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other pieces were made by monastic workshops 25 the evidence suggests that irish metalworkers produced most of the best pieces 26 however the finds from the royal burial at sutton hoo from the far east of england and at the beginning of the period are as fine in design and workmanship as any irish pieces 27 even excepting the existence of workshops in the mid to late medieval period the craftsman may not always have had been responsible for the full design of the works for example the execution of portions of the ardagh chalice evidences a lack of skill compared to the rest of the piece 28 there are a number of large penannular brooches including several of comparable quality to the tara brooch almost all of these are in the british museum the national museum of ireland the national museum of scotland or local museums in the islands each of their designs is wholly individual in detail and the workmanship is varied in technique and superb in quality many elements of the designs can be directly related to elements used in manuscripts almost all of the many techniques known in metalwork can be found in insular work surviving stones used in decoration are semi precious ones with amber and rock crystal among the commonest and some garnets coloured glass enamel and millefiori glass probably imported are also used as seen in the late 6th century ballinderry brooch 29 the gilt bronze rinnegan crucifixion plaque nmi late 7th or early 8th century is the best known of a group of nine recorded irish metal crucifixion plaques and is comparable in style to figures on many high crosses it may well have come from a book cover or formed part of a larger altar frontal or high cross 30 31 the ardagh chalice c 750 the ardagh chalice and the derrynaflan hoard of chalice paten with stand strainer and basin only discovered in 1980 are the most outstanding pieces of church metalware to survive only three other chalices and no other paten survive these pieces are thought to come from the 8th or 9th century but most dating of metalwork is uncertain and comes largely from comparison with manuscripts only fragments remain from what were probably large pieces of church furniture probably with metalwork on wooden frameworks such as shrines crosses and other items 32 the insular crozier had a distinctive shape the survivals such as the kells crozier and lismore crozier all appear to be irish or scottish and from rather late in the insular period these later works which also including the 11th century river laune and clonmacnoise croziers are heavily influenced by viking art and have interlace patterns in the ringerike or urnes styles 33 34 the cross of cong is a 12th century irish processional cross and reliquary that shows insular decoration possibly added in a deliberately revivalist spirit 35 most fully decorated manuscripts in monastic settings were treated as decorative objects for display rather than as books for study the most fully decorated insular manuscript of all the book of kells has several mistakes left uncorrected the text headings necessary to make the canon tables usable have not been added and when it was stolen in 1006 for its cover in precious metals it was taken from the sacristy not the library the book was recovered but not the cover as also happened with the book of lindisfarne none of the major insular manuscripts have preserved their elaborate jewelled metal covers but we know from documentary evidence that these were as spectacular as the few remaining continental examples 36 the re used metal back cover of the lindau gospels now in the morgan library new york 37 was made in southern germany in the late 8th or early 9th century under heavy insular influence and is perhaps the best indication as to the appearance of the original covers of the great insular manuscripts although one gold and garnet piece from the anglo saxon staffordshire hoard found in 2009 may be the corner of a book cover the lindau design is dominated by a cross but the whole surface of the cover is decorated with interlace panels between the arms of the cross the cloisonné enamel shows italian influence and is not found in work from the insular homelands but the overall effect is very like a carpet page 38 the tara brooch c 710 to 750 ad rinnegan crucifixion plaque 8th century monymusk reliquary 8th century the derrynaflan chalice 8th or 9th century cumdach for the stowe missal c 1026 shrine of saint lachtin s arm early 10th century the clonmacnoise crozier 11th century soiscél molaisse metalwork added in 11th century illuminated manuscripts edit main article insular illumination notable examples edit cathach of st columba 7th century cathach of st columba edit the caltach of st columba is an irish latin psalter of the early 7th century 39 and is possibly the oldest known irish manuscript of any sort it contains only decorated letters at the beginning of each psalm which already show distinctive traits more detail needed not just the initial but the first few letters are decorated at diminishing sizes the decoration influences the shape of the letters and various decorative forms are mixed in a very unclassical way lines are already inclined to spiral and metamorphose as in the example shown apart from black some orange ink is used for dotted decoration the classical tradition was late to use capital letters for initials at all in roman texts it is often very hard to even separate the words and though by this time they were in common use in italy they were often set in the left margin as though to cut them off from the rest of the text the insular tendency for the decoration to lunge into the text and take over more and more of it was a radical innovation 40 bobbio jerome edit the bobbio jerome which according to an inscription dates to before 622 from bobbio abbey an irish mission centre in northern italy has a more elaborate initial with colouring showing insular characteristics still more developed even in such an outpost from the same scriptorium and of similar date the bobbio orosius has the earliest carpet page although a relatively simple one 41 the durham gospel book fragment edit the durham gospel book fragment is the earliest painted insular manuscript to survive produced in lindisfarne c 650 but with only seven leaves of the book remaining not all with illuminations this introduces interlace and also uses celtic motifs drawn from metalwork the design of two of the surviving pages relates them as a two page spread 42 the beginning of the gospel of mark from the book of durrow book of durrow edit the book of durrow is the earliest surviving gospel book with a full programme of decoration though not all has survived six extant carpet pages a full page miniature of the four evangelist s symbols four full page miniatures of the evangelists symbols four pages with very large initials and decorated text on other pages many minor initial groups are decorated 43 its date and place of origin remain subjects of debate with 650 690 and durrow in ireland iona or lindisfarne being the normal contenders the influences on the decoration are also highly controversial especially regarding coptic or other near eastern influence 44 the manuscript is decorated by cross motifs ribbon interlace lattice work carpet pages and the evangelist symbols 43 after large initials the following letters on the same line or for some lines beyond continue to be decorated at a smaller size 45 