The approaching coronation of King Charles III represents a chain of similar coronation or consecration rites of monarchs in Britain reaching back at least 1000 years. The precise origins of many of these rites have been lost to time. 
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Over all though, with the history of the English monarchy often presented as beginning with William the Conqueror's coronation on Christmas Day 1066 at Westminster Abbey, it's easy to imagine Britain's deeper history is not represented in the ceremony. In fact, although less obvious than later medieval elements, there are significant parts of the  coronation rite which reach back to, or attempt to reach out to (widest sense) Anglo-Saxon history. 
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​​This article is part of a series about our increasing understanding of the meanings behind the designs of Anglo-Saxon art. For other chapters click here.

​​Secrets in the Stones: Decoding Anglo-Saxon Art. Part 4
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The Garnet Code

​Early Anglo-Saxon jewellery is renowned for its use of gold and garnet work. Until now, the significance of garnets as a material has not been thoroughly investigated. In this article, and a public lecture at Soulton Hall, Shropshire (delivered simultaneously with this article’s timed release) James D. Wenn draws together the geometry of the garnet crystal with the geometry within Anglo-Saxon art and architecture, signposting to the previous articles in this series. This is then coupled with later examples of this geometry, notably the Cosmati Pavement in Westminster Abbey, to link the philosophical meaning of this geometry to Plato’s book ‘Timaeus’, and both pre-Christian and Christian cosmology and theology.​

The early to middle Anglo-Saxon period saw a number of shifts in fashion - often radical and sudden. Examples include the adoption of animal interlaces, or the adoption of filigree and lapidary work over earlier carved-and-cast decoration on items like brooches and buckles, in the late 6th century.
Due to the decline of furnished burials the fashions of the late 7th to 8th centuries were previously largely unknown to us, but a growing number of finds reported to the Portable Antiquities Scheme has allowed a previously unknown brooch type to be categorized. These were bizarre - fragile, and of a radically different design than earlier types, but were of a very specific, highly conserved shape, and appear to have become the main high-status dress item of the period.  Why were they designed in this way? What, if anything, did they signify?   

Our team began discussing this strange fashion in 2020. Little did we know where the trail of the lozenge brooch would lead.... 

Once dismissed as frivolous and merely decorative, Anglo-Saxon artwork is increasingly recognised to be loaded with hidden meaning, but we have barely begun to decode this visual language. Doing so offers the potential to transform our understanding of this historical cultural network of the so-called “Dark Ages” as a significant world civilization.

New research by Thegns of Mercia member James D. Wenn, focused on a seemingly unrelated subject area, and a series of chance discoveries, have led to transformative new learning perspectives with wide-ranging implications. A book due to be published soon by Canalside Press will lay out many of these discoveries, with key concepts discussed in an upcoming public lecture in April 2023, but neither can fully document the application of these new perspectives on the corpus of Anglo-Saxon art. In the coming weeks we will, therefore, be publishing a special series of articles, here, which will explore the decoding of Anglo-Saxon art made possible by these perspectives.