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are alike, but the shouldering at the top of the shaft at Bakewell is absent at Eyam. To the immense advantage of the Eyam cross, it has the arms of the actual cross quite perfect.
The decoration of the east face of the shaft is of scrollwork, alternating in the direction of the curves, and having floriated leaf-work filling up the spaces left between the scrolls and the outside edges, as at Bakewell.
The lower part of the west face has two circles and part of another, connected by bands and filled in with interlacings of a remarkable character. Above are two niches with a figure in each; the spring of the arch of the niche, in both cases, is marked by the same architectural capping to the jambs as at Bakewell, but the arch in the upper panel has been broken off. The lower figure is seated, and bears a horn-shaped scroll across the body, the feet quaintly showing on the sill of the niche above the interlacing circle. The upper figure is also seated, and would seem to bear another instrument of music; the feet again show as in the lower figure.
In the centre of the cross is a bold circle in relief, containing a winged figure with hands seemingly meeting across the breast. The subject of the upper arm of the cross is too much worn to be distinguishable, those of the north and south arms are winged party-figures, each bearing either a sceptre or a cross.
Within the centre circle of the head, on the east side, is the carving of what appears to be the figure of the Blessed Virgin bearing the body of Our Lord. The three limbs of the cross are carved with winged figures in the act of blowing trumpets; the north one is not very plainly to be discerned.
Viewing this monument as a whole, and in its details, it may be said of it, as of that of Bakewell, that it is at once a great antiquarian treasure and a surprising work of art.
CROSS AT HOPE. The third local cross which claims our attention is that at Hope, a very extensive parish which formerly embraced part of Buxton itself, thus accounting for the absence of any large mediæval church or other structure in that town, which is now of so much importance. The quaint little structure of St. Anne's Church bears date 1625, and is said to have been a Chapel-of-Ease belonging to Bakewell. These circumstances form a striking instance of the uncertainty of ecclesiastical developments which time brings about.
The cross at Hope, now fixed in the garden of the Vicarage, differs materially in its general character and details from those at Bakewell and Eyam, though it is commonly accepted as belonging to the same class of work.
By the kindness of the Rev. Mr. Buckstone, the Vicar of Hope, a study of this cross has been allowed, and photographs of it specially taken. At this luxuriant time of year, when the garden foliage by which it is surrounded is full, it is not easy to examine it on all sides, but pains have been taken to produce as good general views as possible in the two photographs now produced. The general form of this shaft differs from the other two, in that its lower part, from the foot to the level of the head of the figure panel, is not so much sloped on the face, and the main tapering of the shaft begins at that level, and continues to the present top ; and there is also a marked change in the decoration at this point.
On the east face there is only one figure subject, at about the middle of the height of the shaft. For this subject a panel is margined out with straight sides, rounded corners, and slightly curved at the head and sill. The subject consists of two figures draped to the knees, with the stem of a staff, having cross-arms at the top; each figure has one hand placed across the staff, which stands between them. The shaft of this staff (if it be one) is not straight but of a crooked form, and it is possible it may represent the trunk of a tree, and that the cross-limbs are brauches which are carried down at the back of the figures. The carving of these figures is worn away so much that a venture as to their personation would be risky. The corresponding pair of figures on the west face at Bakewell will be in our recollection.
Below this panel is the form of two concentric circles,
interlaced by two diagonal bands, terminating by looped junctions beyond the circumference of the outer circle; making altogether a remarkably beautiful pattern, worthy of its place in a separate compartment in the design.
At the foot there is a panel, semicircular in the head and containing foliated leafage, and from this panel springs another of irregular form, also containing foliage.
Within a few inches above the central figure-panel, it will be seen that there is a mortar-joint running across the shaft, and that the small fragment of interlaced work immediately below the cross joint has no connection with the interlaced work above it. This seems to suggest that the lower fragment was something like a repetition of the circular work below the figure-panel, and that the shaft has, therefore, been somewhat lowered at the crossjoint. The upper part is of interlaced work, changing in its form as it reaches the summit.
The west face of the shaft has also a panelled-figure subject, again a pair, and seemingly embracing one another; and it may be they are a repetition of the pair of figures at Bakewell, suggested as representing the Salutation. Below this panel the double circles, with their intersections, described on the east face, are twice, and almost a third time, repeated. Immediately above the figure panel, a slight fragment of knot-work occurs in one of the void spaces, in which a pellet or disc is to be seen, a feature often met with but not understood. Then comes the mortar-joint already alluded to, and above this a large single figure, bearing a Calvary Cross over the shoulder. The head is crowned by a nimbus, and Christ bearing the Cross is probably the subject.
The south side in its lower part is filled between the edge-moulding with the stem of a tree, rising from the the base, with intertwining branches. Above this appears to be two interlacing serpents, the heads and tails of each being fairly indicated ; and at their summit there is the striking peculiarity of the edge-mould of the shaft being turned into a sort of canopy to the scroll work. Immediately above this is again a fragment of knot-work, reaching to the mortar-joint. The remainder of the