dots around the outside of large initials are much used 45 the figures are highly stylised and some pages use germanic interlaced animal ornament whilst others use the full repertoire of celtic geometric spirals 45 each page uses a different and coherent set of decorative motifs only four colours are used but the viewer is hardly conscious of any limitation from this all the elements of insular manuscript style are already in place the execution though of high quality is not as refined as in the best later books nor is the scale of detail as small 46 carpet page from the lindisfarne gospels the lindisfarne gospels edit the lindisfarne gospels was produced in lindisfarne by eadfrith bishop of lindisfarne between about 690 and his death in 721 perhaps towards the end of this period this is a gospel book in the style of the book of durrow but more elaborate and complex all the letters on the pages beginning the gospels are highly decorated in a single composition and many two page openings are designed as a unit with carpet pages facing an incipit initial page at the start of each gospel eadfrith was almost certainly the scribe as well as the artist there are four evangelist portraits clearly derived from the classical tradition but treated without any sense of depth the borders around them are far plainer than the decoration of the text pages and there is clearly a sense of two styles which eadfrith does not attempt to integrate wholly the carpet pages are enormously complex and superbly executed 47 lichfield gospels edit lichfield gospels was likely made in lichfield around 730 this deluxe gospel book contains eight major decorated pages including a stunning cross carpet page and portraits of the evangelists mark and luke the gospels of matthew and mark and the beginning of luke survives from its time in wales pages include marginalia representing some of the earliest examples of old welsh writing the manuscript has been at lichfield cathedral since the late 10th century except for a brief period during the english civil war st petersburg bede edit the st petersburg bede is attributed to monkwearmouth jarrow abbey in northumbria between about 730 746 this contains larger opening letters in which metalwork styles of decoration can clearly be seen there are thin bands of interlace within the members of letters it also contains the earliest historiated initial a bust probably of pope gregory i which like some other elements of the decoration clearly derives from a mediterranean model colour is used although in a relatively restrained way 48 the book of kells edit the book of kells is usually dated to around 800 although sometimes up to a century earlier the place of origin is disputed between iona and kells or other locations 49 it is also often thought to have been begun in iona and then continued in ireland after disruption from viking raids the book survives nearly intact but the decoration is not finished with some parts in outline only it is far more comprehensively decorated than any previous manuscript in any tradition with every page except two having many small decorated letters although there is only one carpet page the incipit initials are so densely decorated with only a few letters on the page that they rather take over this function human figures are more numerous than before though treated in a thoroughly stylised fashion and closely surrounded even hemmed in by decoration as crowded as on the initial pages books however are the most directly depicted objects in the illustrations a few scenes such as the temptation and arrest of christ are included as well as a madonna and child surrounded by angels the earliest madonna in a western book more miniatures may have been planned or executed and lost colours are very bright and the decoration has tremendous energy with spiral forms predominating gold and silver are not used 50 51 52 the book of kells is held in trinity college dublin garland of howth edit a lesser known insular manuscript in trinity college dublin s library is the garland of howth which is in a damaged condition two of its illuminated pages remain decorated with the common motifs of the insular style 53 other books edit st john from the book of mulling a distinctive insular type of book is the pocket gospel book inevitably much less decorated but in several cases with evangelist portraits and other decoration examples include the book of mulling book of deer book of dimma book of armagh and the smallest of all the stonyhurst gospel now british library a 7th century anglo saxon text of the gospel of john which belonged to st cuthbert and was buried with him its tooled goatskin cover is the oldest western bookbinding to survive and a virtually unique example of insular leatherwork in an excellent state of preservation 54 both anglo saxon and irish manuscripts have a distinctive rougher finish to their vellum compared to the smooth polished surface of contemporary continental and all late medieval vellum 55 it appears that in contrast to later periods the scribes copying the text were often also the artists of the illuminations and might include the most senior figures of their monastery 56 movement to anglo saxon art edit main article anglo saxon art in england the pull of a continental style operated from very early on the gregorian mission from rome had brought the st augustine gospels and other manuscripts now lost with them and other books were imported from the continent early on the 8th century cotton bede shows mixed elements in the decoration as does the stockholm codex aureus of similar period probably written in canterbury 57 in the vespasian psalter it is clear which element is coming to dominate all these and other members of the tiberius group of manuscripts were written south of the river humber 58 but the codex amiatinus of before 716 from jarrow is written in a fine uncial script and its only illustration is conceived in an italianate style with no insular decoration it has been suggested this was only because the volume was made for presentation to the pope 59 the dating is partly known from the grant of additional land secured to raise the generations of cattle amounting to 2 000 head in all which were necessary to make the vellum for three complete but unillustrated bibles which shows the resources necessary to make the large books of the period many anglo saxon manuscripts written in the south and later the north of england show strong insular influences until the 10th century or beyond but the pre dominant stylistic impulse comes from the continent of europe carpet pages are not found but many large figurative miniatures are panels of interlace and other insular motifs continue to be used as one element in borders and frames ultimately classical in derivation many continental manuscripts especially in areas influenced by the celtic missions also show such features well into the early romanesque period franco saxon is a term for a school of late carolingian illumination in north eastern france that used insular style decoration including super large initials sometimes in combination with figurative images typical of contemporary french styles the most tenacious of all the carolingian styles it continued until as late as the 11th century 60 sculpture edit main article high cross muiredach s high cross at monasterboice 10th century large stone high crosses usually erected outside monasteries or churches first appear in the 8th century in ireland...