480:
Cross of
Mathilde had knowledge of the Cross of Otto and Mathilde (known to him as the Older Cross of Mathilde). The form and general idea of the Cross of Otto and Mathilde are adopted by the Cross of Mathilde: donor portrait, crucifixion inscription, the crucified Jesus on a golden background, surrounded by an elaborate border. The adoption is particularly significant in the case of the crucifixion inscription, since the inscription on the Cross of Mathilde is directly copied from the older cross. The border is adopted from the Senkschmelz Cross. The Cross of Mathilde must, therefore be younger than these models. In 1904, Humann concluded on the basis of the image of Mathilde on it, that the Cross of Mathilde was made before 1011, the year of her death. On the grounds that the Cross of Mathilde is generally less harmonised, colourful, and technically successful, it was assumed that Mathilde donated it shortly before the end of her life, when she no longer had the superior artist of the Cross of Otto and Mathilde at her disposal. Since the Cross of Otto and Mathilde was often called the "Cross of Mathilde" at that time, he called the cross the "Younger Cross of Mathilde" or the "Second Cross of Mathilde".
569:. The crucifix would then be original. Beuckers included the Cross of Mathilde among the efforts of Theophanu to memorialise Mathilde. Theophanu surrounded Mathilde's grave in the new building consecrated in 1051, the crypt of Theophanu which is known today as the Altfrid Crypt, with a memorial structure, increasing the liturgical importance of her predecessor in order to increase the importance of the Abbey. Theophanu, therefore, would have had new enamel made for the Cross of Mathilde, which directly recalled the older enamel already at Essen. Beuckers supposes therefore that the Cross of Mathilde was made in Essen. Since the only enamels used on the older treasures of Theophanu (the Holy Nail Gospels and the Cross of Theophanu), Theophanu probably put the enamel workshop which had made the Senkschmelz Cross and the Marsus shrine under Mathilde, back into operation for the manufacture of the Cross of Mathilde.
416:
quatrefoil flowers. The remaining enamels feature modified quatrefoil flowers. Diagonal crosses, stepped patterns and quatrefoil flowers also occur as motifs on the
Senkschmelz Cross. The colours employed are translucent bottle green and dark blue as well as opaque white, red, jade green, turquoise, blue and yellow. Several of the enamels have a reversed counterpart, which is sometimes located opposite. It is probable that all of the enamels of the edging were originally paired, so that the appearance of the cross was less chaotic than it is today.
501:
127:
358:
monastic, with a white hood which is detailed with gold wire. Under the robe, as is visible on her arms, she wears a blue undergarment. The cross which she holds upright is delineated with broader gold wire. Since the vertical cross beam merges into the side of the throne and the horizontal cross beam merges into the throne's armrest, the cross itself is difficult to make out. Mathilde's line of sight passes through the transept of her cross and Christ's hand to the face of her saviour.
20:
403:
the enamel plaque depicting the Sun is green. The bust of the Sun has a mournful expression and its hands are raised to its face. Its brown-violet eyes are round and its eyebrows as well as its bulbous nose are formed with a wire, while its wide open mouth is formed from two other wires. A furrowed brow is formed from a Y-shaped wire, reinforcing the mournful expression. The Sun wears a crown with four jagged rays in his golden hair and holds a cloth before his face.
513:
489:
395:
215:
315:
1289:
194:. The central area with the crucifix, donor portrait, cross inscription, sun, moon and lion cameo is bordered by a strip of alternating enamel plates and stones, each surrounded by four pearls. At the end of each cross beam there are four teardrop-shaped, coloured stones around a central stone. On the right arm, the central stone is a cameo with a female bust looking left. On the left arm it is an
555:, it was also assumed that the Cross of Mathilde was first assembled under Abbess Theophanu, or rather that she had first arranged Mathilde's donation. An argument in favour of this is the similarity of the donor portrait of the Cross of Mathilde to the donor portrait of Theophanu on the book cover of the Theophanu Gospels.
