Animals in Medieval Art, Seventh Century

Animals in Medieval Art, Seventh Century

Hicks, Carola. "The Seventh Century." Animals in Early Medieval Art. Edinburgh:Edinburgh University Press, 1993

In Chapter Two of Animals in Medieval Art, Carola Hicks informs the reader that by the end of the seventh century England will become a "Christian country" (57). The use of animals in the art of this era provides what Hicks calls "a dual interpretation of belief for pagans and Christians" (57). For instance, there are Christian and pagan elements found in the ornamental yet functional weaponry of the Sutton Hoo ship burial. In fact, Hicks calls Sutton Hoo "a metaphor for the art of the period; animal ornament is an integral part of the decoration of these different styles" (58). This dual interpretation can also be seen in the architectural sculptures on churches of the seventh century. The animals used were "chosen because of their symbolic function, which would have been interpreted by the onlooker in the light of his own knowledge and belief" (79). These depictions of animals were "retained as a means of transferring primitive belief into the official religion" (81). The dual interpretation continues into the manuscripts of the era, particularly the Book of Durrow, one of Ireland's oldest surviving gospels. The animal ornamentation in the manuscript "combines elements which show familiarity with Irish metalworking and with Pictish stone carving, as well as an awareness of Continental material" (95). The Pictish stones of the seventh century are believed by Hicks to primarily be Class I stones which transitioned into Class II stones near the end of the century due to "a variety of impulses" (105) [...].