REMAINS OF THE PRE-NORMAN PERIOD 
the scene of the Temptation: Adam and Eve with the tree of Eden and 
the serpent. The two figures taking hands over a square object like an 
altar or font have been thought to represent king Aithelstan and king 
Constantine, who made a treaty ‘at the place which is called Eamot on 
the 4th day before the ides of July,’ July 12, 926, says the Anglo- 
Saxon Chronicle. ‘This however is doubtful. We can see that the sculp- 
ture is similar to that which we have classed under Scandinavian influence 
and that it has some features recalling the spiral Cumbrian style in the 
curled accessories of the design. We must place it with the Giant’s 
Grave as a transition-form on the brink of the Irish-Norse style. It may 
be tenth century, and it is possible that it is the grave of some such per- 
sonage as Owain, king of Cumberland, but we must leave the two figures 
at present uninterpreted. 
Tue Rep Swart, Cross Canonsy. 
A shaft re-erected by Lord Muncaster in Waberthwaite churchyard 
is all interlaced, with the open plaitwork which became more common 
at the end of the eleventh and in the twelfth century. Interlacing of 
the best period of this art was usually tight, showing very little ground. 
This is rudely hacked, not chiselled, and yet designed with some attempt 
at symmetry. Among the interlacing is the figure of a horse seen also 
at Halton, Lancashire, on a late eleventh century cross. 
The wilder character of this Irish-Norse art is brought out in the 
standing cross at Aspatria, a red sandstone shaft 4 feet 6 inches high, 
from which the head is lost, though it is still possible to trace the curve 
of a wheel-cross, like those of Dearham and Gilcrux. Three sides bear 
interlacings, fairly regular, but clumsy in drawing and roughly hacked 
out ; the fourth side has a wild entanglement without symmetry, but no 
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