Stone cross — Drumcliff South

Located on the N edge of Drumcliff graveyard (SL014-084002-), incorporated into the 19th-century mortared stone wall which encloses the graveyard. This early medieval high cross -an ornately sculpted freestanding stone cross- is a National Monument in state ownership (no. 119). It is indicated on the 1838 OS 6-inch map as ‘Stone cross’ and on the 1940-41 edition as ‘Celtic cross’. The cross consists of three separate elements: base block, shaft and ringed head. The base block is devoid of decoration, but the shaft and ringed head are richly ornamented with a harmonious scheme of geometric motifs and figurative biblical scenes, and notable also for a number of intriguing animal figures carved in eye-catching high relief. The base block of the cross rests on a large flat limestone slab (c. 1.05m N−S; 1.4m E−W), the N end of which is incorporated into the graveyard wall. It consists of a massive block of worked stone (1.2m N−S; 0.97m E−W; H 0.84m), rectangular in basal cross-section, with sides tapering towards a flat top edged with a low step. In the centre of the top is a rectangular mortise or socket which holds the cross shaft (0.45m N−S; 0.3m E−W). The sandstone cross shaft, with its ringed head, rises to a height of just over 3m above the base. The join between the shaft and the ringed head is clearly visible. Harbison (1992, 70-73) has suggested, based on discontinuities in the decorative scheme, that the current ringed head may not be the original head planned for the cross: either the plan changed during the making of the cross or the original head was replaced at a later date. The uppermost section of the head is damaged, and the cap, usual in high crosses, is missing. There are pronounced semicircular arcs at the junction of the arms, on the inner edge of each of which is a roundel or cylinder, a common feature of high crosses, but, unusually, here the outer ends exhibit decoration, now partly eroded. The ring or wheel is slightly offset from the arms and shaft, which serves to emphasise the arms of the cross. The outer edges of the shaft, arms and ring are defined by roll moulding, which forms a frame for the decorated panels. In the following description, the decorative scheme on each of the four faces of the cross will be outlined in sequence from base to top. The meaning of individual figurative scenes cannot always be deciphered with certainty, either because the symbolic intentions of the carvers are now obscure, or simply because weathering over time has abraded detail. In some instances competing interpretations of individual scenes have been offered by scholars. N AND S FACES: The decorative schemes on the narrow N and S faces of the cross are almost mirror images of each other. The shaft bears abstract decoration enclosed within a frame of two close-set parallel grooves. The lowest section of the shaft is blank on both faces. Above this on the S face is a panel of gracefully flowing, interlocking spirals, and on the N face, a panel of interlace. Above this on each side, is a small rectangular mortise or socket (H 0.06-0.07m; Wth 0.05-0.06m; D 0.05-0.07m) in the centre of a blank panel. Above this, the S side features a panel of stylized animals intertwined in intricate interlace, with a blank panel intervening between this and the head of the cross; on the N side a panel of interlace rises to the join with the cross head. Just above the join, on both the N and S sides, is a high relief carving of a four-legged beast, rearing up in profile. Immediately above this, on the underside of the ring, is a startling carving of a muscular beast, presented as if viewed from above and facing down the cross. Its four legs are splayed and it appears to crouch or crawl menacingly. The beast on the underside of the N arm of cross is framed by a double grooved ornamentation. Another downward-facing, crouched beast is carved on the vertical end of the N arm. An image of the Virgin and Child fills the vertical end of the S arm. THE E AND W FACES: The broad E and W faces of the cross mirror each other in the number and arrangement of their carved panels, which are framed by a decorative border of small raised beads. The ornamentation is symmetrically arranged, with the elements on the E face of the shaft occurring in pairs and those on the W face in threes. Figurative scriptural scenes predominate. Old Testament events that prefigure the coming of Christ are found on the E face; New Testament events feature on the W face. On each face the scenes, reading from base to top, culminate at the junction of the arms of the cross in a scene fundamental to the Christian faith, emphasising Christ’s role as Saviour or Redeemer. E FACE: The lowest decorated panel is filled with interlace of four circular elements arranged in pairs. Above this is an elegant rendering of the Fall of Man. The double-stemmed Tree of Knowledge grows directly from the interlace pattern beneath, and Stokes (18, 558) has proposed that the interlace represents the roots of the tree. The canopy of the tree is similarly stylized as four circular spiralling, interlaced motifs arranged in pairs, mirroring the symmetry of the lowermost panel. The sinuous body of the snake wraps itself around the tree, whispering temptation into the ear of Eve, who has already eaten of the forbidden fruit she holds in her hand, and both she and Adam cover their nakedness. Directly above this scene is a large, impressive beast, possibly a lion, viewed in animated profile, with its long tail curled upward in a tight spiral. It is carved in markedly higher relief and larger scale than any other image on this side of the cross; indeed, it breaks the frame, protruding onto the angle moulding. Directly above are two human figures, the one at left is wielding a weapon, striking the figure on the right. This may depict Cain killing his brother Abel (Stokes 1896-1901, 556), or David and Goliath, because the figure at right appears to hold a shield (Harbison 1992, 70-73). Above this, a human figure, flanked by rearing beasts, represents Daniel in the Lions’ Den. Centrally placed at the junction of the arms of the cross is the figure of Christ, holding a cross-staff at his shoulder. This signifies Christ in Glory or the Last Judgement. The flanking arms of the cross each bear five simplified disembodied heads. Heads are also depicted on the uppermost section of the cross, but this is now incomplete. The ring is decorated with interlace. W FACE: The lowermost decorated panel features six circular, intricately interlaced motifs arranged in pairs. Three upright human figures fill the panel above, the central figure holding a child; suggested interpretations include the Presentation of Christ in the Temple (Stokes, ibid.) or the Presentation of John the Baptist in the Temple (Harbison, ibid.). Directly above, is a curious, large four-legged beast, with a deeply sinuous back and a long tail; Harbison(ibid.) suggests it may depict a camel. As with the beast on the opposite side, this is carved in dramatic high relief, with its head breaking through the outer decorative frame of the shaft. There are three human figures in the scene above; the raised arms of the central figure are held by the two flanking figures. Possible interpretations include the Arrest of Christ, the Smiting of Christ (Stokes, ibid.) or the Mocking of Christ (Harbison, ibid.). Above this, there are two figures of uncertain identity; Stokes suggests Mary and John; Harbison posits Mary and Joseph returning from Egypt. Centrally placed at the junction of the arms is the Crucified Christ. The detail here is now quite eroded, but Stokes (ibid.) identified the lance and sponge bearers on either side of Christ. The flanking arms each have a single disembodied head enclosed in interlace. The broken top of the cross also bears interlace. This is the only high cross to survive intact at Drumcliff, but other high crosses once graced the monastic precincts he