In Trinity and Incarnation in Anglo-Saxon Art and Thought, Barbara Raw continues to apply the methodology she also utilized in Anglo-Saxon Crucifixion Iconography and the Art of the Monastic Revival (New York: Cambridge University Press, 1990), considering pictorial imagery as an expression of ideas developed in contemporary texts. Here the homilies of Ælfric of Eynsham, along with their antecedents, particularly the exegetical writings of Augustine and Bede and the Apostolic and Athanasian Creeds, serve as a springboard for Raw’s interpretation of later Anglo-Saxon manuscript images of the persons of the Trinity, both individually and in groups. Central to her argument about the meaning and importance of these illuminations are later Anglo-Saxon conceptualizations of the visualization of the divine and of the salvific role of the contemplation of images of Christ, based in early medieval theory concerning representation of Christ as a demonstration of the reality of the Incarnation and the primacy of sight among the senses. Raw’s focus on deep iconographic readings in later Anglo-Saxon art places her work beside contributions of the past decade by Robert Deshman, Kaye Openshaw, and Richard Gameson, among others. Raw is emeritus professor of Anglo-Saxon studies at the University of Keele, and her lifelong...