Cross (Cat. no. 88), which preserves a section of text from The Dream of the Rood, datable linguistically to at least a century before its codification in the Vercelli Book (Cat. no. 87). The object-led narrative speaking of contemporary monastic reforms, musical Latin liturgies, and itinerant manuscripts reaches a dramatic climax in the great artistic triumvirate, the evocative Reims-produced Utrecht Psalter and its Canterbury children, the Harley and Eadwine Psalters (Cat. nos. 137–39). Before reaching the Domesday Book (the final exhibit), two late Anglo-Saxon seals are held up for inspection (Cat. nos. 155–56), one of AElfric and the other of Godwine and Godgytha, one copper-alloy, the other walrus ivory, both with the potential, as Keynes states, to contribute “significantly to our understanding of the ways in which business was conducted as the size of the kingdom increased and as problems multiplied.” If you come to this book as an historian of art or architecture, do not anticipate lengthy analysis of style, form, iconography, media or technique. It is a beautifully illustrated book with its sights fixed on literature, learning, and socio-political history. It strikes its target with style, driving home the particular brilliance of the Anglo-Saxon age.

中文翻译：

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飞龙收藏：中世纪和文艺复兴时期的雕塑和金属制品

十字架（Cat。No. 88），保留了《圆梦》中的一段文字，至少从语言上讲可以追溯到至少一个世纪，然后才被编入《韦尔切利书》（Cat。No. 87）。以对象为主导的叙事形式讲述了当代修道院改革，音乐拉丁礼仪和流动手稿，在伟大的艺术三重奏，令人回味的兰斯（Reims）制作的乌得勒支·普萨特（Utrecht Psalter）及其坎特伯雷的孩子，哈雷和伊德温·普萨特（Cat.no. 137–39）。在到达《末日审判书》（最终展览）之前，先举放了两个后期的盎格鲁-撒克逊印章以供检查（目录号155-56），其中一个是AElfric，另一个是Godwine和Godgytha，一个是铜合金，另一个是凯恩斯指出，海象牙都有潜力 为“随着王国规模的扩大和问题的扩大而对我们开展业务的方式的理解做出重大贡献。” 如果您是作为艺术或建筑的历史学家来这本书的，则不要期望对样式，形式，肖像，媒体或技术进行冗长的分析。这是一本精美的插图书，着眼于文学，学习和社会政治历史。它以风格达到目标，将盎格鲁-撒克逊时代的辉煌带回家。