Ornate Religious Crosses

Intricately designed crosses in various materials, showcasing craftsmanship from different eras and regions related to religious practices.

Goldsmith's art, Italy, 16th century. Processional cross, 1557, made in Abruzzo Region. Detail.

Astylar cross, by Iacopo E Damiano da Gonzate, 1524, 16th Century, silver and enamel. Italy, Emilia Romagna, Busseto, Parma, San Bartolomeo Collegiate Church. Detail. Astylar cross Virgin Apostles Evangelists gold enamel.

Cruz relicario de Sant Roc, siglo XV, Tresor de la Seu.

Goldsmith's art, Germany, 16th century. Pendant reliquary cross, back side with champleve' enamel decorations.

Goldsmith's art, Italy, 14th century. Embossed copper cross.

Processional Cross. Spain, Burgos, circa 1550. Sculpture. Silver over wood core

Cruz Procesional, siglo XV, Iglesia parroquial de Olot.

CRUZ DEL SIGLO XVI. Location: CATEDRAL-MUSEO DIOCESANO. GERONA. SPANIEN.

CRUZ Y CANDELABROS DE CRISTAL DE ROCA S XVI. Location: CATEDRAL-INTERIOR. SANTIAGO DE COMPOSTELA. A CORUÑA. SPANIEN.

Processioned Cross with Franciscan Saints (recto). Date/Period: 1500 - 1502. Panel. Height: 46.80 mm (1.84 in); Width: 31 mm (1.22 in). Author: Attributed to Raffaello Santi.

Goldsmith's art, Italy, 16th century. Processional cross, 1557, made in Abruzzo Region. Detail.

Bliżej Kultury unknown

Processional Cross ca. 1150-75 Spanish This cross conveys the luxury found within churches that dotted the Christian kingdoms of northern Spain during the Middle Ages. It comes from a twelfth-century church fifty miles east of Oviedo, once the capital of the kingdom of Asturias. The cross shows a crowned, crucified Jesus flanked on the cross arms by the Virgin Mary and Saint John. An angel appears at the top, as Adam rises from his grave at the bottom. A rock crystal above Jesus head covers a cavity that still holds an unidentified relic. Gilded filigree bars attached to each of the arms of the cross served as settings for an array of gems, including antique intaglios. Only two remain—one showing an ancient figure of Victory, and the other a male nude with a fish and spear—both prized embellishments suitable for a sumptuous object. A Latin inscription on the reverse reads: “In honor of the Holy Savior: Sanccia [Sancha Guidisalvi had me made.” The feminine ending of Sanccia indicates

Cruz Procesional, 1415. Iglesia parroquial de Lanzuela, Teruel.

CALIZ. Location: CATEDRAL DE NUESTRA SEÑORA DE LA ENCARNACION. Almería. SPAIN.

Processional Cross ca. 1450 Spanish Intended for processional use rather than for stationary placement upon an altar, this cross is of a type developed in northern Spain that would have originally contained translucent enamel plaques, like those exhibited nearby. The central medallion on the front shows Christ in Majesty, with the mourning Virgin on the left terminal and Adam rising from the tomb at the base, while at the top is an image alluding to the self-sacrifice of the devout pelican in order to save her young. On the back the four Evangelist symbols surround a medallion featuring the Agnus Dei (Lamb of God).. Processional Cross 466094

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

Cross; beginning of the 18th century (1700-00-00-1710-00-00);

Vera Cruz, anonimo, parish museum, church of Santa Maria la Major, Inca, Mallorca, balearic islands, Spain.

Goldsmith's art, Germany, 16th century. Cross shaped pendant.

Roman altar cross decorated with enamel. 12th century. Seo Urgel, diocesan aercheology museum. Province of Lerida, Spain. Location: CATEDRAL-MUSEO DIOCESANO. SEO DE URGEL. Lerida. SPAIN.

Cruz de Santa Eulalia, 1383. Catedral de Barcelona.

