This is a guest post for Silent London by Daniel Riccuito, David Cairns and Tom Sutpen. If you like this, you will love The Chiseler.

It is the custom of illuminated manuscripts to transform sacred words into shimmering icons which break, easily, beyond the sensory limitations of simple text, rendering ordinary letters into evocative, animate visual forms that invite the eye to idle awhile at the brink of transcendence, rather than standing at a distance, remote and unyielding, daring to be comprehended, accepted, believed. Strange and barely recognizable wildlife appears on vellum leaves, creatures that wind and unwind in ceaseless whirlpools of bejeweled abstraction. Or they are, if you prefer, the spirited exoskeletons of snakes, dragons, waterbirds — Celtic and Germanic obsessions meeting the Apostles of Christendom. Emerging in the British Isles between 500–900 C.E., The Lindisfarne Gospels provide an arena, lapidary and starlit, where paganism devours Christianity while also birthing the religion anew into what can only be described, if you’re honest, as “motion pictures”.