330:" shows an enthroned Madonna in frontal view on the right, holding her son on her left knee, in front of a figure dressed in the white robes of a monastic. The monastic holds a cross with both hands, which she offers to the baby Jesus. The child stretches both hands towards the cross in a gesture of acceptance. An inscription
586:
of 12 July 1627, the earliest inventory of the Abbey's treasurym does not allow a certain identification, since it only recorded "Two crucifixes decorated with a lot of gemstones and gold, but gilded copper on the reverse." This description applies to all four of the processional crosses in the Essen
381:
is made of golden wire set in a translucent blue background. It is surrounded by a broad gold border, and the lines of the inscription are separated by golden stripes. The letters are made easily readable, but do not reach the precision of their model on the Cross of Otto and
Mathilde. The dotting of
692:
which dates to around 1400, describe the use of the processional crosses for processions, they speak of these crosses in general terms, without mentioning specific crosses. Although the diocese no longer uses the Cross of
Mathilde in processions on conservation grounds, it is not a museum piece, but
415:
The enamels of the edging alternate with gemstones. In total there are five different motifs in five different colours. Eleven of the enamels have a carpet-like stepped pattern, seven enamels are divided into fields. In five enamels a diagonal cross is the motif, often featuring circular motifs with
406:
The enamel plaque of the Moon is made as a mirror image of the Sun's plaque. The Moon also holds a cloth before her face. The enamel is generally darker, the use of wire somewhat better. In contrast to the Sun's enamel, the Moon's clothing and hair are full of wires. For the face, the enameller used
577:
From its creation, the cross has been located in Essen, except for evacuations during wars and other crises. On account of the depiction of
Mathilde and the similarities with two other crosses of the Cathedral Treasury, which were also donations to Essen, it is assumed that it belonged to the Abbey
470:
The meaning of the cameos on the horizontal arms is even less clear. The use of these particular items of spolia seems intentional, but a convincing iconographic interpretation of the naked warrior with spear and helmet and the noble women has not yet been made. Since both look towards Jesus, like
402:
The two round enamel medallions with personifications of the Sun and Moon, which symbolise the mourning of all creation at Christ's death, are located on the horizontal beam of the cross. Both personifications look towards Jesus, the Sun from the left and the Moon from the right. The background of
357:
The child sits on Mary's left knee, his legs hanging down between her knees. Jesus has a red halo with a gold cross. His face is detailed in gold, like Mary's. Christ wears a blue robe, with gold wire indicating folds in it, and grey shoes. Mathilde's clothing is made up of a tight white robe of a
334:
makes it possible to identify the monastic as the Abbess
Mathilde. The inscription is probably faulty, with the second word to be read as ABBATI(SSA). Above and to the right of the Madonna are two further inscriptions, which are incomprehensible. It is theorised that they are mutilated versions of
530:
The dating of the Cross of
Mathilde to before 1011 raised art historical problems. For one thing, individual ornamental motifs are found on the Senkschmelz Cross, which was meant to be created earlier, which only become common later. For another thing, the crucified Jesus of the Cross of Mathilde
479:
The Cross of
Mathilde is always considered in connection with the other three Ottonian processional crosses of the Essen Cathedral Treasury. Long ago, Humann noticed significant parallels with the Cross of Otto and Mathilde and the Senkschmelz Cross, such that he assumed that the goldsmith of the
347:
green, with the letters set in gold. Mary's head is surrounded by an opaque yellow halo and she wears a white hood as well as a translucent brown-violet robe with red ochre sleeves. Robe and sleeves are harmonised by a single gold wire outline. Mary sits on a yellow throne, with her feet in grey
305:
The Cross of
Mathilde was equipped with forty enamel tablets, of which 37 remain: the enamel with the donor portrait, the enamel with the cross inscription, two round enamels with the personifications of the Sun and the Moon, and 33 ornamental enamels. Three further ornamental enamels were lost
205:
The Cross of
Mathilde is generally considered the weakest of the four Essen processional crosses in artistic terms, Pothmann considers the artistry and craftsmanship to be not as high as the others. In 1904, Humann described it as a "cluttered grandeur and, every respect, a cruder image." The
339:
Sonja Hermann suggests that the enameller confused the third and fourth letters and has inverted a Τ, which would yield ΜΗΤΗΡ (μήτηρ - "mother"). Hermann would read the symbols on the right, which are arranged vertically, as ΙΥ ΧΥ as an abbreviation of Ι(ησο)ύ Χ(ριστο)ύ ("of Jesus Christ").
