Historical Religious Artifacts

A collection of ornate crosses from different centuries, showcasing intricate designs and craftsmanship, highlighting the rich history of religious art.

Romanesque Cross from Limoges, copy, pilgrimage church of St. Bartholomew, Bartholomaeberg, Montafon, Vorarlberg, Austria, Europe

Cruz Procesional, siglo XV, Nº Inv. 31.9. Catedral de Santa Tecla de Tarragona.

Cruz Procesional, siglo XV, Iglesia parroquial de Olot.

Goldsmith's art, Italy, 17th century. Cosimo Merlini (1580-1641), cross reliquary, 1620.

RELICARIO - 1929. Author: CABOT JOAQUIN. Location: MONASTERIO DE MONTSERRAT-MUSEO. MONTSERRAT. Barcelona. SPAIN.

Bliżej Kultury unknown

Cross: Crucifixion of Christ; unknown workshop of ancient information; XIX W, (1800-00-00-1900-00-00);

CRUCIFIJO S XVII. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPAIN.

COPON OSTENSORIO S XV-ANVERSO. Author: JUAN DE OLZINA-PADRE-(S XV). Location: Iglesia parroquial. TRAIGUERA. Castellón. SPAIN.

Romanesque Cross from Limoges, copy, pilgrimage church of St. Bartholomew, Bartholomaeberg, Montafon, Vorarlberg, Austria, Europe

Cruz Procesional, 1415, Iglesia parroquial de Verdú.

Krzyż: Ukrzyżowanie Chrystusa. Warsztaty pomorskie, workshop

LIGNUM CRUCIS S XVII. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPANIEN.

Cruz de la seo de Vic. S.XIV. Author: JOAN CARBONELL.

Brustkreuz aus vergoldetem Silber mit eingefassten Saphiren und Zirkonen und Goldkette Gold-plated silver pectoral cross with sapphires and zircons set in it and gold chain, 20th century, Huesca Diocesan Museum, Aragon community, Spain Copyright: xZoonar.com/Tolox 22307933

Cruz de cobre campeado, cincelado, esmaltado y dorado con elementos de fundición dorados y esmaltados y aplicaciones de pedrería. 41x25,4 cm. Limoges, Francia, aprox. 1250. JESUS.

Crucifix ca. 1150 Spanish. Crucifix. Spanish. ca. 1150. Champlevé enamel, copper-gilt. Made in possibly Santo Domingo de Silos, Spain. Enamels-Champlevé

Crucifix decorated with enamel d. Narny DIM (People's House), Lviv Rosenbusch, Henryk (fl. ca 1886)

Cross: Crucifixion of Christ; unknown workshop of ancient information; around 1850 (1845-00-00-1855-00-00);

Bliżej Kultury unknown

People's Ruthenian Cross (three story) unknown

People's Ruthenian Cross (three story) unknown

Cruz de la seo de Vic. S.XIV. Author: JOAN CARBONELL.

Silversmith's art, Italy, 18th century. Silver and coral altar cross.

Lazio Rieti Rieti Museo del Tesoro del Duomo4. Hutzel, Max 1960-1990 Photos are all of metalwork: crucifixes, chalices and monstrances in most part. Negatives without prints also show some statuary. Owner: Cathedral Object Notes: Hutzel photo campaign date: December 27, 1982. His notes indicate that this is the "Museum of the Processional Cross," however TCI indicates that it is the Museo del Tesoro del Duomo. It is also possible that negatives without prints may belong to the Museo Civico in Rieti. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site c

Cruciform Watch, Robert Dieu, c. 1600 Watch of rock crystal and gold, in the form of a Latin cross. Paris gold (metal). Watch of rock crystal and gold, in the form of a Latin cross. Paris gold (metal).

CRUZ DE CRISTAL DE ROCA. Location: IGLESIA DEL CARMEN. Lorca. MURCIA. SPANIEN.

