Sabine Baring-Gould - A Book of Cornwall

This shows that, in the first place, among the Anglo-Saxons there were no churches except the cathedral and the monastic church, and no parochial clergy. Bede does not actually say that there was a cross set up from which the itinerant clergy preached, and to which the faithful resorted for prayer, but this additional fact we have learned from Walpurga.

So we come to this very interesting conclusion, that the village cross preceded the parish church . The crosses were, in fact, the religious centres of church life, and we ought accordingly to value and preserve them with the tenderest care. A great many of those that we have now on our village greens are comparatively modern, and date from the fourteenth or fifteenth century, but there still remain a vast number, not in the midst of a village, but on moors and by highways of an extremely early description, and which most assuredly have been the scene of many a primitive "camp meeting" in the fifth and sixth centuries.

On Sourton Down beside the road stands a cross of very coarse granite. On it is inscribed PRINCIPI FIL AVDEI, and above it an early and rude cross of Constantine. Some time in the Middle Ages the rudeness of the stone gave dissatisfaction, and its head was trimmed into a cross.

A third occasion for the erection of crosses was as waymarks. Across Dartmoor such a succession of rude crosses exists where was what is called the Abbot's Way from Buckfast to Tavistock and to Plympton. But there are others not on these lines, and such may have served both as guiding marks and also as stations for prayer. That the monks of Buckland-and Buckland goes back to pre-Saxon times-did go out to the moor and there minister to the tin-streamers or squatters and shepherds, I cannot doubt, and accordingly look with much emotion at these grey monuments of early Christianity.

The interlaced work which is found on some of the crosses is of the same character as the ornamentation in the early Irish MSS., and it was adopted from the Celtic clergy by their Anglian and Saxon converts.

But whence came it?

We know that the Britons delighted in plaited work with osiers, and it was with wattle that they built their houses, their kings' palaces, and defended their camps. By constant use of wattle through long ages they became extraordinarily skilful in devising plaits; and when they began to work on stone they copied thereon the delicate interlaced work they loved to exhibit in their domestic buildings.

The various plaits have been worked out by Mr. A. G. Langdon in his admirable study of the Cornish crosses. At a meeting of the British Association he exhibited a hundred drawings of different crosses, etc., illustrative of a paper read by Mr. J. Romilly Allen on "The Early Christian Monuments of Cornwall." When some incredulity was expressed as to there being so many examples in that county, Mr. Langdon explained that not only did all these come from Cornwall, but that the examples brought before the Association represented only about one-third of the whole number known to exist. And since that date a good many more have been noticed. The variety in design of the crosses is very great indeed. Some affect the Greek cross, some the Latin; some are with a figure on them, some plain, others richly ornamented. But what is remarkable about them is, in the first place, they are nearly all in granite, a material in which nothing was done from the seventh century down to the fifteenth, as though the capability of working such a hard intractable stone had been lost. And, in the second place, the ornamentation is in the lost art of plaiting, of the beauty and difficulty of which we can hardly conceive till we attempt it. There is first the four-string plait, then that with six, and lastly that with eight. Then three strings are combined together in each plait, then split, forming the so-called Stafford knot; the knot and the plait are worked together; now a loop is dropped, forming a bold and pleasing interruption in the pattern. Then a ring is introduced and plaited into the pattern; then chain-work is introduced; in fact, an endless variety is formed, exercising the ingenuity of the artist to the uttermost. It would be an excellent amusement and occupation for a rainy day in an hotel for the tourist to set to work upon and unravel the mysteries of these Celtic knots.

The old interlaced work, or the tradition of it, seems to have lingered on in the glazing of windows, and some very beautiful examples remain in England and in France. Mr. Romilly Allen points out: -

"In Egyptian, Greek, and Roman decorative art the only kind of interlaced work is the plait, without any modification whatever; and the man who discovered how to devise new patterns from a simple plait, by making what I term breaks , laid the foundation of all the wonderfully complicated and truly bewildering forms of interlaced ornament found on such a masterpiece of the art of illumination as the Book of Kells . Although we do not know who made the discovery of how to make breaks in a plait, we know pretty nearly when it was made." 4 4 Archæologia Cambrensis , January, 1899. See also A. J. Langdon, "The Ornament of the Early Crosses of Cornwall," Journal of the Royal Institution of Cornwall , vol. x. (1890-1).

He goes on to show that the transition from plaitwork to knotwork took place in Italy between 563 and 774. But is that not a proof of introduction into Italy, and not of its discovery there? I am rather disposed to think that partly through the adoption of the osier wattle in domestic architecture, partly through the employment of the tartan, the plait in all its intricacy was a much earlier product of the genius of the Celtic race.

There is a pretty story in the life of an early Irish saint. He had been put at school, but could not learn. At last, sick of books, he ran away. He found a man at work with willow rods, weaving them to form the walls of a house he was building. He dipped them in water, and laced them in and out with wonderful neatness, patience, and dexterity. And the boy, looking on, marvelled at it all, took it to heart, and said to himself, "These osiers flip out; but when there are patience and skill combined, they can be made into the most exquisite patterns, and plaited together into a most solid screen. Why may not I be thus shaped, if I allow myself to be bent, and am docile in my master's hands?" So he went back to school.

The ancient camps-Their kinds-1. Rectangular, Roman-2. The Saxon burh-3. The Celtic circular or oval camp-The lis and the dun -4. Stone fortresses-Heroic legends in Ireland-The Firbolgs-5. The stone castle with mortar, Norman-No good examples.

Anyonewith a very little experience can at once "spot" a camp or castle by the appearance from a distance of a hill or headland; and the traveller in Devon and Cornwall will pass scores of them, as he will see by his Ordnance Survey Map, without giving much attention to them, without supposing that they can be of great interest, unless his attention has been previously directed to the subject. It is a pity that anyone should go through a country which may really be said to make ancient camps and castles its speciality and not know something about them.

Of hill castles or camps there are several kinds: -

1. Those that are rectangular or approximately so, and which have been attributed to the Romans. Of these in Cornwall there are but few. Tregear, near Bodmin, and Bossens, in S. Erth, have yielded Roman coins and relics of pottery; but whether actually Roman or Romano-British remains undecided.

2. There are those which consist of a tump or mound, sometimes wholly artificial, usually natural, and adapted by art, and in connection with this is a bass-court, usually, but not universally, quadrilateral. This was the Saxon type of burh ; it was also that of the Merovingian. The classic passage descriptive of these is in the Life of S. John of Terouanne , written in the eleventh century: -