458:
cameo appears on the Senkschmelz Cross - both of these symbolise evil's defeat as a result of the crucifixion of Christ. The lion cameo can also be put in this symbolic system. But the depiction of the lion lying peacefully might also have another meaning: in the
543:. Since the current crucifix is not fitted on the inside, it was assumed that the Cross of Mathilde was made in the middle of the eleventh century and an original, chased crucifix was replaced by the casts. Since scholars assumed that Abbess
693:
a religious object, which can be used in religious services. For instance, it was used as the altar cross on 5 November 2011 in a memorial service on the thousandth anniversary of Mathilde's death, for whose memory it was originally gifted.
232:
which is attached to the horizontal member of the cross and is not adjusted to take account of the tilt of the head. Humann calls the position of the body clumsy and awkward. Until 2010, the cavities on his back side contained three small
182:. Above the crucifix is the normal cross inscription in enamel: IHC NAZA/RENVS REX / IVDEORV (Jesus of Nazareth, King of the Jews), above which there is a large red stone surrounded by four pearls. Under the crucifix there is a brown
206:
assessment of the cross is significantly complicated by an undocumented restoration which must have occurred between 1904 and 1950. In this restoration the edging enamels were melted, allowing the colours underneath to be seen.
228:, with his legs together. The feet are not nailed. The loincloth is knotted in the middle and falls evenly in broad folds. The arms are slightly unequal in length. The head is bent to the side and is surrounded by a
348:
shoes placed on a blue footrest. Her face is beige, with her circular eyes in the same colour as the face. Eyebrows, nose and mouth are depicted with gold wire. The hieratic pose of Mary is a notable feature of the
443:
features a warrior with a spear and helmet in profile facing Jesus. Opposite him, on the right arm of the cross is an oval cameo with a lightly carved female bust on a dark background. All the cameos are ancient
134:
The Cross of Mathilde is 45 cm (18 in) tall and 30.5 cm (12.0 in) wide and the cross beams are 6.3 cm (2.5 in) wide and 2.2 cm (0.87 in) deep. It consists of an
36:
306:
before the first description of the cross. Of all the objects in the Essen treasury, the Cross of Mathilde is the most richly decorated with enamel. All the enamel frames are filigreed.
1448:
237:
packets, which were held in place by ties. The relics had been associated with the cross from its creation. The relic in the lowest cavity was wrapped in a purple-coloured piece of
1257:
277:(†258). The cross thus contained relics of Saints Lawrence and Innocent. Both of these saints were very important to the Ottonian dynasty to which Mathilde belonged: Innocent was
365:, in which Theophanu in a similar but more horizontal pose, presents her donation to an enthroned Mary. Because of the similarity of the posture of the enthroned Madonna to the
1314:
94:, 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
622:
as well as its property, as the parish church. It made the cross, along with the rest of the Cathedral treasury accessible to the public for the first time. During the
615:
532:
1034:
Klaus Lange, "Die Krypta der Essener Stiftskirche. Heuristische Überlegungen zu ihrer architektonisch-liturgischen Konzeption," in Jan Gerchow, Thomas Schilp (edd.),
1165:
559:
1479:
1453:
450:
The iconographic significance of the cameo gems is not yet completely clear. The lion stands on the vertical beam of the cross in the same spot in which the
273:
on cloth fragments in the cavity in the head. The script of these has typical elements of the Essen scriptorium; one of the fragments can be attributed to
467:. The lion cameo could therefore also be interpreted as a reference to the hope for the resurrection of the donor depicted on the enamel plaque below it.
540:
362:
1293:
1361:
535:, which was created at least thirty years after the death of Abbess Mathilde. There are further parallels with the depictions of the cross on Cologne
1113:
608:
653:. After the end of the war it was found there by American troops and the cross along with the rest of the treasury was taken to the State Museum in
1339:
Form of cross typical of Early Christian and Early Medieval art, where the cross, or at least its front side, is principally decorated with jewels.
1199:
552:
146:
at Aachen. The narrow sides and reverse of the Cross of Mathilde are covered with gilt copper. On the reverse it is decorated with a punchmarked
463:, a characteristic of the lion is that it brings its newborn young to life on the third day with its breath, which makes lion a symbol for the
591:, which controlled the liturgical use of the Abbey's treasure, speaks of processional crosses only in general terms. During the
1321:
1273:
1251:
1232:
1211:
1159:
688:
The details of the liturgical use of the crosses in Essen Abbey are not known. Though the sources, particularly the Essen
531:
shows numerous parallels to a group of cast bronze crucifixes, of which the most prominent example is the crucifix on the
582:
of Essen Abbey in 1802. However, the sources for the Essen Cathedral Treasury do not explicitly mention the cross. The
151:
1520:
1192:
1177:
1144:
1129:
1500:
680:
in 1958 and the elevation of Essen Minster to the status of Cathedral, the cross became property of the diocese.
