position at the centre of the wheelhead crosspiece, was a wolf’s head. Its gaping jaws were wedged open by a sword, but the one huge visible eye seemed to glare straight down at Sam, tracking her hesitant approach, promising that this state of impotence was temporary.
She broke eye contact to look at the
Guide.
This informed her in measured prose that the cross was Viking of the ninth century. Like many similar crosses, it made use of old Norse mythology to convey the new Christian message. The Reverend Peter K. commended the craftsman’s skill and gave a detailed interpretation of the symbols used.
The huge snake coiled around the lowest section of the shaft base devouring its own tail was at the same time Satan seducing Eve, and Jormungand, the great serpent which encircles Midgard in the northern legends, while the figure leaning out of a boat and beating the serpent’s head with a hammer was both the thunder god, Thor, and Christ harrowing Hell. As for the wolf, this was the beast Fenrir, which the Nordic gods thought they had rendered impotent by setting a bridle round its neck and a sword in its jaws. Eventually, however, it would break loose to join in that destruction of the physical universe called by pagans Ragnarokk or the Twilight of the Gods, by Christians Judgment Day.
Whether this meant the wolf was a good or a bad thing wasn’t all that clear.
There were two other problematic areas. One was a front panel from which the image had disappeared almost completely. This defacement, Peter K. theorized, probably occurred in 1571 when a group of iconoclasts toppled the Wolf-Head Cross. It lay in several pieces for nearly twenty years and it was only when it was repaired and re-erected that the second problematic inscription was discovered on the lowest vertical of the stepped base. The symbols revealed didn’t look like anything else on the cross. A series of vertical lines with a stroke through them (runic? postulated Peter K.); an inverted V, and another with the lines slightly extended to form a disproportioned cross (Greek?); an oval with two wavy lines through it (hieroglyphic?); and a surround of swirls and whorls.
Sam was amused by the number and variety of “expert” interpretations: a prayer for the soul of a local bishop; a verse from a hymn to an Irish saint; a magical invocation.
That was always the trouble. Like some proofs in maths, once you got started, the sky was the limit, but often it was finding the right place to start that was the big hold-up.
Illthwaite, she told herself firmly, was a wrong start point. All she could hope was that the dark man at the Stranger House would let her enjoy a good night’s sleep, then up in the morning and on to Newcastle.
And if there was nothing new there, then maybe it was time to follow Pa’s example and let the dead take care of the dead.
With her back to the church she took a last look up at the Wolf-Head Cross. What had this remote and eerieplace been like when those distant inhabitants had decided fifteen feet of carved granite was what they needed to make life comprehensible? Indeed, what had attracted them to settle in this dark and dreary valley in the first place?
Well, whatever it was, it looked like it had worked. Centuries later, and their descendants were still here, though maybe more under the earth than over it.
She shivered at the thought and forced her gaze away from the intricate scrollery of the carving which led you round and round into places you didn’t want to go, and eventually, inevitably, back to the eye of the wolf. She checked out the high wall beyond for another exit gate but found none. What she did notice was that the sheep-grazed neatness and order which prevailed elsewhere was scutched here by an outcrop of briar and nettles and rosebay willowherb against a small section of the wall. As the gusting wind moved among this vegetation, out of the corner of her eye she got a brief impression of lines more regular than
She broke eye contact to look at the
Guide.
This informed her in measured prose that the cross was Viking of the ninth century. Like many similar crosses, it made use of old Norse mythology to convey the new Christian message. The Reverend Peter K. commended the craftsman’s skill and gave a detailed interpretation of the symbols used.
The huge snake coiled around the lowest section of the shaft base devouring its own tail was at the same time Satan seducing Eve, and Jormungand, the great serpent which encircles Midgard in the northern legends, while the figure leaning out of a boat and beating the serpent’s head with a hammer was both the thunder god, Thor, and Christ harrowing Hell. As for the wolf, this was the beast Fenrir, which the Nordic gods thought they had rendered impotent by setting a bridle round its neck and a sword in its jaws. Eventually, however, it would break loose to join in that destruction of the physical universe called by pagans Ragnarokk or the Twilight of the Gods, by Christians Judgment Day.
Whether this meant the wolf was a good or a bad thing wasn’t all that clear.
There were two other problematic areas. One was a front panel from which the image had disappeared almost completely. This defacement, Peter K. theorized, probably occurred in 1571 when a group of iconoclasts toppled the Wolf-Head Cross. It lay in several pieces for nearly twenty years and it was only when it was repaired and re-erected that the second problematic inscription was discovered on the lowest vertical of the stepped base. The symbols revealed didn’t look like anything else on the cross. A series of vertical lines with a stroke through them (runic? postulated Peter K.); an inverted V, and another with the lines slightly extended to form a disproportioned cross (Greek?); an oval with two wavy lines through it (hieroglyphic?); and a surround of swirls and whorls.
Sam was amused by the number and variety of “expert” interpretations: a prayer for the soul of a local bishop; a verse from a hymn to an Irish saint; a magical invocation.
That was always the trouble. Like some proofs in maths, once you got started, the sky was the limit, but often it was finding the right place to start that was the big hold-up.
Illthwaite, she told herself firmly, was a wrong start point. All she could hope was that the dark man at the Stranger House would let her enjoy a good night’s sleep, then up in the morning and on to Newcastle.
And if there was nothing new there, then maybe it was time to follow Pa’s example and let the dead take care of the dead.
With her back to the church she took a last look up at the Wolf-Head Cross. What had this remote and eerieplace been like when those distant inhabitants had decided fifteen feet of carved granite was what they needed to make life comprehensible? Indeed, what had attracted them to settle in this dark and dreary valley in the first place?
Well, whatever it was, it looked like it had worked. Centuries later, and their descendants were still here, though maybe more under the earth than over it.
She shivered at the thought and forced her gaze away from the intricate scrollery of the carving which led you round and round into places you didn’t want to go, and eventually, inevitably, back to the eye of the wolf. She checked out the high wall beyond for another exit gate but found none. What she did notice was that the sheep-grazed neatness and order which prevailed elsewhere was scutched here by an outcrop of briar and nettles and rosebay willowherb against a small section of the wall. As the gusting wind moved among this vegetation, out of the corner of her eye she got a brief impression of lines more regular than
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