Processional Cross. Limoges, 13th century. Diocesan Museum. Lleida. Catalonia. Spain.

Abruzzo Teramo Castel Castagna S. Maria di Ronzano8. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture (12th century); frescoes (12th century); baptismal font Objects in treasury (): processional cross, reliquary shrines, silver plate, wooden statue of the Virgin and Child Post-medieval: Sculpture (13th century, repainted 17th cent.), sculpture fragments; Easter candle, frescoes of Old and New Testament scenes including the Patriarchs and Christ in a mandorla. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Crucifix 18th-19th century Kongo peoples. Crucifix 318327

Cruz Procesional, 1415. Iglesia parroquial de Verdú, Lleida.

Cruz Procesional, 1415, Iglesia parroquial de El Pobo.

Altar cross in silver foil, Basilica of Sant'Eustorgio, Milan. Italy, 18th century.

Processional Cross 13th century French Like the upper and lower book cover plaques from Limoges, the front and back of the cross combine images of the crucified Christ and the resurrected Christ in Majesty. The figures were worked in copper separately and then applied to the enameled surfaces. The raised forms made the figures easier to see when the cross was carried.. Processional Cross. French. 13th century. Champlevé enamel, gilt copper and rock crystals. Made in Limoges, France. Enamels-Champlevé

Goldsmith's art, Italy, 12th century. Reliquary of the True Cross (Staurotheke) in gold, enamel and precious stones. Made by the Royal Workshops, Palermo, and donated from Emperor Frederick II to the Cathedral of Cosenza. Front side.

A watercolor draft by Anton Johann Nepomuk Seder for the abbess of Heiligengrabe Abbey in 1900, using silver, gold, black, and white over pencil on gray paper, depicting architectural or decorative elements.

CUSTODIA. Author: VERA MORENO AGUSTIN. Location: IGLESIA DE SAN MARTIN. CALLOSA DEL SEGURA. Alicante. SPAIN.

CRUZ PROCESIONAL CON ESMALTES DE BURGO DE EBRO - SIGLO XVI. Location: IGLESIA DE SAN PEDRO APOSTOL. BURGO DE EBRO. Saragossa Zaragoza. SPANIEN.

Lazio Rieti Rieti Museo del Tesoro del Duomo. Hutzel, Max 1960-1990 Photos are all of metalwork: crucifixes, chalices and monstrances in most part. Negatives without prints also show some statuary. Owner: Cathedral Object Notes: Hutzel photo campaign date: December 27, 1982. His notes indicate that this is the "Museum of the Processional Cross," however TCI indicates that it is the Museo del Tesoro del Duomo. It is also possible that negatives without prints may belong to the Museo Civico in Rieti. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site co

CRUZ DE ALTAR EN PLATA S XVI. Location: CONVENTO DE SAN CLEMENTE-MUSEO. Toledo. SPAIN.

CUSTODIA - SEGUNDO CUARTO DEL SIGLO XVII - PLATA SOBREDORADA,CINCELADA Y REPUJADA. Author: ESCUELA DE LLERENA (S XVII). Location: IGLESIA DE NUESTRA SEÑORA DE GRACIA. RIBERA DEL FRESNO. Badajoz. SPAIN.

Reliquary Cross ca. 1366-1400 Italian The convex rock crystal at the center once sheltered and magnified a fragment of wood believed to be from the cross on which Jesus was crucified. The whole is sumptuously decorated with images of the life of Jesus on one side, and of saints linked to Saint Francis on the other. Many Franciscan communities in Italy commissioned works of art using translucent enamel, which shimmers like stained glass.. Reliquary Cross. Italian. ca. 1366-1400. Translucent enamel, silver, silver-gilt, rock crystal, glass, iron tang. Made in the Marches, Italy. Enamels-Basse taille