544:
1433:
138:
core covered in gold sheet. Under the cross is a modern glass ball which serves as a handle. The ends of the
82:
plaque on the cross's stem. It was made between about 1000, when Mathilde was abbess, and 1058, when Abbess
1515:
383:
229:
1170:
Der Essener Marsusschrein. Untersuchungen zu einem verlorenen Hauptwerk der ottonischen Goldschmiedekunst.
524:
The stylistic relationship of the crucified Jesus on the Cross of Mathilde is significant in comparison.
1402:
286:
95:
83:
1223:
807:
98:
or "first cross of Mathilde" from late in the preceding century, a third cross, sometimes called the
75:
369:
it has been suggested that the actual act of donation was performed in the presence of the statue.
115:
24:
1137:Äbtissin Theophanu und das Stift Essen. Gedächtnis und Individualität in ottonisch-salischer Zeit.
366:
431:, which have a significant iconographic role. On the horizontal beam of the cross is a brownish
297:
are now stored in the Cathedral treasury chamber separately under inventory numbers MK1 to MK4.
158:
cast in bronze and gilt, with three cavities for holding relics: two in the back and one in the
1510:
464:
322:
The donor enamel is 6 cm × 2.9 cm (2.4 in × 1.1 in) in size. Its
1085:
Lydia Konnegen, "Verborgene Schätze. Der Essener Münsterschatz in Zeiten des Ruhrkampfes." in
1505:
1376:
1307:
258:
1262:
Das Gedächtnis der Gegenstände. Spolien im Essener Schatz als Zeichen von Rang und Herkunft.
766:
Falk, Catalogue "Krone und Schleier", p. 273; Beuckers, Catalogue "Gold vor Schwarz", p.86.
579:
8:
1371:
1356:
1412:
471:
the Sun and the Moon, it seems possible that they are intended to amplify those images.
79:
1443:
1366:
1351:
290:
103:
59:
548:
386:, is absent, in contrast to the inscription plaque of the Cross of Otto and Mathilde.
1474:
1269:
1247:
1228:
1207:
1188:
1173:
1155:
1140:
1125:
282:
99:
1185:
Farbiges Gold - Die ottonischen Kreuze in der Domschatzkammer Essen und ihre Emails.
714:
The view that it is silver, often encountered in the literature, is faulty: Pawlik,
1407:
677:
634:
592:
398:
The personification of the Moon and the ancient cameo on the right arm of the cross
274:
190:
which depicts Mathilde (named) in monastic clothing, kneeling in prayer before the
143:
87:
500:
425:
183:
163:
111:
40:
1152:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen.
361:
This donor portrait shows parallels with the donor portrait on the cover of the
126:
1438:
1381:
912:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
899:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
883:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
870:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
857:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
729:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
600:
350:
327:
187:
48:
439:
lying down or sleeping. On the left arm of the cross, a horizontally striated
1494:
1469:
1397:
642:
623:
619:
536:
191:
1122:
Herrschaft, Bildung und Gebet – Gründung und Anfänge des Frauenstifts Essen.
74:
in Germany since it was made in the 11th century. It is named after Abbess
1330:
1103:
665:. From April to October 1949 the Essen Cathedral Treasury was displayed in
658:
604:
428:
278:
195:
65:
56:
249:
relic wrapped in white linen is in the middle cavity with an accompanying
19:
1268:
Essener Forschungen zum Frauenstift, Bd. 9. Klartext Verlag, Essen 2011,
1246:
Essener Forschungen zum Frauenstift, Bd. 9. Klartext Verlag, Essen 2011,
460:
344:
336:
266:
262:
224:
139:
107:
512:
937:
627:
432:
254:
488:
394:
214:
670:
630:, whence it was returned in 1925 in equally secretive circumstances.
