At the west end of the church, under the tower. It stands in a very weathered and battered rectangular base, stepped all the way round to define the upper surface. The cementing suggests the hole in the base is too large for the shaft, and it is not clear if this was part of the monument as it stood in the churchyard.

In the church by 1915, but previously in the churchyard 'about seventeen yards south of the centre of the present church' (Collingwood 1915a, 241). First mentioned in Morris (1911, 490).

All Saints

The shaft is complete and is in one piece with the expanded lower arm of the head. A dowel hole in the top of this suggests that the upper part of the head was carved from a separate block. All faces are weathered. Face C is too close to the wall to be fully examined.

A tapering cross-shaft of rectangular section, with the lower arm of a head of type E9/11. The angles are slightly rounded and there is a plain dressed section about 12 cm in height at the foot of the shaft on all visible faces.

A (broad): There is no division between the lower part of the head and the shaft and the decoration is continuous from top to bottom. The decorated area is edged by flat borders. The decoration begins at the foot with a stylised medallion scroll in which the two crossing stems start from each lower corner, then bend back without meeting in the centre to form a single medallion, and cross only once about one third of the way up the decorated area. Tendrils curls and cross in the centre of the medallion and in the spandrels above and below, some ending in clubbed tips, others with minimal references to leaf and flower forms, and there is one loose pellet within the medallion. One stem spirals into one of the strands through an otherwise unconnected loose ring- knot above, elements from which bifurcate, cross and twist to fill the lower arm of the head. A loose pellet is set centrally in the centre top of the arm, enclosed by strands which continue into the rest of the head.

B (narrow): There are traces of a moulding on the right and the moulding on the left is slightly rounded. The underside of the arm is scored by five vertical lines, the ridges between them slightly rounded. The decoration on the shaft is considerably worn and there is a fault which runs from top to bottom of the decorated face to the right of centre, rendering interpretation even more difficult. Below the arm is a small creature, its head with beak-like jaw in the top left corner, a small body set across the top of the panel, two thin legs and possibly drooping tail: it could be a badly-drawn bird or small animal. Below on the left a small figure in a short tunic faces left and has a horn raised to his lips. He seems to stand facing and slightly above a second figure on the right, of which the legs below a short tunic are still visible. Beneath these two figures there is another figure of which again the only clear feature is the legs and parts of the spear he holds up in front of him. On his right is a thin-bodied quadruped, its feet on the right-hand edge of the panel.

C (broad): This face is largely invisible as it stands close to the wall, but Collingwood, who experienced the same difficulty, said it had 'plaitwork above a great beast turned to the left, with a small figure standing on its back' (Collingwood 1915a, 242). A new photograph taken with a mirror (Ill. 715) shows the face to be very worn, but supports Collingwood's description of the animal with a figure above it. There may even be a second small figure on the top left, although this may be part of the 'plaitwork', the evidence for which is less clear.

D (narrow): The underside of the lower arm is as on face B. The shaft has broad flat borders and there is a simple twist running through three distorted loose rings. The lower terminal is a Stafford Knot (simple pattern E), the two strands at the top twist separately before joining.

E (top): The upper edges of the lower arm are dressed plain. There is a large dowel hole in the centre, to attach the missing upper part of the head.

Kendrick (1941b, 140) saw this as the 'final degradation' of the Anglian vine-scroll, with a 'faint Ringerike flavour'. The loose rings and distortions on face D certainly place this shaft in the Anglo-Scandinavian period, but the lower part of face A, at least, is best understood, as Bailey (1980, 90) suggested, as showing the impact or continuing influence of a crossing medallion scroll, which can be traced along Wharfedale (but see Chap. V, p. 53, to note some variations suggesting different relationships in the development of this motif). The continuance of this type shows the strength and continuing importance of major Anglian models in the late period. The hunt scene on face B, with its figures and free-style animals on different planes, is strongly reminiscent of Harewood 1 (Ill. 332), and like that scene is also paralleled in eastern Yorkshire, on Middleton 1A (Lang 1991, ill. 671). The newly-revealed group of animal and human figure(s) on face C could also be a hunt scene in a similar vein. See Chap. V, p. 58.

Tenth century

Morris 1911, 46, 490, 549; Collingwood 1912, 131; Collingwood 1915a, 241–2, 263, 274, 282, 283, 292, figs. a–c on 241; Morris 1923, 490; Collingwood 1927, 88, 158–9, fig. 190; Brown 1937, 234–5, 275, pl. LXXXI; Kendrick 1941b, 140; Mee 1941, 379; Kendrick 1949, 65, 107, fig. 6a; Pevsner 1959, 493; Pevsner 1967, 501; Bailey 1980, 189–90; Cramp 1984, 136–7, 138; Owen-Crocker 1986, 170; Owen-Crocker 2004, 266

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