Unmistakable insular influence can be seen in Carolingian manuscripts, even though these were also trying to copy the Imperial styles of Rome and Byzantium.

It is now generally accepted that the books are authentic, and the original Carolingian manuscript, as published by Freeman, was rediscovered in the 20th century.

The Psalter is written in rustic capitals, a script which by the 9th century had fallen out of favour in Carolingian manuscripts.

Multiple regional styles developed based on the chance availability of Carolingian manuscripts as models to copy, and the availability of itinerant artists.

Carolingian illuminated manuscripts and ivory plaques, which have survived in reasonable numbers, approached those of Constantinople in quality.

Depictions of this symbol of power can be found in Carolingian and Ottonian illuminated manuscripts.

One of them is a skinny door with its hinges outstretched that brings to mind saints in Carolingian and Irish manuscripts.

Any Carolingian manuscript of that quality and condition is important.

This may not be the most important one, but a Carolingian manuscript with miniatures like this is extremely rare on the market.

Charlemagne and one of his sons, from the Leges Barborum, a tenth-century copy of a Carolingian manuscript.