Processional Cross 13th-14th century Amhara or Tigrinya peoples Ethiopian Orthodox Churches retain a variety of crosses for use in liturgical ceremonies. Among the most common are crosses outfitted with sockets, such as this example, which could be mounted on a staff and carried during services or processions. The juxtaposition of positive and negative space employed in the cross would have created a dramatic silhouette against the sky during an outdoor procession, or cast an imposing shadow during a candlelit service.Like all Ethiopian crosses, this cross was made by a monk at the request of an elite patron. Wealthy devotees commissioned gifts to bestow upon monasteries to receive prayers and increase their reputation, as well as to support the faith. The majority of Ethiopian crosses were cast in brass using the lost-wax casting technique. Because it allows for only one of each object to be created, the technique may have contributed to the innumerable diversity of Ethiopian metal cr

Enkolpian, (Religious medallion), Russian Orthodox, Kievan (Kiev), cross. Cast bronze, 11th-13th century

Relicario, siglo XV, Nº Inv. 31.29. Catedral de Santa Tecla de Tarragona.

Monstrance reliquary; Schlaubitz, Johann Gottfried (Fl. 1733-1771); around 1748 (1743-00-00-1753-00-00);Camp (Starogardzki poviat), church, Zojbersdorf von Sartawski (coat of arms), folding to the grave (iconogr.), Dar (provenance), coats of arms, relics of the Holy Cross, Rocaille (ornament), church equipment in the camp (Starogardy poviat)

CRUCIFIJO EN CRISTAL DE ROCA. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPANIEN. CRISTO CRUCIFICADO.

Cross

PORTAPAZ. Location: CATEDRAL. Tuy. Pontevedra. SPAIN.

Detail of processional Cross by Francesc Vilardell, silver, 1383. Barcelona Cathedral. Museum: CATEDRAL DE BARCELONA.

Cross from St. Mauritius at Munster. Engraving from Lives of the Saints (May) by Sabin Baring-Gould, 1897.

Cruz Procesional, 1415. Iglesia parroquial de Verdú, Lleida.

Ceremonial Cross of Count Liudolf, shortly after 1038. Germany, Lower Saxony, Romanesque period, 11th century. Gold: worked in repoussé; cloisonné enamel; intaglio gems; pearls; wood core; overall: 24.2 x 21.6 cm (9 1/2 x 8 1/2 in.). This precious gold cross was commissioned by Countess Gertrude (died 1077) and given to the church of Saint Blaise following the death of her husband, Count Liudolf of Brunswick (died 1038). The cross is decorated with a large oval-shaped chalcedony at its center and with slightly smaller rock crystals at its terminal ends. Fine but fragmentary cloisonné enamel plaques with pairs of confronting peacocks, symbols of immortality, appear at the center of each cross arms. They are set within an intricate system of filigree wire decoration imitating tendrils. Numerous pearls, three large intaglio gems, and various precious and semiprecious stones complete the decoration of the cross. Concealed behind the enamel plaque on the upper cross arm are relics of Sain

Antique crucifix made of gold - Roman Catholic Church, Jesus Christ

Cross processing; Unknown Ethiopian workshop (1400-1970); XX W (1900-00-00-1960-00-00);deposit of Wacław Korabiewicz, crosses, Ethiopian crosses, procession crosses

Crucifix 16th-17th century Kongo peoples; Kongo Kingdom This work documents the convergence of two distinctive worldviews. When Christian icons were first introduced to central Africa by the Portuguese in the late 1400s, elements of their design resonated profoundly with local spiritual precepts. Then, in the early sixteenth century, the king of Kongo was baptized, adopted Catholicism as the state religion, entered into exchanges with the king of Portugual and the pope, and emphasized those alliances through courtly patronage of Christian artifacts. The Kongo designer of this prestige piece significantly transformed the Western prototype that served as its model. At the center of a flat cruciform, a Christ figure with African features and broad, flattened feet and hands was cast in relief, arms extended. The abstract modeling of four smaller figures whose hands are clasped in prayer contrasts with the more expressionistic treatment of Christ. His torso is given definition by the incise

Francesc Costa, Cruz Procesional, 1414, Iglesia parroquial Santa Coloma de Queralt.

