He was led to this conclusion not by the ornamentation, but rather in spite of it; and in consideration of the runic inscriptions, which he declared had not only passed out of date on funeral monuments as late as the year 1000, but as he read the name of Alcfrid on the Bewcastle Cross, he inferred both that and the Ruthwell Cross to be productions of the latter half of the seventh century. The inscription, of which we will treat more particularly later on, is to the effect that the obelisk was raised to the memory of Alcfrid, son of that King of Northumbria, who decided to celebrate Easter according to the Roman precept. Alcfrid died about the year 664, and thus when we consider the similarity of the ornamentation, and the character of the runes on both obelisks, there seemed good reason for the above inference.

Dr. Haigh further remarked that the scroll-work on the east side of the Bewcastle monument, and on the two sides of that at Ruthwell was identical in design, and differed very much from that which he found on other Saxon crosses. In fact, he knew of nothing like it, except small portions on a fragment of a cross in the York museum, on another fragment preserved in Yarrow Church, and on a cross at Hexham. There are, however, several other such stones which were unknown to Dr. Haigh, and engravings of them may be seen in Dr. John Stuart's magnificent work on The Sculptured Stones of Scotland.

At Carew, in Pembrokeshire, runic crosses of the Saxon period without figures may be seen, and there is a runic cross at Lancaster with incised lines and a pattern in relief, supposed to be of the fifth or sixth century. The sculptured stones of Meigle in Scotland have no runes. Runes were, as it is well known, the characters used by the Teutonic tribes of northwest Europe before they received the Latin alphabet. They are divided into three principal classes, the Anglo-Saxon, the Germanic, and the Scandinavian, bearing the same relation to each other as do the different Greek alphabets. Their likeness to each other is so great that a common origin may be ascribed to all. They date from the dim twilight of paganism, but were for a time employed in the service of Christianity, when after being imported into this country where they were first used in pagan inscriptions cut into the surface of rocks, or on sticks for casting lots, or for divination, they were at last made to express Christian ideas on grave crosses or sacred vessels.

"In times," says Kemble,* "when there was neither pen, ink, nor parchment the bark of trees and smooth surfaces of wood or soft stone were the usual depositaries of these symbols or runes—hence the name run-stafas, mysterious staves answering to the Buchstaben of the Germans.

* Archaeologia, vol. xxviii. On Anglo-Saxon Runes.

We may observe in passing, that the word Buchstaben, beech-staves, is a direct descendant of these wooden runes.

As early as 1695 antiquaries were busy with the Ruthwell Cross, but at the beginning of the nineteenth century profound ignorance still reigned in regard even to the language which the runes were intended to convey. Bishop Gibson, in his additions to Camden's Britannia, described the cross vaguely as "a pillar curiously engraven with some inscription upon it." In a second edition this reads, "with a Danish inscription." Later it was thought to be Icelandic, and it was Haigh who first thought that Caedmon and no other was the author of the runic verses which he deciphered, considering that there was no one living at the period to which he assigned the monument, who could have composed such a poem but the first of all the English nation to express in verse the beginning of created things.

In 1840, Kemble published his Runes of the Anglo-Saxons, showing that the Ruthwell Cross was a Christian monument, and that the inscription was nothing less than twenty lines of a poem in Old Northumbrian or North English.

Meanwhile, in 1822, a German scholar, Dr. Friedrich Blume, had discovered in the cathedral library at Vercelli in the Milanese six Anglo-Saxon poems of the early part of the eleventh century, which discovery aroused great interest both in Germany and in England. Blume copied the manuscript, and Mr. Benjamin Thorpe printed and published it. The learned philologist Grimm again printed the longest of the poems in 1840, but it was Kemble who identified the fourth poem of the series The Dream of the Rood with the runic inscription on the Ruthwell Cross, and it was he who first suggested that all the poems in the Vercelli Codex, consisting of 135 leaves, were by Cynewulf, who like Caedmon was a Northumbrian, and lived in the second half of the eighth century. It was Kemble also who first gave The Dream of the Rood a modern English rendering.*

* A translation of the fragment in Old Northumbrian had indeed been attempted at the beginning of the nineteenth century by Mr. Repp and also by a disciple of the great Fin Magnusen, Mr. J. M. M'Caul, but the least said about these versions the better, both being wide of the mark. Being imperfectly acquainted with Old English they made the most absurd statements regarding the purpose the monument was supposed to have served.