- Early Christianity and its Monuments -
status of the elite' (Hicks 1993: 199). A symbolic connection has been suggested
between the animals, representing the different orders of creatures as distinguished
by Genesis. They have been interpreted not as a secret code, but as part of the
recurrent tradition of animals on both pagan and Christian monuments. The debate
is complex, and the Christian significance of the early stones is unclear. They may
have acted as gravestones or memorials, the symbols conveying information on the
genealogy of the person commemorated (such as tribal affiliation, rank, lineage or
occupation).35
Iconography
Celtic art is often seen as stylized, abstract and aniconic, and it is not surprising
that early cross-decorated stones only rarely depict human or animal figures, the
emphasis being on abstract ornament or Christian symbolism. Where human repre-
sentations occur on the early stones, they tend to show 'orant' figures with arms
raised in the ancient attitude of prayer. These images are far removed in style from
Mediterranean concepts of realism or artistic convention, and may have been copied
and adapted from early Gospel books.
Few of the decorative characteristics developed without strong influence from
other regions, in particular Anglo-Saxon England, and the Continent. During the late
eighth/early ninth century, scriptural iconography that may have had Carolingian
models appears on sculpture, mainly in Ireland. This developed into complex cycles
of iconography. On some crosses of this period, the emphasis is on Insular ornament
of spirals, interlace, step-patterns, zoomorphic and anthropomorphic motifs.
Unlike Ireland and Scotland, figure sculpture is poorly represented in Wales.
The tenth-century cross of Briamail Flou from Llandyfaelog Fach, Powys, is a rare
example of possible labelling in half-uncial of the important warrior figure depicted.
In common with Celtic imagery, many depictions are simple schematic outlines,
symbolic rather than realistic, naturalism becoming subservient to overall artistic
design and pattern. A small number of stones show unusual depictions. For example,
the figure of a man on the shaft of the Whitford cross, Clwyd, may be a representa-
tion from Viking mythology. After being reset, the 'Trecastle' stone (Figure 37.5)
was inscribed with pictographs which have been interpreted as Christian doctrines
and scenes, with a figure holding a crozier or shepherd's crook at the bottom. The
precise meanings of the panels are uncertain.
The stylized square bodies and hair (tonsured?) of the twelve apostles on the base
of the cross at Moone (Figure 37.10) resemble depictions in enamel-and metalwork
of the eighth century, and some manuscript art. The east panel of the base of the
late tenth-or eleventh-century Llandough cross depicts five human figures in a row,
seated facing front, each with ?vestments and holding a cross-headed staff or sceptre.
As at Moone, the heads are so formalized and naive as to be far removed from any
primary classical sources, and may echo an earlier Celtic concept of the head as the
most significant part of the body, seat of understanding and the spirit, and source of
strength.
Figural iconography begins in the late eighth or ninth century, and most crosses
bear it by the tenth century in Ireland, though it is still rare in Wales. The Crucifixion