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.