Some scholars (such as Duval and Bober) have suggested that Cernunnos's distinctive iconography persisted into the medieval period. Cernunnos has been seen on Christian monuments from Ireland, such as the north cross at Clonmacnoise, the market cross at Kells, and a stele at Carndonagh. The figure identified as Cernunnos on the 9th-century Clonmacnoise north cross appears to have horns and crossed legs; Fickett-Wilbar argues that these are misidentified ornamental motifs. On the Continent, Cernunnos has been seen in the Stuttgart Psalter and on a capital of Parma Cathedral. A leaf from the Stuttgart Psalter depicts the Descent into Limbo, with a devil figure (perhaps Hades) whom Bober identifies as of the Cernunnos-type, "complete with cross-legged posture, antlers, and even a ram-headed serpent", though J. R. M. Galpern identifies the features on the devil's head as wings, and connects them with motifs from Late Antique and Roman funerary art.
Some scholars (such as Duval and Bober) have suggested that Cernunnos's distinctive iconography persisted into the medieval period. Cernunnos has been seen on Christian monuments from Ireland, such as the north cross at Clonmacnoise, the market cross at Kells, and a stele at Carndonagh. The figure identified as Cernunnos on the 9th-century Clonmacnoise north cross appears to have horns and crossed legs; Fickett-Wilbar argues that these are misidentified ornamental motifs. On the Continent, Cernunnos has been seen in the Stuttgart Psalter and on a capital of Parma Cathedral. A leaf from the Stuttgart Psalter depicts the Descent into Limbo, with a devil figure (perhaps Hades) whom Bober identifies as of the Cernunnos-type, "complete with cross-legged posture, antlers, and even a ram-headed serpent", though J. R M. Galpern identifies the features on the devil's head as wings, and connects them with motifs from Late Antique and Roman funerary art.