147:
142:
are flared in a way found in Mathilde's First Cross and the Ottonian
1055:, p. 118; Beuckers, Catalogue "Gold vor Schwarz", p. 86; Beuckers,
666:
638:
179:
155:
1240:
Heilige, Reliquien und Reliquiare im Essener Stift - ein Inventar.
1154:
Pro Business Verlag, Berlin 2008 (zugleich Diss. Stuttgart 2004),
562:. Making Theophanu herself the donor of the cross, he dates it to
314:
790:
Heilige, Reliquien und Reliquiare im Essener Stift – ein Inventar
716:
Heilige, Reliquien und Reliquiare im Essener Stift – ein Inventar
654:
646:
596:
454:
snake appears on the Cross of Otto and Mathilde and in which the
238:
159:
1118:
Der Essener Kirchenschatz aus der Frühzeit der Stiftsgeschichte.
558:
A newer interpretation of the Cross of Mathilde is suggested by
1299:
1288:
925:
Der Essener Kirchenschatz aus der Frühzeit der Stiftsgeschichte
742:
Der Essener Kirchenschatz aus der Frühzeit der Stiftsgeschichte
662:
650:
455:
451:
445:
289:, Abbess Mathilde's grandfather, attributed his success in the
261:
dates this to the 10th or 11th century and localises it to the
1120:
in Günter Berghaus, Thomas Schilp, Michael Schlagheck (edd.):
234:
175:
71:
382:
the gold border, which is characteristic of the workshop of
607:), where it was kept in an orphanage donated by the Abbess
547:
had discontinued several projects of Mathilde, such as the
440:
436:
323:
199:
186:
of a lion and under that there is an enamel plate with the
171:
1036:
Essen und die sächsischen Frauenstifte im Frühmittelalter.
202:, showing a helmeted soldier in profile, holding a spear.
893:
891:
626:
of 1920 the whole treasury was taken in great secrecy to
167:
135:
1204:
Gold vor Schwarz - Der Essener Domschatz auf Zollverein.
888:
657:
and later to a collection for displaced artworks in
1172:Aschendorffsche Verlagsbuchhandlung, Münster 2006,
927:, p. 147, considered the lion cameo to be Medieval.
599:and in 1794, as the French advanced on Essen, the
162:. To the left and right of the crucifix there are
991:
989:
90:. It may have been completed in stages, and the
78:(died in 1011) who is depicted as the donor on a
1492:
821:
819:
817:
269:. There are three further fragmentary parchment
518:Ivory on the bookcover of the Theophanu Gospels
424:The Cross of Mathilde contains three classical
986:
106:from her period as abbess. All were made for
1315:
1059:, p. 14, followed by Westermann-Angerhausen,
814:
1198:Klaus Gereon Beuckers. "Mathildenkreuz." In
63:
1322:
1308:
1108:Die Kunstwerke der Münsterkirche zu Essen.
944:Fredebeul & Koenen, Essen 1966, p. 46.
637:the Cathedral Treasury was first taken to
407:a single wire for the nose and the mouth.
118:, where this cross is inventory number 4.
1074:Die Kunstwerke der Münsterkirche zu Essen
997:Die Kunstwerke der Münsterkirche zu Essen
981:Die Kunstwerke der Münsterkirche zu Essen
777:Die Kunstwerke der Münsterkirche zu Essen
755:Die Kunstwerke der Münsterkirche zu Essen
578:continuously from its donation until the
318:The enamel plaque with the donor portrait
293:(955) to Lawrence. The relic packets and
410:
393:
313:
213:
125:
18:
1139:Verlag Peter Pomp, Bottrop/Essen 2002,
673:, before it was brought back to Essen.
595:, the Abbess fled with the treasure to
474:
1493:
1110:Schwann, Düsseldorf 1904, pp. 115–160.
1072:The inventory is presented by Humann,
1023:Äbtissin Theophanu und das Stift Essen
840:Äbtissin Theophanu und das Stift Essen
539:, such as the ivory book cover of the
166:roundels with personifications of the
1303:
1183:Klaus Gereon Beuckers, Ulrich Knapp.
