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of the size of the cross, and the distribution of the figures 
carved on it, which I have also found extremely useful in test- 
ing and correcting drawings made by the eye, of the objects in 
question. During the Great Dublin Exhibition, I thus formed 
rubbings of several of the crosses, and casts of crosses, exhi- 
bited in the central avenue, and in doing so I had occasion to 
examine very carefully the sculpture upon the smaller of the 
two great crosses of Monasterboice, which enables me to cor- 
rect the description of it given by Mr. J. D. Chambers in the 
“‘Ecclesiologist” for October, 1848, and at the same time to give 
an explanation of one of the figures which appears to have been 
hitherto unnoticed. Our Lord is represented in the centre of 
the east side of this cross, not seated on His throne of judg- 
ment, but standing erect with a cross in the left hand, and a 
sceptre, with a double scroll at the top, in His right hand. On 
the arm of the cross to His right-hand side is represented a 
number of figures approaching Him (according to the words, 
‘Come ye blessed’)—whilst on His left hand, a number of 
figures are driven from His presence—(‘ Depart ye wicked’)— 
by a fiend armed with a three-pronged fork, and by another 
figure who holds a book, and kneels on one knee, kicking the 
figure in front of him with the other leg. Between these two 
fiends is represented a short, squat figure, with outstretched 
limbs, which appears to me to be intended as a representation 
of one of those singular sculptures termed ‘ shéela na gigs,’ to 
which it bears a perfect resemblance, and which is here repre- 
sented in its appropriate position, supposing it a personifica- 
tion of vice. Beneath the feet of our Saviour is a compart- 
ment occupied by a representation of St. Michael weighing, 
in a huge pair of scales, a smaller figure, the balance prepon- 
derating in his favour; but beneath the scales lies the fiend, 
who is endeavouring to pull down the lighter scale—a mode 
of representing the weighing of souls, common in medieval 
illuminations, which Mr. Chambers has incorrectly described. 
Immediately beneath this group the Adoration of the Magi is 
