Fragment a (Ills. 845–8): A: Along the base is a plain flat moulding. Above it are remains of three panels, arranged horizontally, and, above these, a continuous band of four-strand plain plait with breaks, using lightly modelled strands. At the left, the first panel contains part of a rough diagonal fret in a stringy, modelled strand defined by deep incisions. A vertical moulding of double cable separates it from the second panel, which contains a poorly cut naturalistic quadruped in profile. It faces to the right and has a longish tail, short ears, and a dot for an eye. The jaws are a slit. Over its flat back is a crudely cut bird standing on the quadruped, also facing right. This panel in turn is separated from the next by a single cable moulding. The third panel contains an open and irregular eight-strand plain plait using stringy, modelled strands, with deeply hacked hole points. B: traces of rough diagonal tooling. C: Tooled diagonally. D: Roughly tooled diagonally.

Fragment b (Ills. 849–52): A: At the complete end, on the left, is an edge moulding which may have been cabled. Adjacent to it is a vertical run of four-strand plain plait, using open, stringy strands. At right angles to it, along the upper border, is another run of four-strand plain plait. Within these, on the left, is the upper part of a square panel of six-strand plain plait using the same thin strands, the lower portion lost. It is flanked on the right by a vertical strip of double cable, on the right of which are the looped terminals of another panel of interlace, largely destroyed. B: Broken away. C: Scabbled. D: There is a flat edge moulding framing the surviving edge and the base, enclosing part of a plain panel on which diagonal tooling marks remain.

Fragment c (Ills. 853–6): A: At the base is a crudely incised, canine animal facing left, its lower limbs missing. It has a short, curled tail, pricked ears, and a simple, amiable expression. Above it is a roughly incised line, inclining from the horizontal; above the latter at the left are faint traces of interlace. B and D: Broken away. C: Smoothly dressed.

Fragment d (Ills. 857–60): A: A broken feature at the left of the lower panel may be a cabled moulding enclosing a curled tail. Above is a horizontal run of open, four-strand plain plait, using stringy, modelled strands, with part of a plain area above. B: Broken away. C: Traces of rough diagonal tooling. D: Smoothly dressed.

These four fragments are all parts of a composite socket for a standing cross, not the hogback fragments of Collingwood's interpretation (1907, 401). The incised moulding on face D of fragment b (Ill. 852) shows that the stone turned a corner, and if the top and bottom are restored, the dimensions are too big for a grave-cover.

All the pieces share the linear arrangement of a horizontal interlace frieze and a series of panels which alternate between interlace and crude, naturalistic animals. The style of the interlace and the cutting technique not only associate the fragments with each other, but also relate them closely to the great cross, no. 1.

There are Celtic counterparts for sockets which have compartmentalized panels with a changing motif (Firby and Lang 1981, 28–9), but the crude animal ornament is more like free-style Anglo-Scandinavian work, such as Middleton 1.