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The Later Victorian Recovery of Anglo-Saxon Sculpture

It is generally accepted that understanding of Anglo-Saxon sculpture emerges from the work of William Gershom Collingwood who published systematically on the subject from 1907 onwards. This, however, presents an incomplete impression of the origins of the modern ‘academic’ study of the material, which has firmer roots in the work of George Forrest Browne, a vocal promoter of High Church interests, whose studies on Anglo-Saxon art and sculpture commenced in the 1880s. His indefatigable activities devoted to the promotion of the material ensured not only continued interest in the subject, but may have established the understanding of the need to conserve the sculptures in the twentieth century, leading to the multi-volume British Academy Corpus of Anglo-Saxon Stone Sculpture. This contribution will explore his activities, interests and the ways in which the study of the sculpture was established by Browne in the emerging academic disciplines of art history and archaeology.