326 Fortrose and Rosemarkie, [Sess, 
monk, and his effigy adorns the “common seal of the burgh of | 
Rosemarkie.” Another tradition connects St Moluag of | 
Lismore with the place, and says he was buried there; and | 
further, that the Celtic (commonly called the runic) cross_ 
which was found under the flooring of the parish church when _ 
it was being rebuilt in 1821 covered the grave of that saint. — 
The cross now stands close to the N.W. corner of the church. 
It had been broken across, but is now carefully cemented — 
together, and is held in position by an ingenious framework of — 
iron. The dimensions of the cross are: height about 8 feet; 
breadth, 28 inches at base and 30 inches at top; thickness, — 
7 inches. It had originally been considerably higher, the top — 
being mutilated. It is closely sculptured all over, mostly in 
high relief, but, being exposed to the weather, is rapidly 
becoming defaced. Each face is divided into three panels. — 
The upper panel on the front contains a plain equal-armed | 
cross, surrounded by very intricate interlaced and knotted — 
scrollwork. The middle panel is filled with semi-zodmorphic , 
forms, and the bottom one with circles, &. On the back the © 
cross—a “stepped” one—is in the middle panel, and is sur- — 
rounded by a key-pattern. The background of the cross is © 
filled in with fine interlaced work and bosses. The large — 
upper panel on this side seems a very important one, as it — 
contains most of the mystic symbols carved on this and similar — 
crosses, the meaning of which is not yet known. These — 
include the crescent three times repeated (when entire), with : | 
the V-shaped rod symbol; double disc symbol with its bosses, 
and Z-shaped rod symbol connected therewith. Zodmorphic § 
forms and knot-work are introduced on the lower crescent and ~ 
elsewhere. The two edges are also divided into panels, and — 
filled with interlaced and knotted work, in some cases formed 
of serpent-like and other creatures. Where these animal and © 
semi-animal forms are introduced, it is done in a very subdued 
manner, with little of the grotesque. Altogether, this stone 
seems quite a unique specimen of early Celtic art, testifying 
alike to the skill and perseverance of the artists in designing 
and executing such work; and it will be a great pity if such 
a valuable relic should be allowed to become a plain slab. 
In Rosemarkie churchyard there is another sculptured stone 
—a slab about four feet long and two feet wide. It is sculp- 
