Coinciding, the central chapter of our series ‘Secrets in the Stones - Decoding Anglo-Saxon Art’ will be published here.
In previous chapters;
- We introduced the already growing consensus that migration-period art represents a visual language which we are only just beginning to decode (Introduction).
- James presented and explored a hypothesis that jewelled scabbard-bosses from Sutton Hoo and the Staffordshire Hoard might relate to Ptolemy’s Harmonics, introducing the possibility that such ‘barbarian art’ might actually encode an understanding of Classical learning. (Chapter 1: From Egypt to East Anglia: design in the Sutton Hoo scabbard bosses)
- Æd explored an apparent, but previously little-discussed theme running through Anglo-Saxon art: their obsession with lozenge and tilted-square shapes, from the enigmatic 8th century ‘lozenge brooch’ to coins and manuscripts. (Chapter 2: Follow the Lozenges)
- In the most recent instalment Æd explored a representation of stately or sacred architecture in the Staffordshire Hoard, finding close correspondence to particular rare surviving examples of Anglo-Saxon stone architecture, and proposing that Hoard pommel cat 52 represented a vision of a lost early Anglo-Saxon shrine, baptistry or temple.(Chapter 3: Anglo Saxon Temple Discovered)
These chapters have been laying the foundations for what will be revealed soon, in:
- Secrets in the Stones- Decoding Anglo-Saxon Art. Chapter 4: The Garnet Code.