584:Inventarium reliquiarum Essendiensium
372:
130:The reverse of the Cross of Mathilde
1040:Essener Forschungen zum Frauenstift
343:The background of the enamel is in
13:
842:, p. 102; Westermann-Angerhausen,
86:died; both were princesses of the
14:
1532:
1281:
683:
309:
150:which is accompanied by the four
1449:Cross of San Salvador de Fuentes
1329:
1287:
511:
499:
487:
1294:Jüngeres Mathildenkreuz (Essen)
1079:
1066:
1045:
1028:
1015:
1002:
973:
960:
947:
930:
917:
904:
875:
862:
849:
832:
827:Die Inschriften der Stadt Essen
803:Die Inschriften der Stadt Essen
614:At secularisation the Catholic
609:Francisca Christina of Sulzbach
389:
1434:Essen cross with large enamels
1258:Hiltrud Westermann-Angerhausen
1061:Das Gedächtnis der Gegenstände
968:Das Gedächtnis der Gegenstände
955:Das Gedächtnis der Gegenstände
844:Das Gedächtnis der Gegenstände
795:
782:
769:
760:
747:
734:
721:
708:
281:of the oldest Ottonian abbey,
121:
1:
1206:Klartext-Verlag, Essen 2008,
1124:Klartext Verlag, Essen 2000,
696:
563:
23:The Cross of Mathilde in the
1187:Domschatzkammer Essen 2006,
701:
603:was taken to Steele (modern
379:IHC NAZA/RENVS REX / IVDEORV
154:. On the obverse there is a
7:
616:church of St Johann Baptist
209:
16:Ottonian processional cross
10:
1537:
1403:Cross of Otto and Mathilde
1096:
1010:Der Essener Marsus-Schrein
942:Der Essener Münsterschatz.
649:and thence to a bunker in
572:
300:
198:cut in a piece of striped
96:Cross of Otto and Mathilde
1462:
1421:
1390:
1344:
1337:
1227:Bd. 81). Wiesbaden 2011,
1224:Die Deutschen Inschriften
1150:Sybille Eckenfels-Kunst.
808:Die Deutschen Inschriften
676:With the creation of the
549:westwerk of Essen Minster
419:
257:(r.401-417). The script,
1521:Works in vitreous enamel
1264:In Thomas Schilp (ed.):
966:Westermann-Angerhausen,
953:Westermann-Angerhausen,
587:Cathedral Treasury. The
533:Cross of Hermann and Ida
506:Cross of Hermann and Ida
335:Greek inscriptions. The
116:Essen Cathedral Treasury
70:style which has been in
25:Essen Cathedral Treasury
1501:11th-century sculptures
1242:In Thomas Schilp (ed),
1219:Die Essener Inschriften
367:Golden Madonna of Essen
465:resurrection of Christ
399:
377:The cross inscription
319:
219:
131:
64:
52:
44:
27:
1377:Treasure of Guarrazar
1166:Klaus Gereon Beuckers
811:vol. 81), p. 17 n. 8.
560:Klaus Gereon Beuckers
411:Enamels of the edging
397:
332:MA/HTH/ILD / AB/BH/II
317:
259:Carolingian minuscule
217:
174:, surrounded by four
129:
22:
1480:Cross of Chersonesus
1454:Cross of Stift Enger
1296:at Wikimedia Commons
1266:Frauen bauen Europa.
1244:Frauen bauen Europa.
1089:58, 2005, pp. 67–81.
475:Dating and patroness
435:, with a cameo of a
152:Evangelists' symbols
1516:Ottonian sculptures
1372:Cross of Desiderius
1357:Cross of the Angels
1444:Cross of Theophanu
1352:Cross of Justin II
1087:Münster am Hellweg
1053:Der Marsus-Schrein
1042:, Band 2), p. 178.
936:Leonhard Küppers,
400:
320:
291:Battle of Lechfeld
222:Jesus stands on a
220:
132:
114:, and are kept in
104:Cross of Theophanu
60:processional cross
28:
1488:
1487:
1475:Cross of Adelheid
1429:Cross of Mathilde
1292:Media related to
1274:978-3-8375-0672-3
1252:978-3-8375-0672-3
1235:, S. 17–19 Nr. 8.
1233:978-3-89500-823-8
1212:978-3-8375-0050-9
1160:978-3-86805-061-5
1135:Thorsten Fremer.
