A tapering cross-shaft of rectangular section, all carved faces edged at the top and sides by flat borders. The carving is flat and shallow. The broad faces are panelled, though without panel dividers.

A (broad): The flat border survives in a damaged condition at the top and left side, but only vestigially on the right. (i) The scene is dominated by a frontal, round-shouldered figure rather to the right of centre, with small depressions for eyes and a short tunic or robe. His small head is swamped by a heavy halo with a slight outward curl on the left side. His feet are possibly in boots, like the figure at Slaidburn (p. 249), and point right. His arms and heads hang down from his extended shoulders, that on his right possibly to touch something on a rounded object, which is not a ringed circle seen from the top as drawn by Collingwood (1915a, 198, fig. f). His left hand may reach down to a similar object, again on or above a rounded object on the other side, although only half of these features survive. Below the figure, and dividing it from the next scene, are five carefully carved rectangular objects. (ii) A curved object below probably represents the halo of a second frontal figure.

B (narrow): A suggestion of a moulding survives on the right, the rest of the face has been dressed away.

C (broad): (i) A large clumsily executed double-stranded interlaced or linked pattern, perhaps based on one register of pattern B or on linked ovals. (ii) The terminal of another interlaced or linked pattern, also double-stranded.

D (narrow): An irregular double-stranded pseudo-interlace based on a half-pattern.

Collingwood (1908, 169) at first suggested that the figural scene on face A might be Christ in Resurrection, but later (1915a, 199) rejected this and instead tentatively suggested it might be based on the Miracle of the Five Loaves and Two Fishes seen more recognisably at Dewsbury (no. 5, Ills. 202–7), though he was doubtful of this ascription too as there are no evident fishes. Bailey (1996a, 80) identified the scene as the Miracle at Cana, though without any discussion. There are no accompanying figures in the Kildwick scene which might have helped to identify it more securely. Both interpretations reasonably assume the central nimbed figure, which is both blessing and gesturing towards objects in the scene, is that of Christ. The five rectangular objects convincingly represent the five loaves, but Bailey has clearly seen them as stylised representations of the water jars at the front of the scene, as represented on Dewsbury 5A (Ill. 207), for example. However, although the two objects beneath the central figure's hands, to one of which he is clearly gesturing, are not as Collingwood drew them, it is as at least possible that these represent fish, or rather the dishes or baskets with fish as were often represented (see the discussion of Dewsbury 5, p. 137), while such additional objects of concern are not part of the Cana imagery. On balance, therefore, Collingwood's interpretation seems the more likely here.

This face of the cross is recognisably in touch with Anglian traditions in the suggestion of a panelled layout, and in the halo/hair of the figure, which looks like a crude version of the long echo of the dished halo as can be traced from Otley 1 onwards. Continued ecclesiastical input is suggested by the probable iconography of the scene on face A. It is, however, a crude and provincial piece, and it also shows influence from Norse-Irish sculptural styles in the round-shouldered figure (see for example the 'bound devil' at Kirkby Stephen, Westmorland: Bailey and Cramp 1988, 120–1, ill. 390). The indication of footwear also links with one of the figures of this date, the angel on the Slaidburn shaft (Ill. 696).