Processional Cross 15th century Italian. Processional Cross 464697

Partially gilded silver altar cross with Saint Francis, Saint Anthony of Padua and Saint Bernardino of Siena depicted. Dated 16th Century

Crucifix second half 12th century Rhenish. Crucifix. Rhenish. second half 12th century. Brass. Made in Cologne or Mosan (). Metalwork-Bronze

Cross: Crucifixion of Christ; Unknown Pomeranian Old -Coked Workshop; 19th century (1801-00-00-1900-00-00);Adam (Bible), Jerusalem (Israel), Jesus Christ, Mandilion (iconogr.), Passion tools (iconogr.), Crucifixion (iconograph), skull (iconogr.), Inscriptions, crosses, moon (iconogr.), Message ( provenance), sun (iconogr.)

Goldsmith's art, Italy, 13th century. Processional cross in embossed brass leaf, made in Abruzzo Region.

Lazio Rieti Rieti Museo del Tesoro del Duomo5. 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

Veracruz, siglo XV, Iglesia parroquial de Santa Eulalia de Ronsana.

Processional Crucifix (from the Church of Sant Miquel de Prats, Canillo,Andorra). Artist: Unknown

Triple Crucifix Central figure, 16th-17th century; top and bottom figures, 18th-19th century Kongo peoples; Kongo Kingdom This composite artifact may be an interpretation of the Trinity. The three individually cast Christ figures were affixed to the wood cross with nails and copper loops. The central one is more finely rendered and may be earlier in date. Among the varieties of European crosses in eighteenth-century Kongo that may have served as a point of reference was the Caravaca form, brought to the region by Capuchin missionaries. It incorporates double crossbars with a lower horizontal extension of angels.. Triple Crucifix. Kongo peoples; Kongo Kingdom. Central figure, 16th-17th century; top and bottom figures, 18th-19th century. Central figure: brass (open back cast); top and bottom figures: brass (solid cast); nails: iron (forged), copper, brass (forged), wood, ultramarine pigment. Democratic Republic of the Congo or Angola, Lower Congo region. Metal-Sculpture

Abruzzo L'Aquila Trasacco SS. Rufino e Cesidio83. Hutzel, Max 1960-1990 The original monument was destroyed in 936, rebuilt, modified throughout the 16th century (with an addition to the nave in 1618), and restored in 1969. Exterior views include the bell tower and general building facades. Most views focus on the architectural sculpture of the Portale delle Donne and the Portale degli Uomini. Interior views in the Medieval core collection focus on a statue of St. Catherine in an aedicule (15th century); an ambo lecturn (pluteus) decorated with the four symbols of the Evangelists (c. 1267); a statue of the Virgin and Child under a sculpted baldachin on the entrance wall of the oratory (14th century) and the main altar composed of sarcophagus fragments of lions and peacocks in low-relief (8th-10th centuries). A baptismal font and possibly bas-reliefs (immured spolia) in the Oratory. Interior views in the Hutzel collection include: the altar statue of S. Cesidio, frescoes of the Annuncia

Christ on the Cross with the Virgin and Saint John the Evangelist. Probably German. Date: 1550-1600. Dimensions: 10.4 × 6.1 cm (4 1/8 × 2 3/8 in.). Gold, enamel, baroque pearls, rubies, emeralds, and diamonds. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

Przeszo Przyszoci unknown

Prozessionskreuz, Kirche Allerheiligen in Blato, Insel Korcula, Kroatien Processional cross, Church of All Saints in Blato, Korcula island, Croatia Copyright: xZoonar.com/ZvonimirxAtletix 21161311

Starinnye korsunskie kresty i zvezditsa Antoniia Rimlianina. Khromolitografiia F. Dregera., 1849 - 1853, by F. G. Solntsev (Fedor Grigorʹevich), 1801-1892. Additional, Old crosses and zvezditsa of Anthony the Roman. Chromolithography by F. Dreher. 1849 - 1853., Moskva. Publisher, Tip. A. Semena. Art, Russian, Chromolithographs

reliquary of the True Cross reliquary of the True Cross, 16th century, Palma Cathedral Museum, Majorca, Balearic Islands, Spain Copyright: xZoonar.com/TOLOxBALAGUERx 21247544

CRUZ PROCESIONAL DE PLATA DORADA - SIGLO XVI. Location: MARIENKIRCHE. CASTELLO DE AMPURIAS. GERONA. SPAIN.