910:Eckenfels-Kunst,
897:Eckenfels-Kunst,
881:Eckenfels-Kunst,
868:Eckenfels-Kunst,
855:Eckenfels-Kunst,
727:Eckenfels-Kunst,
541:Theophanu Gospels
494:Cross of Mathilde
373:Cross inscription
363:Theophanu Gospels
100:Senkschmelz Cross
32:Cross of Mathilde
1528:
1413:Cross of Peñalba
1408:Cross of Lothair
1362:Cross of Agilulf
1324:
1317:
1310:
1301:
1300:
1291:
1090:
1083:
1077:
1070:
1064:
1049:
1043:
1032:
1026:
1019:
1013:
1006:
1000:
993:
984:
977:
971:
964:
958:
951:
945:
934:
928:
921:
915:
908:
902:
895:
886:
879:
873:
866:
860:
853:
847:
836:
830:
823:
812:
799:
793:
786:
780:
773:
767:
764:
758:
751:
745:
738:
732:
725:
719:
712:
690:Liber Ordinarius
678:Diocese of Essen
635:Second World War
593:Thirty Years War
589:Liber Ordinarius
568:
565:
515:
503:
491:
275:Lawrence of Rome
144:Cross of Lothair
88:Ottonian dynasty
80:cloisonné enamel
69:
39:
1536:
1535:
1531:
1530:
1529:
1527:
1526:
1525:
1491:
1490:
1489:
1484:
1458:
1417:
1386:
1367:Cross of Gisulf
1345:6th–9th century
1340:
1333:
1328:
1284:
1279:
1217:Sonja Hermann.
1114:Alfred Pothmann
1099:
1094:
1093:
1084:
1080:
1071:
1067:
1050:
1046:
1033:
1029:
1020:
1016:
1007:
1003:
994:
987:
978:
974:
965:
961:
952:
948:
935:
931:
922:
918:
909:
905:
896:
889:
880:
876:
867:
863:
854:
850:
837:
833:
824:
815:
800:
796:
787:
783:
774:
770:
765:
761:
752:
748:
739:
735:
726:
722:
718:, p. 286 n. 71.
713:
709:
704:
699:
686:
575:
566:
528:
527:
526:
525:
521:
520:
519:
516:
508:
507:
504:
496:
495:
492:
477:
422:
413:
392:
384:Egbert of Trier
375:
351:Sedes Sapentiae
312:
303:
218:Crucifix detail
212:
124:
112:Essen Cathedral
35:
17:
12:
11:
5:
1534:
1524:
1523:
1518:
1513:
1508:
1503:
1486:
1485:
1483:
1482:
1477:
1472:
1466:
1464:
1460:
1459:
1457:
1456:
1451:
1446:
1441:
1439:Imperial Cross
1436:
1431:
1425:
1423:
1419:
1418:
1416:
1415:
1410:
1405:
1400:
1394:
1392:
1388:
1387:
1385:
1384:
1382:Ardennes Cross
1379:
1374:
1369:
1364:
1359:
1354:
1348:
1346:
1342:
1341:
1338:
1335:
1334:
1327:
1326:
1319:
1312:
1304:
1298:
1297:
1283:
1282:External links
1280:
1278:
1277:
1276:, pp. 203–226.
1255:
1254:, pp. 261–317.
1236:
1215:
1196:
1181:
1163:
1148:
1133:
1132:, pp. 135–153.
1111:
1100:
1098:
1095:
1092:
1091:
1078:
1065:
1044:
1027:
1014:
1001:
985:
972:
959:
957:, pp. 219-220.
946:
929:
916:
903:
887:
874:
861:
848:
831:
813:
794:
781:
768:
759:
746:
733:
720:
706:
705:
703:
700:
698:
695:
685:
684:Liturgical use
682:
618:took over the
601:Abbey Treasury
580:secularisation
574:
571:
537:ivory carvings
523:
522:
517:
510:
509:
505:
498:
497:
493:
486:
485:
484:
483:
482:
476:
473:
421:
418:
412:
409:
391:
388:
374:
371:
328:Seat of Wisdom
311:
310:Donor portrait
308:
302:
299:
211:
208:
188:donor portrait
123:
120:
45:Mathildenkreuz
15:
9:
6:
4:
3:
2:
1533:
1522:
1519:
1517:
1514:
1512:
1511:Essen Minster
1509:
1507:
1504:
1502:
1499:
1498:
1496:
1481:
1478:
1476:
1473:
1471:
1470:Cross of Cong
1468:
1467:
1465:
1461:
1455:
1452:
1450:
1447:
1445:
1442:
1440:
1437:
1435:
1432:
1430:
1427:
1426:
1424:
1420:
1414:
1411:
1409:
1406:
1404:
1401:
1399:
1398:Victory Cross
1396:
1395:
1393:
1389:
1383:
1380:
1378:
1375:
1373:
1370:
1368:
1365:
1363:
1360:
1358:
1355:
1353:
1350:
1349:
1347:
1343:
1336:
1332:
1325:
1320:
1318:
1313:
1311:
1306:
1305:
1302:
1295:
1290:
1286:
1285:
1275:
1271:
1267:
1263:
1259:
1256:
1253:
1249:
1245:
1241:
1238:Anna Pawlik.
