Though decorated with an abundance of crosses, the stele was not immediately interpreted as a crucifixion, or even necessarily Christian. German art historian , for example, conjectured in 1935 that the cross was a syncretic monument, combining native Germanic and Christian symbols, and was pessimistic about the possibility of its interpretation. Historians and , while admitting the stele as Christian, denied that it represented a crucifixion. For Lehner, the human figure was perhaps the deceased. Böhner thought the hand placement was incompatible with a crucifixion image. The figure does pose some difficulties. It seems to stand in front of the cross rather than being affixed to it. Art historian Lynda Coon has described the figure as "free-floating" and "struggling to pull his human form out of the funerary rock". The hanging arms, bent at the elbows, are an almost unknown stylistic choice if this is a crucifixion. They are incompatible with the traditional crucifixion pose, in which Jesus is nailed to the cross by his wrists or hands. Furthermore, the figure's stare is rendered with an intensity that hardly suggests a dying Jesus. . Nonetheless, art historian confidently identifies the figure with the crucified Jesus. The
nimbus of three crosses surrounding the figure's head is a sure sign that the figure is a holy one, and not the deceased. In the
early medieval period, the crucifixion (and more generally the
passion of Christ) was not nearly as popular a subject as it would become later, so the peculiar treatment is to be understood. The figure can be compared to other early medieval depictions of the crucifixions, such as that on the (probably 9th or 10th century) Irish
Carndonagh stone, which depict Christ as lively and standing during the crucifixion. The Carndonagh stone, in particular, also depicts Christ with a bulbous head and an intense stare. The comparison to
Insular high crosses also troubles the identification of the monument as a gravestone. Many high crosses were erected in graveyards without necessarily being gravestones. While Coptic and Insular analogues of (and likely, influences on) the stele can be found, the Moselkern stele is a valuable and unique material representative of Frankish Christianity in the 7th century. Elbern describes it as one of the earliest sculptures of Christ on the cross north of the Alps. It has also been appreciated for its art historical value. Elbern saw a unified design and sophisticated religious theme in the stele. Coon has described the stele as "present[ing] [Jesus as] a human figure overwhelmed by the stark geometry of the cross and by the cosmic proportions of a disembodied god", contrasting it thematically with the Christ image on the
Niederdollendorf stone and the
Hypogée des Dunes crucifixion relief. ==See also==