and stately monument as this, a secular figure, forming a trio with the Saviour and "the Baptist," should be any other but a Royal person. The falconer is clearly such. The left forearm of the figure of what I shall call the king is extended horizontally towards the right border of the panel, and the bird perches on it, facing outward. "Though the claws are worn away, it is just above the hand in the conventional position of a trained falcon. Its beak is turned towards the king's left shoulder and higher than his knee stands the perch, shaped like a T. The figure holds a wand which slants down in front of him. His garment looks like a plaid or tippet of heavy cloth, draped across his chest and drawn over the upper arm and across the back, the long end falling down over the right shoulder, and reaching nearly to the ankle." The head is uncovered and the legs and feet appear below the tunic.

This side of the cross is much the most important one, both on account of the figures and of the inscriptions on it.

The opposite face of the cross, that on the east side, is perhaps the most attractive one as a work of art. "On it runs a vine scroll from top to bottom: the main vine starts in the middle of the base, and curves alternately to right and left, touching the right border five times and the left one four times. Above each

contact it throws off a spiral branch, which curves in an opposite direction to the course of the vine, touching the border in doing so. In each curled branch there rests a bird or animal, devouring the bunch of fruit in which the branch ends. They face alternately right and left. The two creatures at the top closely resemble squirrels with bushy tails over their backs; the next two are somewhat like crows; the next two are animals with small ears and no hind-legs, only a tail which is curved to resemble an offshoot. The lowest creature is somewhat hard to make out. These birds and animals are drawn with great spirit. At the juncture of each spiral branch, save the lowest two with the main vine, there is a small shoot, ending in a leaf or a bunch of fruit, which fills up an empty space at the border. The top of the vine is divided into two shoots, which end in two bunches of fruit, side by side, touching the top border.1

"The south face of the cross is divided into five panels, three short and two long ones.

"First, a pattern of interlaced bands, forming a piece of knot-work just fitting the oblong panel.

"Next, a vine scroll which, starting in the middle of the base, curves first to the left, then to the right, and ends in a bunch of fruit at the upper right-hand corner; above each contact it throws off a branch, which curves in the opposite direction

1 A. S. Smith, op. cit. 239.

to the course of the vine and forms a spiral, ending in a bunch of fruit. Several small shoots from the main vine are interlaced with the two bunches of fruit hang

large branches, and two beside the base of the stem. Across the lowest half of the oval space formed by the first spiral branch, there is a sundial's face, resembling an outstretched fan upside down, reaching from border to border. Lines are drawn to its circumference from a hole near the centre of its upper side in which the gnomon now lost was placed. It is clearly of the same date as the rest of the carving, and, of course, faces the south.

Next is another pattern of interlaced bands, filling a somewhat larger panel than the first.

"The fourth panel contains two vine scrolls, which start obliquely from the lower corners of the base and form a symmetrical design resembling a figure of eight. The left vine crossing the other curves first to the right, then curving again bends to the left. Its end is divided into three shoots tipped with fruit, one of which fills the upper right corner, after crossing a similar shoot from the other vine which fills the left corner. The other two ends bend down into the upper half of the figure eight, and one, continuing, ends in a space outside the figure. The right vine is developed in exactly the same way, in the opposite direction. The two halves of the figure eight are made somewhat heart-shaped by the offshoots which bend in, and, crossing, fill