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490 MEDIEVAL ENGLAND
of the frame, and the shields of the sleeping guards echo and
blend with the decorative roundel behind them. The Benedict
tional was illuminated either at Winchester or Ely between 975
and 980; a later book, the Missal (actually Sacramentary) of
Robert of Jumieges (now MS. Y. 6 at Rouen), whose date
must lie between 1008 and 1025, shows fully painted scenes
treated with nervous, twisting lines, which invade even the
backgrounds, squiggled with impatient brush strokes; the
drapery bunches in small folds, giving a wrinkled outline to
the figures, and its lower edges break into zigzag frills. This is
the closest interpretation of 'Winchester* drawing in painterly
terms; classical repose is far away; its odd, pulsating liveliness
is the work of a notable and individual artist (PL 94 a).
The outline drawings, like the paintings of the Benedic/
tional, owe much to Carolingian models. Here the influence is
that of the Rheims style, of which a famous example, the
Utrecht Psalter, was at Canterbury by the end of the tenth
century, when a copy of it was made there (B.M. MS. Harley
603). These crowded scenes, filled with small figures, seem to
have awoken a ready response in English artists. The Psalter,
now B.M. MS. Cotton Tiberius C. VI, is an example ofwork
on a larger scale; its fine, uncrowded drawings measure 9j
inches by 5! inches and the figures fill the space. It is a book
with no provenance, but it clearly dates from the middle years
ofthe eleventh century. The sensitive modelling ofearlier work
has now become stylized; the hair is set in formal curls, the
features fixed in a rigid pattern; it has a fine remoteness and
monumentality, but the emotional intensity of the Harley
Crucifixion or the dazzling liveliness of the Sacramentary of
Bishop Robert are no longer within its scope.
Of tenth/ and eleventh/century sculpture tantalizingly little
is known. Bradford/on/Avon has two large angels, each about
5 feet in length, which must have been part of a great tenth'
century rood. Carved in comparatively low relief, they are very
linear in concept, and their long albs have the frilled edges of
the Winchester School. Some ivory carvings reflect more clearly
the stylistic phases to be found in manuscript illumination,