altar cross, silver-gilt on a wooden core, Italy, probably Siena, 1490, possibly Antonius Federici

Altar cross of silver-gilt plaques nailed to a wooden core; the enamelling that would originally have coloured the plaques now completely lost. The plaques on the front of the cross, from top to bottom and left to right, represent: God the Father, holding an orb and his right hand raised in a gesture of blessing; the Virgin Mary; the pelican in her piety; St John; Mary Magdalen. The crucified figure of Christ that would have been applied over the image of the pelican in the centre of the cross is missing. On the reverse of the cross, from top to bottom and left to right: Evangelist symbol of an eagle, for St John; Evangelist symbol of an angel, for St Matthew; applied gilt figure of a bishop; Evangelist symbol of a winged lion, for St Mark; Evangelist symbol of an ox, for St Luke. The figure of a bishop-saint (St Martin?), one hand raised in blessing, the other holding a crozier (the crook missing) is applied to the quatrefoil plaque in the centre of the cross.

Dr W.L. Hildburgh Bequest

Nothing is known of the early history of the cross. It was given to the Museum in 1956, together with several other crosses and religious objects, by W. L. Hildburgh. In 1966 plaques on the cross were subjected to spectographic analysis by the Assay Office at Goldsmiths' Hall (London). The results indicated 'that the silver is of an early period, certainly [...] earlier than the second half of the 16th century [...] the silver is a very low standard' (letter dated 28th February, 1966, to the Keeper of the Metalwork Department, Charles Oman: see register in Metalwork Section).
The identity of 'Antonius Federici' is unclear. The verb 'fecit' ('made') is ambiguous and could refer to the goldsmith and/or enameller responsible for the work, or the patron who commissioned the cross. There is no 'Antonius (or 'Antonio') Federici' listed as a goldsmith in Machetti (1929) or Milanesi (1854). He is not to be confused with the sculptor and architect 'Antonio Federighi' who was employed for the building works of Siena cathedral in the 1450s (Milanesi: 1854, II, pp. 436-37; Richter: 2010, 'Federighi, Antonio'). No clear candidate for patron in late-fifteenth-century Siena has emerged, either.

Historical significance: This particular altar cross is unusual because it includes a dated inscription which refers either to the patron or to the maker. Its materials, construction, form and iconography are consistent with many other examples of Tuscan crosses that have survived from this period (see for instance in Baracchini: 1993, vol. II). The raised hands of the Virgin are a form of mourning gesture which by the late-fifteenth-century was beginning to replace the earlier gesture of raised, clasped hands. St John's hands outstretched in mourning represent are less usual, as by this date he tends to place one hand on his chest (for the gestures of both saints, see Baracchini: 1993, II, nos 166 and 168). It is unfortunate that the translucent enamel that would originally have coloured the applied plaques has now disappeared.

M.502-1956