CRUZ RELICARIO EN TRIPTICO CON ORO Y PERLAS - SIGLO XVI. Location: CATEDRAL DE NUESTRA SEÑORA DE LA ENCARNACION. Almería. SPAIN.

CRUZ PROCESIONAL DE ESMALTES SIGLO XIV. Location: CATEDRAL-MUSEO DIOCESANO, GERONA, SPAIN.

Cross with the image of crucifixion; Unknown Ruthenian workshop; 2. PO. 15th century (1451-00-00-1500-00-00);Bazyli Wielki (Saint - Ca 330-379), Błażej of Sebasta (Saint - - 316), Grzegorz Theolog (Saint - 329-389), Jan Evangelist (Saint), Jan Theolog (Saint), Jesus Christ, Longin (Legend.), Maria (Mother of Jesus Christ), hundredth (iconogr.), Holy Trinity (iconogr.), Crucifixion (iconogr.), Angels, Bishops, ENKOLPIA, Inscriptions, Crosses, Wings

Sunday mass in Saint Philippe du Roule catholic church, Paris. Crucifix

Lazio Rieti Rieti Museo del Tesoro del Duomo8. Hutzel, Max 1960-1990 Photos are all of metalwork: crucifixes, chalices and monstrances in most part. Negatives without prints also show some statuary. Owner: Cathedral Object Notes: Hutzel photo campaign date: December 27, 1982. His notes indicate that this is the "Museum of the Processional Cross," however TCI indicates that it is the Museo del Tesoro del Duomo. It is also possible that negatives without prints may belong to the Museo Civico in Rieti. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site c

ARTE BARROCO. ESPAÑA. OSTENTORIO o CUSTODIA del siglo XVII, realizada en plata repujada y dorada. IGLESIA DE SAN FELIX (SANT FELIU). SABADELL. Comarca del Vallès Occidental. Provincia de Barcelona. Cataluña.

Reliquienschrein der Heiligen Katharina Reliquary of Saint Catherine , embossed and chased silver, 18th century, Huesca Diocesan Museum, Aragon community, Spain Copyright: xZoonar.com/Tolox 22308001

CUSTODIA GOTICA MANUELINA - S XVI. Location: IGLESIA DE LA CONCEPCION. OROTAVA LA. TENERIFFA. SPAIN.

Lazio Rieti Rieti Museo del Tesoro del Duomo7. Hutzel, Max 1960-1990 Photos are all of metalwork: crucifixes, chalices and monstrances in most part. Negatives without prints also show some statuary. Owner: Cathedral Object Notes: Hutzel photo campaign date: December 27, 1982. His notes indicate that this is the "Museum of the Processional Cross," however TCI indicates that it is the Museo del Tesoro del Duomo. It is also possible that negatives without prints may belong to the Museo Civico in Rieti. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site c

Santa Catalina Monastery, Convento de Santa Catalina aka Saint Catherine, a convent in Arequipa, Peru, South America

Crucifix mid-13th century French. Crucifix. French. mid-13th century. Champlevé enamel, copper-gilt. Made in Limoges, France. Enamels-Champlevé

Cross 17th-19th century Philippines. Cross 40586

RELICARIO STA ROSALIA DE PALERMO S XVI. Location: CONVENTO DE SAN CLEMENTE-MUSEO. Toledo. SPAIN.

Chalice cover late 15th century Georgian, Abkhasia This veil formed a boxlike cover for the chalice during portions of the liturgy. Its central image shows the young Christ blessing from within a chalice, flanked by Arabic script labeling him Jesus, the Messiah. The Greek inscription surrounding the medallion speaks of Christs sacrifice, while the Georgian inscriptions at the ends of the cross-arms plead for the donor, the nobleman Solomon Shavrashidze.. Chalice cover 219968

Christ on the cross (title awarded). Ivory. Carnavalet museum, history of Paris.

