Anglo-Saxon art indeed experienced a notable golden age in the century leading up to the Norman Conquest of 1066. Its roots can be traced back to the late ninth century when King Alfred initiated a program of religious revival and education to counter what he perceived as a waning religious spirit among his people. The Viking invasions were viewed as a divine punishment for the English people's perceived sins and neglect of learning. The support of King Alfred and his successors created an environment in which individuals of power and wealth were willing to serve as patrons of the arts, providing the necessary conditions for artisans and artists to flourish.
The heart of the Anglo-Saxon kingdom of England, emerging from Alfred's Wessex, was centered in Winchester. This centrality is reflected in the intricate and exquisite illumination of manuscripts created in England between 966 and 1066, associated with the Winchester School or Winchester Art Style. The three major religious houses in Winchester—Old Minster, New Minster, and Nunnaminster—served as hubs for the practitioners of this artistic movement.
The Winchester style of art is distinguished by several characteristic features, including the use of acanthus leaves and tendrils, elaborately curled draperies, and motifs of leaves surrounding birds and animals. Beyond manuscripts, the influence of the Winchester art style extended to the decoration of objects made from diverse materials such as ivory, bone, stone, and metal. Many of these artifacts have been unearthed during excavations in and around Winchester. For example, even everyday household objects like simple bone spoons were adorned with acanthus motifs and birds, showcasing how the high artistic style of this period permeated various aspects of daily life. This flourishing of art and culture in Anglo-Saxon England was a testament to the vitality and creativity of the time.