The cross-head at Mitton, Yorkshire (Figs. 194, 195), is peculiar inasmuch as the crucifixion is sculptured on both faces, but in totally different fashions. That on the west face has the arms stretched horizontally, within a sexfoil frame, and might well be of the thirteenth century. Whereas the sculpture on the east face, though much more weatherworn, is of a style that could not have been designed before the late-fourteenth, or perhaps even the fifteenth century. The arms of the Christ in this instance are drawn upwards in an unusually oblique direction. It is impossible that these two representations could have been executed at one and the same date. The circular outline of the head, too, is peculiar, and suggestive rather of a gable-cross than of a standing cross. Possibly the west face only was sculptured in the first instance, for a gable-cross, the sculpture on the east face being added later in order to adapt the stone for the head of a churchyard cross. Anyhow, since Buckler's drawings were made, the head has been mounted on a modern shaft and pedestal. [Illustration: 197. BISLEY, GLOUCESTERSHIRE MONUMENT IN THE CHURCHYARD] A very strange socket, comprising two stages, both cylindrical with a slight batter, stands to the north of the church in the churchyard at Ripley, Yorkshire (Fig. 196). The topmost stage is about 2 ft. 3½ in. high, and the diameter of its upper bed is 2 ft. 9 in. It has had sunk into it, from the shaft of a cross, a mortise 8½ in. deep by 18 in. by 10 in. The bottom stage is 2 ft. high by about 4 ft. 8 in., the diameter of its upper bed, which varies from 6 to 7½ in. wider all round than the foot of the upper stage. A most peculiar feature is the series of eight cavities averaging 6 in. deep and from 14 to 17 in. high, by 7 to 10½ in. wide at the top. It cannot be that these cavities were receptacles for offerings, for eight of them would be largely in excess of any reasonable requirements of alms-gathering. It has been called a "weeping cross" on the supposition that the hollows were meant for penitents to kneel in. But this again cannot be, for the spaces available are not nearly large enough for such a purpose. It may be that the bottom stage of the Ripley cross is, after all, nothing else than the inverted bowl of a font, and the hollows surrounding it niches for statuary. The problem, however, is one which has not hitherto been satisfactorily explained. [Illustration: 198. ST LOYE'S, WONFORD, DEVONSHIRE]