Reliquary Cross ca. 1180 French Twelfth-century churchmen and the nobility in central France prided themselves on their devotion to the scared sites of the Holy Land. Relics from that region, alternating with more than sixty "gems" of colored glass, are set like jewels on this cross. Identified by inscriptions along the sides, they include a fragment of wood believed to be from the cross on which Jesus died, relics of his tomb, and relics of the Virgin Mary, the Holy Innocents, and early deacons of the Church.. Reliquary Cross. French. ca. 1180. Silver gilt, rock crystal, glass cabochons; wood core. Made in Limoges, France. Metalwork-Silver

Benedictory cross, by Byzantine Work, 16th Century, carved wood, gold and silver, enamels, coral and pearls, stones. Italy: Umbria: Perugia: Assisi: Treasury Museum of San Francesco Basilica. Front blessing cross rinceaux birds gold light blue/azure

St Francis Xavier, catholic church. Way of the cross. 3rd Station: Jesus falls the first time. Hue. Vietnam.

Chasuble Back 16th century Italian. Chasuble Back 466312

Golden altar from Lisbjerg Chruch, near Arhus. 1135-40. Superpositions of altar, retable and crucifix, surrounded by an arched structure. Rolled and chased sheet copper, gilded bronze casting, width 158 cm. It was probably intended for the main altar of St Mary's in Aarhus. National Museum of Denmark.

Exhibition Luther and the Princes

Lazio Rieti Rieti Museo del Tesoro del Duomo6. Hutzel, Max 1960-1990 Photos are all of metalwork: crucifixes, chalices and monstrances in most part. Negatives without prints also show some statuary. Owner: Cathedral Object Notes: Hutzel photo campaign date: December 27, 1982. His notes indicate that this is the "Museum of the Processional Cross," however TCI indicates that it is the Museo del Tesoro del Duomo. It is also possible that negatives without prints may belong to the Museo Civico in Rieti. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site c

fine arts, liturgical objects, monstrance with God the Father, Peter and Paul, gold plated brass, circa 1880, Saint Peter and Paul church, Schnetzenhausen, religious art, religion, christianity, Germany, monstrances, historism, historistic, neo-Gothic, neo Gothic, Baden-W™rttemberg, Baden-Wuerttemberg, Baden-Wurttemberg, Baden, W™rttemberg, Wuerttemberg, Wurttemberg,

Lazio Viterbo Orte S. Silvestro Museo Diocesano d'Arte Sacra73. Hutzel, Max 1960-1990 Medieval: Romanesque architecture (12th century), architectural sculpture, 8th century mosaic, paintings on canvas and panel, including 13th century panel with scenes from the life of St. Francis, sculpture, carved wooden coffin, church furnishings. Post-medieval: Paintings on canvas and panel Antiquities: Fragments of sculpture German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

TESORO-CUSTODIA PLATA SOBREDORADA,ESMALTES Y PEDRERIA. 1701/2. Author: JUAN DE FIGUEROA (s XVII). Location: CATEDRAL-INTERIOR. SANTIAGO DE COMPOSTELA. A CORUÑA. SPAIN.

Reliquary Cross with Saint George 800-1300 Byzantine The figure of Saint George wearing a tunic, arms raised in supplication, is incised on one side of this cross. A star with geometric designs and lost inlays decorates the reverse. Saint George is the most common figure on this type of cross.. Reliquary Cross with Saint George 473283

TESORO - CALIZ DE PLATA SOBREDORADA DONADO POR EL OBISPO VAAMONDE - SIGLO XV - GOTICO ESPAÑOL. Location: CATEDRAL. LUGO. SPAIN.

Reliquary of Saint Catherine and Saint Jerome, embossed and chased silver, 18th century, Huesca Diocesan Museum, Aragon community, Spain.

