Question:
Asa Gray (November 18, 1810 - January 30, 1888) is considered the most important American botanist of the 19th century. His Darwiniana was considered an important explanation of how religion and science were not necessarily mutually exclusive. Gray was adamant that a genetic connection must exist between all members of a species. He was also strongly opposed to the ideas of hybridization within one generation and special creation in the sense of its not allowing for evolution, as he felt evolution was guided by a Creator.
Despite no longer having the burden of his professorial and garden duties, by the late 1870s the burden of maintaining himself as the pillar of American botany prevented Gray from the progress he desired on Synoptical Flora of North America, the follow-on to Flora of North America. This burden consisted of the fact that other scientists often only accepted Gray's word on a botanical matter, and the number of incoming specimens to identify was increasing vastly: numbers had to be assigned to them, collectors needed to be corresponded with, and preliminary papers had to be published. By the early 1880s, Gray's home was the center of everything to do with botany in America. Every aspiring botanist came to see him, even if just to look at him through his window. After turning over his non-research duties to Sargent, Goodale, Farlow, and Watson, Gray concentrated more on research and writing, especially on plant taxonomy, as well as lecturing around the country, largely promoting Darwinian ideas. Many of his lectures during this time were given at the Yale Divinity School. Liberty Hyde Bailey worked as Gray's herbarium assistant for two years during 1883-1884. In spring 1887 Gray and his wife made their last trip to Europe, this one for six months from April-October, primarily to see Hooker. Gray received the following advanced degrees: honorary degree of Master of Arts (1844) and Doctor of Laws (1875) from Harvard, and Doctor of Laws from Hamilton College (New York) (1860), McGill University (1884), and the University of Michigan (1887).
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What other accomplishments did he achieve?

Answer:
by the late 1870s the burden of maintaining himself as the pillar of American botany prevented Gray from the progress he desired on Synoptical Flora of North America,

Question:
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.
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What type of materials did they use to create this art?

Answer:
Examples of Style II can be found on the gold purse lid.