The Latin Cross

Christianity and the Christian organization developed rapidly under Constantine the Great. The place in the polity which the Church claimed for herself and which Constantine was inclined to allow to some extent was undoubtedly the reason for the search and of course finding a symbol that could serve for the Christianity as an institution. [1] The Latin cross was found suitable for this. It is in the shape of the wooden pole with crossbar on which death sentences were carried out in the Roman Empire. Christ's execution on such a cross became the focus around which his followers grouped in the early centuries of our era, and to this was further contributed by many of them suffering the same fate. It is the medium with which the Christ has accomplished His divine commission. Accordingly, the Church Fathers declared the cross as the cosmic sign of the world rulership of Christ, and its four arms stretched out "across the breadth, length, height, and depth." [2]

The Latin cross is described by Eusebius as “A long, gold-studded pole, with a crossbar to form a cross.” [3]. The 1st (ecumenical) Council of Nicæa in 325 is most suitable for accepting the Latin cross as a symbol of Christian spiritual authority, also because Lactantius does not (yet) speak about the Latin cross. This Council also sought to set a uniform date for the celebration of Easter and to reconcile the different churches. A Latin cross, according to Eusebius, was erected by Constantine himself in the palace: “… in the royal part of the imperial palace itself, on the most lofty building of them all and in the center of a gilded dome on the roof and in the middle of a very large a broad plate was the sign of the saving Passion, made of many and different precious stones and set in much gold. This appears to have been made by the God Beloved as a protection for his kingdom ” [4] It probably looked like the cross in the apse of the S. Giovanni in Laterano in Rome. [5] A quarter of a century later, around 350, the 'find' of the cross on which Christ is said to have been executed also followed. This is mentioned under Constantius II (337-361) by Cyril of Jerusalem. [6] Later, in the open court between the basilica and the domed church of the Holy Sepulcher in Jerusalem, a large metal commemorative cross was erected, presumably of the model found on a mosaic in the S. Pudenziana in Rome: a straight Latin cross, the ends of the arms bent slightly outwards. [7] It was gilded and decorated with precious stones by Theodosius II in 417. Later emperors also had gold crosses made that were placed in a special place. Such a cross is, for example, the so-called Imperial cross (ca. 1024-1025, r. Conrad II (1024-‘39). [8]

Latin Crosses

Santa Pudenziana,  390 AD ca

The Latin Cross

The cross surrounded by the emblems of the evangelists and an enthroned Christ. Heavily restored in the 16th century which explains the fact that Christ has a full beard (which is absent in Santa Costanza.

The apse mosaic, depicting Christ surrounded by the apostles, dates back to around 390 but is not the oldest surviving apsidal mosaic in Rome, a primacy that belongs to those of the two apses of Santa Costanza (360). A part of the mosaic was destroyed during the renovation works by Francesco Capriani known as Volterra, who sacrificed part of the lower area by affecting the figures of some apostles, and perhaps an Agnus Dei reported in some sixteenth-century drawings.

The mosaic depicts Christ enthroned surrounded by the apostles (ten remained, the others probably disappeared with the sixteenth-century renovations) and two women who offer him a crown each, whose identity is the subject of discussion: according to some they are the saints Pudenziana and Praxedes, daughters of Pudente; according to others they would represent the "Church" and the " Synagogue", that is, the temples of Christians and Jews; according to a third interpretation, the two allegorical female figures would be the Church of the Jews and the Church of the Gentiles who offer crowns to Christ, as was customary to offer them to Roman Emperors. Only the figure of Christ has a halo , and holds an open book in his hand, on which the inscription DOMINUS CONSERVATOR ECCLESIAE PUDENTIANAE stands out..[9]

Goldcoin of Libius Severus, 461 AD

Goldcoin of Anthemius, 467 AD

Sant’Apollinare in Classe Ravenna, apse (549 AD)

S. Stefano Rotondo, Apse. Roma. 7th century

Photo H.d.V. 2010

San Salvatore. Spoleto, , apse

Lombard, 8th century

All that remains of the internal decoration are stuccos on the counter-façade and some elements of the pictorial apparatus in the apse. Here, on the bottom of the central niche, a jeweled cross is painted from whose arms chains with the A and the Ω hang, flanked by false marble squares enclosing clypei, similar in all respects to that depicted between the two angels in the cell of the Tempietto on the Clitunno.

