Illustration: Capital letter from a Latin Gospel, c10th century.
Although the idea of the word medieval tends to automatically spring to mind when considering ornamented manuscript lettering, there are a number of different variants depending on the culture, geographical location and time period, some of which occur much earlier than the European medieval. As far as Britain and Ireland are concerned, probably two of the most intricate and memorable are those of Celtic and Saxon origin. Both decorative systems are very different and come from different cultural backgrounds with different initial beliefs and lifestyles. However, under Christianity, both Celtic and Saxon cultures although sharing a belief system in common with much of Western and Northern Europe, were still able to identify themselves as wholly unique, which was seen particularly through their art and craftwork.
Illustration: Text font derived from a book of Gospels, c10th century.
English Saxon decorative manuscript work tended to show obvious influences from both Celtic and Norse origin, which perhaps shows influences from both their original homeland and that of their adopted one. The decorative work although relatively complex and involved, also had a tendency to be clear and concise, lending a bold and sturdy nature to the work that was sometimes softened by both lighter floral work as well as the use of softer colours. Many of the inspirational ideas behind the decoration were flora and fauna based, although many of the examples of fauna contained imaginary beasts that although pertaining to biblical references were often firmly routed within the Saxon pagan past.
Illustration: Capital letters and borders from a Psalter, c10th century.
Although the English Saxon period was not as popularly or familiarly studied during the nineteenth century as that of the medieval, largely due to the lack of relative remains compared to the later medieval phases, it was still judged as a relatively interesting decorative era, particularly as regards manuscripts, of which there were some excellent examples remaining. Henry Shaw in his 1853 book entitled The Handbook of Medieval Alphabets and Devices made it clear that although not necessarily an obvious part of the larger subject of medievalism that fuelled the Victorian Gothic Revival, this period still had treasures to both share and inspire. He stated that among 'the Saxons, towards the close of the tenth century, a style of ornament prevailed, which must be considered peculiar to themselves, and which, for boldness, correctness of design, and richness, cannot be surpassed by any works executed on the Continent at the same period.'
Illustration: Capital letter from a copy of the Gospels, c10th century.
Today it is often hard to clearly identify much that is Saxon inspired or that dates from the period. The Norman invasion and occupation of England in 1066 has systematically removed much from the period through either displacement or rebuilding. There are still Saxon churches existing and many of the cathedrals and medieval churches across England occupy the space once held by earlier Saxon buildings. However, it is probably the smaller craftwork particularly that of metalwork and manuscript decoration, rather than the larger architectural achievements of the English Saxons, that will be best remembered and hopefully used for future inspiration.
Illuatration: Capital letter from a copy of the Gospels, c10th century.
All the illustrations produced for this article are English Saxon designs, produced during the tenth century. However, with the second illustration, the lettering itself is derived from the ninth or tenth centuries, while the border framework comes from a much earlier period and is derived from St Cuthbert's Gospels, also known as the Durham Book which was produced between 698 and 721. The reason for the strange composite is the fact that it was taken from an early Victorian publication and was used for easy and interesting observation. However, it does not exist as such in reality.
Further reading links:
Celtic and Anglo-Saxon Art and Ornament (Dover Pictorial Archives)
The Art of Anglo-Saxon England (Boydell Studies in Medieval Art and Architecture)
Anglo-Saxon Art from the Seventh Century to the Norman Conquest
Anglo-Saxon Art, Myth and Material Culture from the 4th to 7th Century: Wayland's Work
MS. Junius 11: The origins of English poetry, a masterpiece of Anglo-Saxon art; Bodleian Library Digital Texts 1 (Bodlein Digital Texts)
The Making of England: Anglo-Saxon Art and Culture Ad 600-900
The Golden Age of Anglo-Saxon Art
The Art of the Anglo-Saxon Goldsmith: Fine Metalwork in Anglo-Saxon England: its Practice and Practitioners (Anglo-Saxon Studies)
Anglo-Saxon art to A.D. 900, (Methuen library reprints)
Anglo-Saxon Art: A New Perspective
Early Anglo-Saxon Art and Archaeology: Being the Rhind Lectures, Delivered in Edinburgh, 1935 (The Rhind Lectures, 1935-36)
Celtic and Anglo-Saxon Art: Geometric Perspectives
The Church in Anglo-Saxon Society
Working with Anglo-Saxon Manuscripts (University of Exeter Press - Exeter Medieval Texts and Studies)
Anglo-Saxon Crafts (Revealing History)
Art of the Anglo Saxon Age
