On a shelf against the north wall beneath the tower, placed one above the other

Most of the Lythe sculptures were found when the church was taken down and rebuilt in 1910, mainly in the walls and foundations of the western tower which was erected in 1769 (Collingwood 1911, 287; Meadows 1994, 25).

St Oswald

Two partly conjoining fragments, broken at the top; some wear. The broken area between the stones is abraded on both pieces, and part of the surface is missing, particularly on the lower fragment.

A (broad) : The edge moulding is broad and flat, and is continued across the base of the single panel as a plain plinth. The moulding stands proud from the cut-away panel, at a slight chamfer. The top of the panel is broken away but a pair of wrestling human figures survive from their chests downwards. The left-hand one wears a short belted kirtle; the other may be naked. The legs overlap in ancient wrestling style. The right-hand figure's left hand grasps the other's kirtle hem. Below, but within the panel, is a profile quadruped, its horned head turned back. The eye is an incised circle; the mouth a slit. The neck, back and rump form an S-shaped curve. The two hind legs are modelled, though the forelegs are much worn. The carving on this face is flat with slightly chamfered edges.

B (narrow) : The edge moulding is plain, and extends as a plain plinth at the base which is scored with chisel marks. Within the panel is a thick fleshy two-cord twist whose broad modelled strand narrows at the base.

C (broad) : Very worn and damaged, especially on the upper fragment. The lower piece has a plain edge moulding above a plain plinth. The base of the panel contains loose loops in a split modelled strand.

D (narrow) : Mortar adheres and the surface is scabbled in places. The edge moulding are as on face B, as is the broad fleshy twist in two cords.

This scene of wrestlers is unique in Yorkshire, though their stance is comparable with those of the Market Cross, Kells, Co. Meath, and a high cross at Durrow, Co. Offaly, in Ireland (Harbison 1992, II, figs. 258 and 331). Interpretations of the Irish parallels range from Jacob wrestling with the angel to Judas's kiss or St John the Baptist recognising Christ (ibid., I, 82 and 104). This scene at Lythe might have a more generalised meaning of the struggle of good against evil, or it could be a secular combat scene. The profile animal, which is similar to the upper quadruped on Dacre 2, Cumberland (Bailey and Cramp 1988, ill. 245), also appears on the hogback Lythe 19 (Ill. 533), possibly from the same template.

First half of tenth century

Collingwood 1911, 290, figs. l–o; Collingwood 1912, 117, 125; Collingwood 1915, 274, 297; Collingwood 1927a, 152, fig. 173; Elgee and Elgee 1933, 216; Mee 1941, 145; Pevsner 1966, 231; Bailey 1980, 155; Cramp 1984, 59, 225; Lang 1984a, 109; Owen-Crocker 1986, 123

[1] The following are general references to the Lythe stones: Page, W. 1923, 397; Morris, J. 1931, 243, 418; Kendall 1932, 28; Elgee and Elgee 1933, 248; Mee 1941, 145; Pevsner 1966, 231; Lang 1971, 156; Lang 1972–4, 211; Lang 1978b, 152; Lang 1978c, 11; Brown, M. 1979, 44; Bailey 1980, 99; Lang 1988a, 46, 56; Senior 1991, 14; Meadows 1994, 25; Binns 1995, 263; Cambridge 1995b, 140–3; Everson and Stocker 1999, 138; Stocker 2000, 200.