Monstrance from 1724, St., Saint, Saint

ARTE GOTICO. ESPAÑA. CIBORIO / OSTENTORIO (c.1595). De plata en su color fundida con elementos figurativos y vegetales (68 cm x 25 cm x 18cm). Parroquia de Santa Maria de Vila-rodona. Provincia de Tarragona. Cataluña.

Cruz de Les Perles, siglo XVI. Museu-Tresor de la Catedral de Girona / Museo Tesoro de la Catedral de Gerona.

Cross made of wood with round recesses for relics, anonymous, c. 1400 - c. 1950 Wooden Crucifix, in which a numerous deep circular floors on either side, in which previously relics were covered with glass. unknown wood (plant material) Wooden Crucifix, in which a numerous deep circular floors on either side, in which previously relics were covered with glass. unknown wood (plant material)

Monstrance, St Alex Calangute Museum, Goa, India Copyright: xHarixMahidhar/DinodiaxPhotox

ARTE AFRICANO. GUERRERO DOGON. Colección particular. Malí.

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

Crucifixion Group 1490-1510 Attributed to an associate of Hans Wydytz I German The carving of this animated Crucifixion scene closely relates to that on known works by the Upper Rhenish sculptor Hans Wydytz. This scene was probably the central tableau of a small private altarpiece or devotional shrine. A stylistically related work representing the Mount of Olives, now in Berlin, originally may have served as a wing or side panel. Wydytz, who worked in Freiburg im Breisgau, was particularly accomplished in small-scale wood sculpture. The densely populated composition, the dramatic integration of the groups of figures, and the variety of facial type and expression contribute to the compelling theatricality of the scene.. Crucifixion Group 471901

Cross thorough; Unknown Ethiopian workshop (1400-1970); 20th century (1901-00-00-1950-00-00);Chojnacki, Stanisław (1915-2010) - gift, gift (provenance), Ethiopian crosses, hand crosses

Goldsmith's art, 13th century. Processional cross in red jasper, gold and gems. Donated by Otto Visconti to Abbot Paolo da Besana, 1296. Front side. Detail: Christ.

Close up of crucifix pendant against black background.

CUSTODIA DE PLATA - 1596/1601. Author: JOSE VELAZQUEZ MEDRANO. Location: CATEDRAL. HUESCA. SPAIN.

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

CRUZ PROCESIONAL 1415-1418. Author: BERNAT SANTALINEA (1360-1362). Location: Iglesia parroquial. TRAIGUERA. Castellón. SPAIN.

RELICARIO GOTICO DE LA SANTA ESPINA 1258. Location: CATEDRAL-MUSEO DIOCESANO. Pamplona. NAVARRA. SPAIN.

Kath. Wallfahrtskirche Dettelbach Kath. Wallfahrtskirche Dettelbach

fine arts, liturgical objects, monstrance with Mary, God the Father and Holy Spirit, metal, 17th century, Saint Peter and Paul church, Ettenkirch, religious art, religion, christianity, Germany, monstrances, madonna, Virgin Mother, baroque, Baden-W™rttemberg, Baden-Wuerttemberg, Baden-Wurttemberg, Baden, W™rttemberg, Wuerttemberg, Wurttemberg,

Church of Saint Mary Mary and Saint Lawrence, Stratford Tony, Wiltshire, England, UK

Crucifix, Roscoff, Finistere, Brittany, France, Europe

Silversmith's art, Italy. Silver monstrance, from Larino (Campobasso province), Cathedral.

The Tetragrammaton is the four-letter biblical name of the God of Israel. Auxerre. France.

