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By Catherine E. Karkov, George Hardin Brown

Considers the definitions and implications of favor in Anglo-Saxon artwork and literature.

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D. , University of Wales, 1980), 327–29; David Leigh, “Ambiguity in Anglo-Saxon Style I Art,” The Antiquaries Journal 64 (1984): 34–42. 12. , E. T. Leeds, Early Anglo-Saxon Art and Archaeology (Oxford, 1936), 79–80. 13. Tania Dickinson, “Material Culture as Social Expression: The Case of Saxon Saucer Brooches with Running Spiral Decoration,” Studien zur Sachsenforschung 7 (1991): 39–70; see also Julian Richards, “Anglo-Saxon Symbolism,” in The Age of Sutton Hoo: The Seventh Century in NorthWestern Europe, ed.

24 The Bewcastle monument’s slender, tapering form and arched lower figure panels give it a dynamic upward movement. The Ruthwell monument seems more strictly vertical and horizontal in its effect, less slender and less striving to be free of Image rights unavailable. Figure 7. Ruthwell monument, upper stone, north side (photo: University of London, Warburg Institute) Image rights unavailable. Figure 8. Bewcastle monument, west side, John the Baptist (photo: © Department of Archaeology, University of Durham.

Land. Power at the determining base. Class. The scholarship of pre-Viking Anglo-Saxon stone sculpture usually overlooks the fact that its objects of study are the survivals of a particular class, the aristocracy, and that that class was comprised of two blocs or factions whose interests were related but were not wholly the same: the secular and the ecclesiastical aristocracy. Hence the relations between the two monuments and the real differences within the individual monument, for, as we have just seen, differences between class factions also get represented and reworked within the individual monument.

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