On a bracket attached to the south face of the easternmost column of the south aisle and protected by a sheet of glass. The church is in the park of Harewood House, but is now in the care of the Churches Conservation Trust.

A small-scale excavation was carried out in 1981 during conservation work on six medieval alabaster tombs in the church: the excavation was concerned with details of the construction and infill of two of the tombs. This fragment was found mortared into a recess in the east face of the pier at the west end of the Ryther tomb on the south side of the chancel, and had been concealed by the tomb. The alteration which created the recess appears to have been made in 1862–3 at the same time as the alteration consequent on inserting a heating pipe through the tomb, and there has been a suggestion, though this has been questioned, that the slab was placed in this position to preserve it but also to conceal it, as lacking 'sufficiently instructive Christian symbolism' (Butler 1986, 97).

All Saints

The carving on the main face is very crisp and clear, though shallow. That on the narrow faces is affected by cutting through the bedding planes, and there is a vertical crack on both sides. The back is invisible in its present position.

The piece is slab-like in form, and was probably an upright slab rather than a cross-shaft. There are no edge mouldings.

A (broad): The lower part of the face, almost half the height of the slab, is filled by a bulky quadruped, undoubtedly a boar, facing left. It has cloven hoofs, a thin drooping tail, and a head with snout-like jaws, a round, incised eye, and two narrow upward-pointing ears. Its most interesting feature is its ridged back which has two rows of hatching, the upper row deeper than the lower and separated from it by a lightly incised line. In the lower row the hatching takes the form of chevrons. In the space between its fore- and back-legs are three objects which could be leaves but could equally be upward pointing spearheads from which the background has not been completely cut away. Below its jaw is the head of another animal with a round, incised eye, a short stubby ear on the left, and possibly a protruding tongue. Above the boar is a second, smaller, left-facing animal standing as if on the boar's back. This animal has a flatter back, slightly humped over its hindquarters, and a thin drooping tail. It appears to be hoofed. The detail of its head and jaws are not clear but its head appears to droop towards the ears of the larger animal below, which it is possibly biting. A dog? On its side is an incised ornament like a very stylised horizontal bush-scroll, probably representing its shaggy coat. Above this animal on the left a human figure appears upside down, its head incomplete, with one leg kicking or walking towards the back of the upper animal, the other leg missing. The figure's left shoulder, arm, and hand are quite clear, and across the open hand is a narrow object, a spearhead or a knife. Behind this figure and filling the upper left corner of the scene is an object like a rounded lozenge: it has been suggested that this is a bag slung over the back of the figure.

B (narrow): A continuous simple twist.

C (broad): This face is not visible in its present position, but a drawing (Butler 1986, fig. 4) shows part of an interlace formed from broad flat strands. Bailey (1986, 97) suggested there were two panels on this face separated by an incised line, but this is not confirmed by the drawing, which instead suggests that this face might have had an incised border.

D (narrow): The carving on this side is now indeterminate. It could be a twist as on face B, possibly threading through small loose rings.

Both the slab-like proportions and the small scale of this piece are worthy of comment. The style shows a lack of modelling, evident also in the flat strands of the twist on face B. Bailey (1986, 99) compared Barwick in Elmet 2 (Ill. 28), Kippax 1 (Ill. 426), and Staveley 1 (Ills. 714–15) as offering parallels to the 'crude free-style animals', and noted that the figures and elements represented on different planes are also found elsewhere on Viking-influenced sculpture, again on Staveley 1 and in east Yorkshire on Middleton 1 (Lang 1991, 181–2, ill. 671), as well as being a feature of Viking-age sculpture from the Isle of Man (for example Kermode 1907, pls. LIII–LV). He also noted that the Viking-age knife is paralleled on Bilton in Ainsty 2 (Ill. 40) as well as again on Middleton 1. The closest analogues seem to be the local ones, Kippax 1 and Staveley 1, particularly the latter, which like this is clearly a hunt scene, as on Middleton 1A; and see also Ellerburn 5 and Stonegrave 7 in east Yorkshire (Lang 1991, ills. 432, 861).

Tenth century

Youngs and Clark 1982, 215; Routh and Knowles 1983, 66; Bailey 1986, 97–9; Butler 1986, 87, 89, 95, 97, fig. 4, pl. I; Ryder 1991, 26

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