Gilt copper cross with enamelled silver plates, made in Italy, 1310-1320

Gilt copper cross ornamented with plates of engraved silver, originally covered with translucent basse-taille enamel. Circular bosses, also silver plated with traces of blue and red enamel, decorate the cross. Quatrefoil plates adorn each arm of the cross depicting saints and martyrs in enamel.

On the front of the cross, Mary is depicted on the left, St John, holding his hands in prayer is on the right. The top quatrefoil depicts a monk holding a martyr's palm and a book and at the bottom a bishop saint holds a crozier and raises his right hand in blessing (possibly Saint Louis of Toulouse). A figure of Christ Crucified in gilt copper is fixed to the centre of the cross. Behind his head is a silver plate engraved with a cross, with traces of blue and red enamel.

On the reverse of the cross, Christ in majesty is depicted in the centre. St Francis, standing outside a church, is shown on the left and St Michael, with a sword and dragon, is on the right. Two unidentified saints (a prophet with a scroll and a Franciscan friar holding a book) are placed in the lower quatrefoils.

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Historical significance: This object reflects the shifting popularity of Christian saints and martyrs in the medieval period. In the early middle ages, the classical saints provided the main focus of Christian worship. From the 13th century onwards however, recently canonised saints such as Thomas Becket (1118-70) and St Francis (1181-1226) grew in popularity. They displaced some of the more traditional saints as central representations of the Christian faith. For medieval people, 'Classical' saints such as Saint Paul (d. c.65AD) or Saint Catherine (4th century AD), were martyred in distant times, whilst 'new' saints were virtually or actually contemporary. Religious art evolved to reflect this change in emphasis and began to include many 'new' saints in its iconography.

The crucifix bears many similarities to a gilt copper cross in the British Museum (Museum number 1855,0731.3). The iconography and the style of the crosses are remarkably similar, however, the techniques used are quite different. The V&A piece is made of basse-taille enamel, whereas the enamel on the British Museum cross is champlevé enamel. Nevertheless it is possible that the two crosses were produced by the same artist.

This cross was probably made in Tuscany, perhaps in Siena. Some consider it to have been made by the artist of similar crosses in the Vatican Museum- the maestro vaticani. The Sienese masters provided the best quality goldsmithing of the period. A study of the iconography of the work suggests that it was made for the Franciscans,whose cult was prevalent in Tuscany. However we do not know for whom it was specifically intended.

This object may have been used as either a processional or an altar cross, or perhaps in both capacities. Processional crosses were used in the procession of the priest through the church at the beginning and end of the mass. Crosses of this type often featured Christ crucified on the front and Christ in majesty on the back. The arms of the cross were usually decorated with important religious figures and popular saints. Altar crosses had a similar design and function, and were placed upon the altar during the mass.

Attributed to 15th century on acquisition

This cross was probably made in Tuscany, perhaps in Siena. Some consider it to have been made by the artist of similar crosses in the Vatican Museum- the maestro vaticani. The Sienese masters provided the best quality goldsmithing of the period. A study of the iconography of the work suggests that it was made for the Franciscans,whose cult was prevalent in Tuscany. However we do not know for whom it was specifically intended.

The iconography of this crucifix reflects the shifting popularity of Christian saints and martyrs in the Medieval period. In the early Middle Ages, the Classical saints provided the main focus of Christian worship. From the 13th century onwards however, recently canonised saints such as Thomas Becket (1118-70) and St Francis (1181-1226) grew in popularity. They displaced some of the more traditional saints as central representations of the Christian faith. For medieval people, 'Classical' saints such as Saint Paul (d. c.65AD) or Saint Catherine (4th century AD), were martyred in distant times, whilst 'new' saints were virtually or actually contemporary. Religious art evolved to reflect this change in emphasis and began to include many 'new' saints in its iconography.

5414-1859