Lazio Rieti Rieti Museo del Tesoro del Duomo3. 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

PANO FUNERARIO DEL S XVIII-DETALLE DE BORDADO-CRUZ. Location: CATEDRAL. Cadiz. SPAIN.

Giovanni Bologna, Christ Crucified, probably before 1588 Christ Crucified

CUSTODIA GOTICO-FLAMENCA. Location: CATEDRAL VIEJA. Plasencia. CACERES. SPAIN.

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. Whole artwork. Back cross rinceaux birds light blue/azure gold

Cross: Crucifixion of Christ; Mayor, P. F. (2. PO 19th century); 1896 (1896-00-00-1896-00-00);

Anonymous Catalan, Majesty of Christ on the cross, Carved and polychrome wood, Late 12th century, Museo de Bellas Artes, Bilbao, Spain.

Crucifix 16th-19th century Kongo peoples. Crucifix. Kongo peoples. 16th-19th century. Wood, brass. Angola, Northwestern Angola. Wood-Sculpture

CUSTODIA DE LAS ESPIGAS - SIGLO XVIII. Location: CATEDRAL-MUSEO. MURCIA. SPAIN.

CRUZ PROCESIONAL DE ESMALTES. Location: Iglesia parroquial. LINARES M. TERUEL. SPANIEN.

Silversmith's art, Portugal, 16th century. Silver gilt processional cross. From Donas Sentarem Convent, Lisbon.

Silber's crucifix in the medieval Gothic style with a background in shades Silber's crucifix in the medieval Gothic style exposed to a background to shades

Orphrey band, Medium: silk, linen Technique: couched cord on twill weave, Orphrey band making a division at the neck. Scrolling pattern with monogram for the Virgin Mary at the center. Blue silk weave, taffeta. Geometric pattern outlined with applied yellow silk cord., France, possibly 18th century, embroidery & stitching, Orphrey band

Przeszo Przyszoci unknown

CUSTODIA DE ORO Y PIEDRAS S XVII. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPAIN.

Resetting a great crown of gold, glass, hard stones, copper. Barcelona. Spain 2013

CUSTODIA CHICA O DE LA SANTA ESPINA - PLATA. Author: ALFARO FRANCISCO. Location: CATEDRAL-INTERIOR. Sevilla. Seville. SPAIN.

Ethiopian Coptic Christian processional cross. Brass 20th century

Christ on the cross, Villemomble, Seine-Saint-Denis, France, Europe

Votive cross of Justin II. Vatican Museums 1959

urn with Santiago on tomb of Teodomiro, bishop of Iria Flavia, 9th century, Santiago de Compostela Cathedral, Santiago de Compostela, province of La Coruña, Galicia,.

Cruz del Monasterio de Santa María de Vilabertrán, siglo XIV.

Crucifix, detail of the altar in the chapel of Saint Hubert, Hunting residence (UNESCO World Heritage Site, 1997), by Filippo Juvarra (1678-1736), Stupinigi, Piedmont, Italy, 18th century.

Prozessionskreuz, Kirche Allerheiligen in Blato, Insel Korcula, Kroatien Processional cross, Church of All Saints in Blato, Korcula island, Croatia Copyright: xZoonar.com/ZvonimirxAtletix 22559005

Japan, Sendai, Matsushima Shrine Decoration

Romania, Bucovina Region, Bucovina Monasteries, Sucevita, Sucevita Monastery, 16th century, exterior religious frescoes and cross

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

Ornamental religious cross against black background.

fine arts, liturgical objects, monstrance with crown, metal, 17th century, Saint John the Baptist church, Ailingen, religious art, religion, christianity, Germany, monstrances, baroque, Baden-W™rttemberg, Baden-Wuerttemberg, Baden-Wurttemberg, Baden, W™rttemberg, Wuerttemberg, Wurttemberg,

VIRGEN DEL CRISTAL. Location: IGLESIA DE LA VIRGEN DE CRISTAL. Vilanova. Orense. SPANIEN.

Ostensory. Gothic. 14th century. Silver and gold. Treasure. Cathedral of Barcelona. Catalonia. Spain.

