This English School of illumination, which had been partially developed before the close of the tenth century, became, for real artistic merit, the first and most important in the whole of Europe, and for a considerable period continued to occupy this foremost position[84]. CHAPTER VII. THE ANGLO-SAXON SCHOOL OF MANUSCRIPTS[85]. _Danish invasions._ The ninth century in England was one of great turmoil and misery, on account of the fearful havoc wrought by the Danish Northmen throughout the whole length and breadth of the land. In Northumbria the thriving literary and artistic school which had been raised to such preeminence by Baeda was utterly blotted out from existence by the invading Danes; and when at last King Alfred, who reigned from 871 to 901, secured an interval of peace he was obliged to seek instructors in the art of manuscript illumination from the Frankish kings. _Time of King Alfred._ In this way the wave of influence flowed back again from France to England. In Charles the Great's time the Carolingian school of manuscripts had been largely influenced by the Celtic style, which Alcuin of York introduced from Northumbria, and now the later art of Anglo-Saxon England received back from France the forms of ornament and the technical skill which in Northumbria itself had become extinct. Alfred was an enthusiastic patron of literature and art, especially the art of manuscript illumination, and before long a new school of manuscript art was created in many of the Benedictine monasteries of England and especially among the monks of the royal city of Winchester, which in the tenth century produced works of extraordinary beauty and decorative force. _Benedictional of Aethelwold._ As an example of this we may mention the famous _Benedictional_ of Aethelwold, who was Bishop of Winchester from 963 to 984[86]. The writer of this sumptuously decorated manuscript was Bishop Aethelwold's chaplain, a monk named Godemann, who afterwards, about the year 970, became Abbot of Thorney. Unlike the manuscripts of earlier date in which the illuminated pictures are usually few in number, this _Benedictional_ contains no less than thirty full page miniatures, mostly consisting of scenes from the life of Christ. Each picture is framed by an elaborate border, richly decorated in gold and brilliant colours, with conventional leaf-work of classical style. The drawing of the figures is dignified, and the drapery is usually well conceived and treated in a bold, decorative way, showing much artistic skill on the part of the illuminator. Fig. 21 shows one of the miniatures, representing the Ascension; the colouring is extremely beautiful and harmonious, enhanced by a skilful use of burnished gold. _Foreign influence._