A PARCEL-GILT ENAMELED COPPER PROCESSIONAL CROSS
A PARCEL-GILT ENAMELED COPPER PROCESSIONAL CROSS
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A PARCEL-GILT ENAMELED COPPER PROCESSIONAL CROSS

ITALIAN, FIRST HALF 14TH CENTURY

Details
A PARCEL-GILT ENAMELED COPPER PROCESSIONAL CROSS
ITALIAN, FIRST HALF 14TH CENTURY
with the crucified Christ in the centre, the four terminals enameled with the Virgin and St. John the Evangelist, the pelican of charity and the skull of Golgotha
24 in. (61 cm.) high; 13 in. (33 cm.) wide
Literature
COMPARATIVE LITERATURE:
E. Rupin, L'Oeuvre de Limoges, Paris, 1890, pp. 287-289.
Königliche Museen zu Berlin, Beschreibung der Bildwerke der Christlichen Epochen, Band II, Die Italienischen Bronzen, Berlin, 1904, p. 4, no. 424, pl. XXX.
F. Stohlman, Gli Smalti del Museo Sacro Vaticano, Vatican City, 1939, pp. 43-44, pls. XXI and XXII.
P. Thoby, Les Croix Limousines de la Fin di XIIe Siècle au début du XIVe Siècle, Paris, 1953, pp. 77-78.
C. Oman, The Golden Age of Hispanic Silver 1400 – 1665, London, 1968, pls. 26, 27, 34.
D. F. Rowe, Enamels, the XII to the XVI century, exh. cat., The Martin D'Arcy Gallery of Art, Chicago, 1970, no. 14.
M. Gautier, Émaux du moyen age occidental, Paris, 1972, pp. 212-213.
A. Barrón García, 'Cruces Burgalesas Del Siglo XV,' Boletín de la Real Academia de Bellas Artes de San Fernando, no. 80, Madrid, 1995, pp. 363-398.
R. Martin Vaquero, La Platería en la Diócesis de Vitoria (1350-1650), Alava, 1997, pp. 430-437, 788-795.

Brought to you by

Charlotte Young
Charlotte Young Associate Director, Specialist

Lot Essay

Processional crosses similar to the present lot survive from Italy, Catalonia and France. Comparable examples can be found in the Museu Nacional d’Art de Catalunya (inv. no. 065510-000) and in the Church of Our Lady of the Purification in Cassaniouze.

While many comparable examples exist across Europe, this cross is most likely Italian. The British Museum houses a work with similar form to the present lot that is described as Sienese (inv. no. 1855,0731.3). There are also striking comparables to the enamelled quatrefoils on this cross in the Vatican Museums (illustrated in Stohlman, 1939, loc. cit.). The wonderfully illustrative details of the present cross are a testament to the flourishing production of these objects in late Medieval Italy.

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