The publication of Anglo-Saxon Gestures and the Roman Stage posthumously honors C. R. Dodwell’s lifelong work on early medieval art. Timothy Graham, formerly Dodwell’s research assistant, considerately saw the book through to press. In this volume, Dodwell considers the origins of the illustrations in Carolingian Terence manuscripts and their possible relationship to illuminations produced at Canterbury or under Canterbury’s influence in the eleventh century. Although its deductions are problematic, this study is nonetheless valuable for its systematic analysis of gestures in the manuscripts’ imagery; it will interest not only art historians but also intellectual historians and classicists. Chapter 1, “The Vatican Terence and its model,” posits that the model of the ninth-century Vatican Terence (Vat. lat. 3969) was from the third century and possibly North African, rather than fifth century and Greco-Asian, as was contended by Leslie Webber Jones and Charles Rufus Morey in The Miniatures of the Manuscripts of Terence prior to the Thirteenth Century (Princeton, NJ: Princeton University Press, 1931). Chapter 2, “The classical miniatures and the stage,” proposes that the manuscript tradition of illustrating Terence’s comedies, most fully represented by the Vatican Codex, is derived from direct knowledge of performance practice. Chapter 3, “Dramatic gestures in the...