Leeds Cross

Made primarily out of sandstone, the cross has an older base and an artistic style consistent with Anglo-Scandinavian and Anglo Saxon sculpture.

Overall, the Leeds Cross important example of Anglo-Saxon and Anglo-Scandavian sculpture and stands out as a likely hybrid of the two styles, possibly indicating a cultural shift in the region.

The Leeds Cross is identified as an example of Anglo-Scandinavian sculpture due to its vine scrolls splitting into panels, a common differentiation indicative of a translation of the style from Anglo-Saxon to Anglo Scandinavian.

In the reconstruction of the church, the architect, Robert Chantrell, noticed a collection of carved stones built into the medieval architecture, some of them forming the cross.

[3] The Leeds Cross was found due to a policy Chantrell enacted while demolishing the old church, which was to pay particular attention to finding and attempting to save stones with carvings on them.

[1] What is assumed, due to archeological evidence, is that Anglo-Saxon and Anglo Scandinavian culture mixed during this time, which can be seen in the Leeds Cross.

In addition, the matter of assembly raises questions about the validity and whether or not the final form of the Leeds Cross is the proper and original representation of the item, especially since modern reconstruction seemingly obscured several parts of the iconography.

[2] The cross contains the most complete example of a number of depictions of the legendary smith Weland and Beaduhild, the mother of his child, from tenth-century Yorkshire.

[2] The Leeds Cross contains interlaced vine decor throughout and consistently, but further analysis of the iconography beyond the figure of Weland, remains unclear.

[2] The bird depicted above the man, the possible book he holds in the partially destroyed side of the panel, as well as a disk-like halo behind his head seemingly confirming this.