Page:Archaeological Journal, Volume 4.djvu/68

56 the cross, than on the margin of the stone, as was usual at a later period. Exceptions may doubtless be found, as on the celebrated tomb of Gundrada at Lewes, supposed to be early in the thirteenth century, in which the inscription is cut both on the sides, and along the middle of the slab, (see Gough.) It is remarkable, however, on the other hand, that in Ireland, where, according to Mr. Petrie's valuable work, examples of monumental crosses are to be seen of far higher antiquity than any in England, some being referred to the sixth or seventh century, nearly all are accompanied with inscriptions; and these more frequently by the side of the shaft, or in the head of the cross, than on the margin of the stones. This difference is singular, and well deserves further investigation.

Again, the large number of examples brought together in this collection, present a better illustration of the progress of the art of design in such monumental crosses, than can be seen elsewhere. We may here trace at one glance the successive varieties of form, gradually developed from the simple intersection of two straight lines, rudely cut, to the delicately foliated designs in relief, which in their turn gave way to the yet more elaborate devices, which the use of brass or latten had facilitated in the thirteenth century.

It may be as well to notice, though indeed it is sufficiently obvious, that nearly all the varieties in the design of these crosses may be reduced to three elementary forms; the two last being, in fact, only modifications of the first.

1. The simple intersection of two straight lines, with ornaments added to the extremities, (the most common being in the form of a fleur-de-lys,) or at the sides, or point of intersection, where it is enlarged, and the arms of the cross shortened, as in the common cross fleury. No. 18.

2. The expanding the extremities of the arms till they nearly meet, as in the Maltese cross, producing a figure, supposed by some, intended to represent the nimbus, or glory, such as we see in old paintings round the head of our Lord. Some of these examples will shew how this solid figure gradually became lighter, and assumed the graceful form of foliage. See Nos. 12 and 24.

3. The introduction of an additional member from the point of intersection of the arms of the cross, thus forming a figure with eight members instead of four, as in Nos. 11 and 13. In some varieties the vertical and horizontal members are re-