Cross of St. Eloi, or of Charles the Bald (840 -  877)

Mass of St. Giles, National Gallery, London

The most famous gift of Dagobert I (629-639) to Saint Denis, the cross of Saint Eloi was already admired by the Carolingians. Indeed, according to the author of the Gesta Dagoberti I. Dagobert gave the order to make a large cross of pure gold and of the most precious  gems which would be placed behind the golden altar; Blessed Eloi, considered at that time as the best goldsmith in the kingdom, decorated this cross.

In the 12th century Suger found this cross above the high altar next to the escrain of Charles the Bald. The cross of Saint Eloi remained on the high altar until 1610, when the choir was modified for the coronation of Marie de Medicis. The cross was destroyed during the Revolution, but a 10 ´ 9.2 cm piece was taken as a sample.

Latin in shape, comparable to that of the mosaic of St. Apollinaris in Classe in Ravenna, the cross was nearly 2 meters high and very narrow. Its ends were slightly broadened, while the crossing of the arms was widened to form a disc. [10]

Cruz de la Victoria, Oviedo, 866

This cross was made by frankish goldsmiths by order of Alfonso III the Great of Asturias (866-910). Mentioning this fact is an inscription on the reverse of the cross together with the motto "HOC SIGNO TVETVR PIVS. HOC SIGNO VINCITVR INMICVS"

The other imscriptions read:

Pleasantly received, may this remain in honor of God, offered by the servants of Christ, Alfonso the prince and Jimena the queen. Whoever tries to snatch this gift of ours, may he perishe by the divine ray. This work was completed and awarded to the San Salvador headquarters of Oviedo. By this sign the pious is protected. By this sign the enemy is defeated. And it was made in the castle of Gauzón in the year 42 of our reign, passing the Era 946 (year 908). "

The Ardennes Cross ca. 825-’50.

H.: 72 cm. Nürnberg, Germanisches Nationalmuseum

The Ardennes Cross is a lecture cross from the Carolingian era, which supposedly came from a monastery in the Luxembourg Ardennes and has been in the Germanic National Museum in Nuremberg since 1894 (inventory number KG 763).

The cross was probably made in northern France in the 2nd quarter of the 9th century by an unknown craftsman. It is 73 cm high, made of wood, studded with gold and set with a few precious stones.

The byzantine procressional crosses are of a thoroughly differen design, not derived from the Santa Pudenziana Cross, but crosses patée bottony. They have no foot but a point to carry it on a staff.

Byzantine Processional Cross.10th  cent.

n° 22 p. 58   [11]

Byzantine Processional Cross. Second half 10th cent

n° 23 p 59

Byzantine Staurotheke (back) 975-1025

n° 38 p. 79

994-1001 Byzantine Processional Cross.

The front a crucifix

n° 232 p. 344

Cross of Lothair  1000 ca

The Cross of Lothair or Lothair Cross (German: Lotharkreuz) is a crux gemmata (jewelled cross) processional cross dating from about 1000 AD, though its base dates from the 14th century. It was made in Germany, probably at Cologne. It is an outstanding example of medieval goldsmith's work, and "an important monument of imperial ideology",forming part of the Aachen Cathedral Treasury, which includes several other masterpieces of sacral Ottonian art. The measurements of the original portion are 50 cm height, 38.5 cm width, 2.3 cm depth. The cross comes from the period when Ottonian art was evolving into Romanesque art, and the engraved crucifixion on the reverse looks forward to the later period.

The Cross takes its name from the large engraved greenish rock crystal seal near its base bearing the portrait and name of the Carolingian ruler Lothair II, King of Lotharingia (835–869), and a nephew of Charles the Bald. The cross was actually made over a century after Lothair’s death for one of the Ottonian dynasty, the successors of the Carolingian dynasty; possibly for Otto III, Holy Roman Emperor.It appears to have been donated to the Cathedral as soon as it was made.

The Cross is still used in processions today. On high feast days it is carried into Aachen Cathedral where it is placed next to the main altar during mass. For the rest of the time it is on display in the Cathedral Treasury Museum.