Ottonian goldsmith's art, 11th century. Gold, cloisonne' enamel and niello book binding, depicting Crucifixion and symbols of the Evangelists. Trier or Regensburg manufacture, from Maastricht Cathedral. Detail: Crucifixion.

Crucifix 1255-1265 Italy. In late-medieval Italian churches, a monumental crucifix was often attached to the top of a major altarpiece or placed above the rood screen that separated the public nave from the church sanctuary. In either location, it was a focal point of public worship. The painter of this outstanding example was a leading Florentine artist of the middle of the 13th century, named after another painted crucifix in the Museo del Bigallo, Florence. Although his style retains the traditional linear patterning associated with Byzantine models, he employed a new, more natural system of lighting. Also traditional are the smaller figures amplifying the Passion narrativeóthe Virgin and John the Evangelist flanking the cross, Christ as redeemer above it, and the crowing rooster at its foot referring to Saint Peterís denial of Christ.. Tempera on panel . Master of the Bigallo Crucifix

Khatvanga Ritual Staff, 18th century, 23 7/16 x 3 5/16 x 3 5/16 in. (59.53 x 8.41 x 8.41 cm), Silver, gold and turquoise, China, 18th century, A tantric staff, or khatvanga, is a ritual instrument held in the crook of the left arm of advanced Tantric (esoteric) Buddhist practitioners during ceremonies. It symbolizes the triumph of wisdom over illusion. The shaft terminates in a vajra, the thunderbolt of instant enlightenment. Above are three impaled heads in varying states of decay: a skull, or 'dry' head, signals the conquest of ignorance; the 'damp' head signals the victory over hate; and the 'fresh-cut' head signals the stopping of desire. The arrangement also symbolizes the lifecycle and the attainment of pure body, speech, and mind. Below is a vajra-cross, representing the four purified elements: earth, water, fire, and air. The round vase-like form contains the nectar of immortality, found in the perfection of wisdom and compassion.

Badge of the Imperial Order of Saint Alexander Nevsky, Orders, decorations and medals

Reliquary of the arrow of San Sebastian Reliquary of the arrow of San Sebastian, Gothic, XIV century, Palma Cathedral Museum, Majorca, Balearic Islands, Spain Copyright: xZoonar.com/TOLOxBALAGUERx 21247565

Figure of a saint in a halo, St. Stephan's Church, Rettenberg, Allgaeu, Bavaria, Germany, Europe

Book of Hours, Silver-gilt, gold, velvet, enamel, rubies, sapphires, emeralds, diamonds and pearls. Paris, 1828-1842. The book of hours is a fully illuminated manuscript on vellum, imitating late medieval examples. It was made in Paris for Louis Jules Gallois, Comte de Naives.

CRUZ RELICARIO DE SAN PIO V CON UNA ESPINA DE CRISTO. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPANIEN.

Majel G Claflin, Cross, 1935 1942 Cross

Silver and gilded Monstrance, 1705, by Johannes Zeckel (active 1691-1728); Augsburg, Germany, A monstrance displayed the Sacred Host the consecrated bread which in Catholic belief is the body of Christ. The word comes from the Latin monstrare, to show. This example embodies Counter Reformation theology. In the centre is the Last Supper with the disciples seated at the table. Christ himself is represented only when the Host is placed inside the window. The rays of the sun represent his radiance. The corn and grapes on either side refer to the bread and wine of the Mass, which become his body and blood.

Silver and gilded Monstrance, 1705, by Johannes Zeckel (active 1691-1728); Augsburg, Germany, A monstrance displayed the Sacred Host the consecrated bread which in Catholic belief is the body of Christ. The word comes from the Latin monstrare, to show. This example embodies Counter Reformation theology. In the centre is the Last Supper with the disciples seated at the table. Christ himself is represented only when the Host is placed inside the window. The rays of the sun represent his radiance. The corn and grapes on either side refer to the bread and wine of the Mass, which become his body and blood.

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