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Processional Cross thumbnail 2
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Processional Cross

ca. 1550 (made)
Artist/Maker
Place of origin

The cross is the central emblem of Christianity and the symbol of Christ’s Crucifixion. It first appeared about 350, possibly for use in private prayer. A cross was often put on the altar during the Mass, but crosses were also carried in procession before a service, and on ceremonial occasions such as funerals. In early times, people held them in their hand, but later they raised them high on poles.

From its size and knop (the protrusion on the stem) this is clearly a processional cross. The decoration on the front includes the heads of Sts Peter and Paul and the symbols of the Evangelists – the eagle of St John, the ox of St Luke, the angel of St Matthew and the lion of St Mark. The Virgin of the Assumption is depicted on the back.

Object details

Categories
Object type
Materials and techniques
Silver, chased, cast and engraved
Brief description
Processional cross, Spain, ca.1550
Physical description
Cross made of silver plates mounted on a wood base and with arms of elongated baluster shape with pointed ends of oblong section.; the ends of the arms are each decorated with three turned finials in scroll shaped supports; there are similar finials in the angles of the arms. The edges of the plates at front and rear are decorated with cast, pierced scrollwork. The front plates are repousse and chased with scrollwork, foliage and fruit involving half length figures of the Four Evangelists with their symbols, and three bearded heads. Nailed to the front is a raised and chased figure of Christ. The rear plates are chased and repousse with fruit and foliage, a bird, half length figures of angels holding the symbols of the Passion and four strapwork frames containing busts, two in classical armour, two in mid- sixteenth century costume. Applied in the centre is the cast and chased figure of the crowned Virgin standing on a crescent supported by a cherub's head, and surrounded by six flying angels. The lower end of the cross fits in to an oblong socket on top of the large knop of flattened globular shape. This last is writhen, partly engraved with hatched tracery and encircled by six lozenge- shaped bosses each containing a cast and a chased head. Tapering socket of circular section embossed with a quatrefoil; there is a flange at the bottom.
Dimensions
  • Height: 35.25in
  • Width: 21.625in
Gallery label
(22/11/2005)
Processional Cross
The cross is the central emblem of Christianity and the symbol of Christ’s Crucifixion. It first appeared about 350, possibly for use in private prayer. A cross was often put on the altar during the Mass, but crosses were also carried in procession before a service, and on ceremonial occasions such as funerals. In early times, people held them in their hand, but later they raised them high on poles.

From its size and knop (the protrusion on the stem) this is clearly a processional cross. The decoration on the front includes the heads of Sts Peter and Paul and the symbols of the Evangelists – the eagle of St John, the ox of St Luke, the angel of St Matthew and the lion of St Mark. The Virgin of the Assumption is depicted on the back.

Burgos, Spain, about 1550 (knop and socket
about 1510); maker’s mark ‘BAL, PEZ DO FE’
Silver on wood
Museum no. M.189-1956. Hildburgh Bequest (8)
Credit line
Dr W.L. Hildburgh Bequest
Object history
Hildburgh Bequest. Bought in Paris 1923.
Historical context
Altar and Processional Crosses

The cross is the distinctive emblem of Christianity and the symbol of Christ's crucifixion. Models of the cross begin to appear from about 350 AD, probably for use in private prayer. Only from about 1000 was a cross regularly placed on the altar during Mass; a more ancient custom was to suspend a cross above the altar or to place one beside it. Crosses were also carried in procession before a service. In early centuries these were hand-held, later replaced by more visible crosses raised on staffs.

Both ltar and processional crosses were generally made of precious or gilt metal, or ivory, and decorated with gems. From about 800 they were adorned with the image of the crucified Christ and became known as crucifixes. By about 1100 the iconography of European crosses had become established, usually including the symbols of the four Evangelists, often with the Virgin Mary and St John the Evangelist flanking the figure of Christ crucified.
Summary
The cross is the central emblem of Christianity and the symbol of Christ’s Crucifixion. It first appeared about 350, possibly for use in private prayer. A cross was often put on the altar during the Mass, but crosses were also carried in procession before a service, and on ceremonial occasions such as funerals. In early times, people held them in their hand, but later they raised them high on poles.

From its size and knop (the protrusion on the stem) this is clearly a processional cross. The decoration on the front includes the heads of Sts Peter and Paul and the symbols of the Evangelists – the eagle of St John, the ox of St Luke, the angel of St Matthew and the lion of St Mark. The Virgin of the Assumption is depicted on the back.
Bibliographic references
  • Oman, Charles. The Golden Age of Hispanic Silver 1400-1665. London: Her Majesty's Stationery Office, 1968.
  • Chamorro, Julián Blázquez. La Platería de la Catedral de Ávila. (Ávila: Cabildo Catedral de Ávila, 2003)
  • Casaseca, Antonio. La platería en la época de los Austrias Mayores en Castilla y León. (Valladolid: Junta de Castilla y León, 1999)
  • Réau, Louis. Iconografía del Arte Cristiano. Iconografía de la Biblia, Nuevo Testamento. Tomo I, Vol. 2. (Barcelona: Ediciones del Serbal, 1996)
  • Delgado, María Josefa Parejo. 'La iconografía de la Inmaculada Concepción en las parroquias sevillanas'. In La Inmaculada Concepción en España: religiosidad, historia y arte: actas del simposium, 1/4-IX-2005 / coord. por Francisco Javier Campos y Fernández de Sevilla, Vol. 2, (San Lorenzo del Escorial, 2005)
  • Pérez, Reyes Escalera. 'La evolución iconográfica de la Inmaculada Concepción. Del concepto abstracto a la concreción plástica'. In Romero Torres , José Luis y Castellanos, Jesús (coords.), Tota Pulchra. El arte de la Iglesia de Málaga (pp.43-61). (Junta de Andalucía, 2020)
  • Lucía Gómez-Chacón, Diana. "Arma Christi", Base de datos digital de iconografía medieval. (Madrid: Universidad Complutense de Madrid, 2017)
Collection
Accession number
M.189-1956

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Record createdMarch 18, 2005
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