The Cross of Mathilde (Crux Matildae) is an Ottonian processional cross in the crux gemmata style which has been in Essen in Germany since it was made in the 11th century. It is named after Abbess Mathilde (died in 1011) who is depicted as the donor on a cloisonné enamel plaque on the cross's stem. It was made between about 1000, when Mathilde was abbess, and 1058, when Abbess Theophanu died; both were princesses of the Owttonian dynasty. It may have been completed in stages, and the corpus, the body of the crucified Christ, may be a still later replacement. The cross, which is also called the "second cross of Mathilde", forms part of a group along with the Cross of Otto and Mathilde or “first cross of Mathilde” from late in the preceding century, a third cross, sometimes called the Senkschmelz Cross, and the Cross of Theophanu from her period as abbess. All were made for Essen Abbey, now Essen Cathedral, and are kept in Essen Cathedral Treasury, where this cross is inventory number 4.

Konrad II

†4.VI.1039

King of Germany 1024 – 1039

King of Italy 1026

Emperor1027

King of Burgundy 1033

1024 / ’25 The Imperial Cross. Oak wood core, covered on all sides with red fabric and covered with sheet gold on the outside, precious stones in high mounts, pearls. Cross: 77.5 ´ 70.8 cm. Foot 17.3 cm high.

Weltliche Schatzkammer Wien, Inv. No. XIII 21 Cat. N ° 154.

This cross potent with square beam locks originally served as a container for the imperial relics. Part of the stone-covered front could be lifted off in plates and once exposed the relics recovered in the recesses of the wooden core: the Holy Lance in the cross arm, the cross particles in the shaft and probably other relics in two compartments of the beam locks. On the side walls of the Imperial Cross the inscription: ECCE CRVCEM DOMINI FVGIAT PARS HOSTIS INIQVI. HINC, CHVNRADE, TIBI CEDANT OMNES INIMICI. (Before this cross of the Lord may the followers of the evil enemy take flight. Therefore [also] from you, Konrad, may all adversaries depart).

At the base of the cross the inscription: ANNO MILLENO TERCIO QVINQVAGENO SECVNDO KAROLVS AVGVSTVS ROMANVS REXQVE BOHEMVS HOC LIGNVM DOMINI TALI PEDE SIC DECORAVIT. (In 1352 Charles, the Roman Emperor and King of Bohemia, had that wood [of the cross] of the Lord adorned with this foot.)

Byzantine Processional Cross  1st half 11th cent.

n°25 p. 63

Schism  1054

Byzantine  Processional Cross 11th-12th  cent.

n° 26  p. 65

Byzantine Processional Cross. 11-12th cent.

n° 27 p. 66

The Adelheid Cross is a reliquary cross from the 11th and 12th centuries in St. Paul Abbey in Lavanttal (Lower Carinthia). It was donated by Queen Adelheid of Hungary,(bef 1077-† 1090) daughter of Rudolf von Rheinfelden, was in the monastery of St. Blasien until the 19th century and then came to St. Paul. The cross consists of a wooden core, is covered with gold-plated silver sheet and bears gems, precious stones and pearls on the front. It is 82.9 cm high, 65.4 cm wide and 7.4 to 7.8 cm deep.

11-12th cent. Byzantine Processional Cross  with architectural base

n° 21 p. 55

The Cross of Cong (Irish: Cros Chonga, (“the yellow baculum”)) is an Irish Christian ornamented cusped processional cross of Byzantine design, created 1123-‘27. It was, as an inscription says, made for Tairrdelbach Ua Conchobair (1088 – 1156), King of Connacht and High King of Ireland, to donate to the Cathedral church at Tuam, (County Galway). The cross was subsequently moved to Cong Abbey at Cong, County Mayo, from which it takes its name. It was designed to be placed on top of a staff and is also a reliquary, designed to hold a piece of the purported True Cross. This gave it additional importance as an object of reverence and was undoubtedly the reason for the object's elaborate beauty.

The cross is displayed at the National Museum of Ireland, having previously been in the Museum of the Royal Irish Academy, Dublin

The cross is 76 cm high and the arms are 48 cm in breadth.

Chapter cross, reverse

The Kaiserdom at Speyer a/ Rhine, Treaury.

Gotic work about 1220/1230.

Two-sided decoration. Gilded Brass, cedarwood with enamel and semi-precious stones .