Crossing Glances

The Use of Multivalent Iconography in the Analysis of the Gosforth Cross, Cumbria

Abstract

This paper examines the Gosforth Cross, a tenth-century monument from 
Cumbria, through a comprehensive art historical lens, arguing that it is 
characterized by a multi-faceted iconographical program that interweaves 
Christian iconography with Norse mythology. It posits this complex 
iconography as a critical interpretive tool for analyzing findings related to 
visual syncretism, showcasing the evident religious integration of these two 
cultures, particularly in the high crosses of the Insular (British Isles and 
Ireland) region during the early medieval period (c. 750–1050 AD). The 
paper delineates how the narrative program of the Gosforth Cross reveals the 
unique content of the depictions carved on its surface. While the monument 
is Christian in appearance and location, its content is exclusively drawn from 
narratives from Norse mythology relating to Ragnarok, the Norse apocalypse. 
The only distinctly Christian motif identified at first glance is the depiction 
of the Crucifixion, situated within a rectangular frame at the center of the 
eastern register of the cross. However, a comparative analysis of the figurative 
descriptions with Christian sources allows for the identification of Christian 
narratives within the iconographical program, indicating that the cross was 
designed as a deliberate interweaving of narratives from two different cultures 
dealing with a similar theme—the end of days. This approach not only 
evidences the syncretic integration process involving visual outputs, but also 
highlights the essential role of multi-faceted iconography in navigating and 
conveying complex cultural and religious narratives.