ABSTRACT
The article considers how the religiously charged iconography on some of the early Anglo-Saxon coinage at the turn of the eighth century was tied in very closely with new liturgies proposed in Rome aligning with the orthodox stance of the Church against various debates and heresies. It considers how the careful teaming of portraits of Christ and the Virgin, representations of crosses and of the Lamb of God interacted closely with other images chosen as counterparts, so that the combination of obverse and reverse could be made to convey complex theological messages, perhaps appropriate for the discharge of devotional functions.
