urham, which
together bear the inscription, "Aelfled fieri precepit pio
Episcopo Fridestano."]

English ecclesiastical art did not necessarily keep to Christian
subjects; for it is recorded that King Wiglaf, of Mercia, gave to
Croyland Abbey his splendid coronation mantle and "velum;" and that
the latter was embroidered with scenes from the siege of Troy.[569]

[Illustration: Pl. 72.
St. John.
St. Roger.
Durham Embroideries, tenth century.]

It was probably on account of such derelictions from orthodox subjects
of design that in the eighth century the Council of Cloveshoe
admonished the convents for their frivolous embroideries.[570]

In the eighth century our English work in illuminations and
embroideries was finer than that of any Continental school; and
therefore, in view of the great advance of these secondary arts, we
may claim that we were then no longer outer barbarians, though our
only acknowledged superiority over Continental artists was in the
workrooms of our women and the cells of our religious houses.

During the terrible incursions of the Danes, and the many troubles
that accrued from these barbarous and idolatrous invaders, the
convents and monasteries, especially those of the order of St.
Benedict, kept the sacred flame of art burning.[571] Both monks and
nuns wrote, illuminated, painted, and embroidered. They evidently
continued their relations with foreign art, for it is difficult to say
at what period the Norman style began to be introduced into England.
It was the outcome of the Romanesque, and of this, different phases
must have come to us through the Danes and the Saxons.

I cannot but dwell on the early life and springtide of our Anglican
Christian art, which in many points preceded and surpassed that of
other northern nations, as we arose from that period commonly called
the Dark Ages. Ours was a gradual development, adding to itself from
outer sources new strength and grace. The better perfection of details
and patterns was succeeded by Anglo-Saxon ingenuity and refinement in
drawing the human figure. The art, which was native to England, may be
judged by the rare examples that we possess, and of which we may well
be proud; though we must remember with shame how much was destroyed at
the Reformation. Enough however, remains to prove that our English art
of illumination of the ninth, tenth and eleventh centuries was very
beautiful, and we are not surprised t