This 1999 book studies the pictorial language of gesture revealed in Anglo-Saxon art, and its debt to classical Rome.This book is concerned with the pictorial language of gesture revealed in Anglo-Saxon art, and its debt to classical Rome. The late Reginald Dodwell, an eminent art historian, notes a striking similarity of both form and meaning between Anglo-Saxon gestures and those in illustrated manuscripts of the plays of Terence, which, he argues, reflect actual Roman stage conventions. The extensively illustrated volume illuminates our understanding of the vigour of late Anglo-Saxon art and its ability to absorb and transpose continental influence.This book is concerned with the pictorial language of gesture revealed in Anglo-Saxon art, and its debt to classical Rome. The late Reginald Dodwell, an eminent art historian, notes a striking similarity of both form and meaning between Anglo-Saxon gestures and those in illustrated manuscripts of the plays of Terence, which, he argues, reflect actual Roman stage conventions. The extensively illustrated volume illuminates our understanding of the vigour of late Anglo-Saxon art and its ability to absorb and transpose continental influence.This book is concerned with the pictorial language of gesture revealed in Anglo-Saxon art, and its debt to classical Rome. The late Reginald Dodwell, an eminent art historian, notes a striking similarity of both form and meaning between Anglo-Saxon gestures and those in illustrated manuscripts of the plays of Terence, which, he argues, reflect actual Roman stage conventions. The extensively illustrated volume illuminates our understanding of the vigor of late Anglo-Saxon art and its ability to absorb and transpose continental influence.List of plates; Foreword Timothy Graham; Acknowledgements; List of abbreviations; 1. The Vatican Terence and its model; 2. The classical miniatures and the stage; 3. Dramatic gestures in the miniatures; Appendix to chapter 3: the views of Jachmann; 4. Angl“”