless, those class positions have to be understood as what they were: different and, in certain respects, conﬂictual.
D. D. 400–900, ed. Leslie Webster and Michelle Brown (London, 1997), 212, 240–41. 9. See Fred Orton, “Northumbrian Sculpture (the Ruthwell and Bewcastle Monuments): Questions of Difference,” in Northumbria’s Golden Age, ed. Jane Hawkes and Susan Mills (Stroud, 1999), 216–26; Leslie Webster, “The Iconographic Programme of the Franks Casket,” in Hawkes and Mills, Northumbria’s Golden Age, 227–46. 10. See, Bente Magnus, “Monsters and Birds of Prey: Some Reﬂections on Form and Style of the Migration Period,” in Dickinson and Grifﬁths, Making of Kingdoms, 161–72.