Kazuifel with woven pattern of four passes with myth animals, plants and antithetic birds. Embroidered with ivy and Christ figure and decorated with pearls and stars, anonymous, c. 1800 - c. 1900 Kazuifel with embroidery. The Kazuifel has a violin shape and is made of silk with a woven pattern of four -passes with myth animals, plants and antithetic birds. The multi -colored embroidery has a pattern of ivy leaves and in the middle Christ, adorned with pearls and decorative stars. The Kazuifel is trimmed with golden galon and lined with yellow -mounted cotton. cotton (textile). pearl. silk embroidering Kazuifel with embroidery. The Kazuifel has a violin shape and is made of silk with a woven pattern of four -passes with myth animals, plants and antithetic birds. The multi -colored embroidery has a pattern of ivy leaves and in the middle Christ, adorned with pearls and decorative stars. The Kazuifel is trimmed with golden galon and lined with yellow -mounted cotton. cotton (textile). p

Egg and crosses, Church of the Holy Sepulchre, Jerusalem, Israel, Middle East

Order of Saint Stanisław III class

Chaldean patriarch's cross. Orthodox church.

Monstrance by Johannes Petrus Antonius Verschuylen. 1841, Antwerp. Museum Catharijneconvent. Utrecht. Netherlands.

Crucifixion late 15th-early 16th century, with later additions Italian, Lombardy, probably Milan. Crucifixion 193648

PORTAPAZ DE ESMALTE Y NACAR - REVERSO. Author: BENVENUTO CELLINI (1500-1571). Location: CATEDRAL-INTERIOR. Valencia. SPAIN.

Chasuble Back. Culture: Italian. Dimensions: Overall: 47 1/2 in. (120.7 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

CUSTODIA GOTICA SIGLO XIV. Author: MATEO DANIO (SIGLO XIV) ATRIBUIDA. Location: MARIENKIRCHE. Lorca. MURCIA. SPAIN.

Hand Cross (mäsqäl) 18th century Amhara or Tigrinya peoples The squared crossin which each of the crossbars is of equal lengthis among the most common iterations of the form used in Ethiopian Orthodox art. Artist-monks created nearly infinite variations upon the shape, frequently employing multiple cross motifs within a single cross to emphasize its symbolic importance. This example of a wooden hand cross has at least three major crosses: one on the diagonal and two placed on axis, the smallest of which is enclosed within a diamond, and the largest of which is constructed of interlacing loops. The artist has articulated the carving so that the bands of each cross dip below and rise above one another, creating the illusion of a complicated woven design. The thick bands of the diagonal and looped crosses are filled with patterns of nested and single zig-zags, a motif that continues onto the grip and to the square at its base. A second diagonal cross divides the plane of the lower squar

Crucified Christ second half 14th century Italian. Crucified Christ 466103

Miniature of the Cross of the Order of Saint Stanislaus unknown

Processional Cross early 15th century Ethiopia, Lasta region This work is an exceptional example of a popular early 15th century cast copper alloy openwork processional cross developed in Ethiopia -- an art form that has been endlessly reinvented by regional artists. In this example, the ornament is freely worked, while the form is highly symmetrical. From the time of the adoption of Christianity -- around 330 A.D. -- crosses have been omnipresent not only as liturgical objects in the region's churches and monasteries, but also in popular devotion and everyday life. Functioning as apotropaic objects to ward off evil spirits and as spiritual emblem of the entire community, members of the clergy carry the large-scale metal processional crosses on poles during processions and liturgical ceremonies. Ethiopian monarchs made gifts of processional crosses to important monasteries whose clergy remembered them in their prayers. In Ethiopia the Cross is perceived of as an emblem of triumph rathe

reliquary decorated with figure of Christ and angels reliquary decorated with figure of Christ and angels, Limoges, 12th century, gilt copper enamel and glass, Amsterdam, Netherlands Copyright: xZoonar.com/TOLOxBALAGUERx 21627838

Pilgrim badge: Lourdes

Reliquary with relics of the Lord's tunic, Düsseldorf late 18th century, capsule early 16th century

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