1237:
1234:
1230:
1226:
1225:
1220:
1216:
1213:
1209:
1205:
1201:
1200:Birgitta Falk
1197:
1194:
1193:3-00-020039-8
1190:
1186:
1182:
1179:
1178:3-402-06251-8
1175:
1171:
1167:
1164:
1161:
1157:
1153:
1149:
1146:
1145:3-89355-233-2
1142:
1138:
1134:
1131:
1130:3-88474-907-2
1127:
1123:
1119:
1115:
1112:
1109:
1105:
1102:
1101:
1088:
1082:
1075:
1069:
1062:
1058:
1057:Farbiges Gold
1054:
1048:
1041:
1037:
1031:
1024:
1018:
1011:
1005:
998:
992:
990:
982:
976:
969:
963:
956:
950:
943:
939:
933:
926:
920:
914:, S. 253-254.
913:
907:
900:
894:
892:
884:
878:
871:
865:
858:
852:
845:
841:
835:
828:
822:
820:
818:
810:
809:
804:
798:
791:
785:
778:
772:
763:
756:
750:
743:
737:
730:
724:
717:
711:
707:
694:
691:
681:
679:
674:
672:
668:
664:
660:
656:
652:
648:
644:
643:Albrechtsburg
640:
636:
631:
629:
625:
624:Ruhr Uprising
621:
617:
612:
610:
606:
602:
598:
594:
590:
585:
581:
570:
561:
556:
554:
553:Marsus shrine
550:
546:
542:
538:
534:
514:
502:
490:
481:
472:
468:
466:
462:
457:
453:
448:
447:
442:
438:
434:
430:
429:engraved gems
427:
417:
408:
404:
396:
387:
385:
380:
370:
368:
364:
359:
355:
353:
352:
346:
341:
338:
333:
329:
325:
316:
307:
298:
296:
292:
288:
284:
280:
276:
272:
268:
264:
260:
256:
252:
248:
244:
240:
236:
231:
227:
226:
216:
207:
203:
201:
197:
193:
189:
185:
181:
177:
173:
169:
165:
161:
157:
153:
149:
145:
141:
137:
128:
119:
117:
113:
109:
105:
101:
97:
93:
89:
85:
81:
77:
73:
68:
67:
61:
58:
54:
53:Crux Matildae
50:
46:
42:
38:
33:
26:
21:
1506:Crux gemmata
1463:12th century
1428:
1422:11th century
1391:10th century
1331:Crux gemmata
1265:
1261:
1243:
1239:
1222:
1218:
1203:
1184:
1169:
1151:
1136:
1121:
1117:
1107:
1104:Georg Humann
1086:
1081:
1076:, pp. 34-35.
1073:
1068:
1060:
1056:
1052:
1047:
1039:
1035:
1030:
1022:
1017:
1009:
1004:
996:
980:
975:
967:
962:
954:
949:
941:
932:
924:
919:
911:
906:
898:
882:
877:
869:
864:
856:
851:
843:
839:
834:
826:
806:
802:
797:
789:
784:
776:
771:
762:
754:
749:
741:
736:
728:
723:
715:
710:
689:
687:
675:
659:Schloss Dyck
632:
613:
605:Essen-Steele
588:
583:
576:
557:
529:
478:
469:
449:
423:
414:
405:
401:
390:Sun and Moon
378:
376:
360:
356:
349:
342:
331:
321:
304:
294:
279:patron saint
270:
250:
246:
242:
241:and lacks a
223:
221:
204:
180:filigreework
178:each and by
133:
91:
66:crux gemmata
31:
29:
829:p. 18 n. 8.
567: 1050
461:Physiologus
345:translucent
337:epigraphist
283:Gandersheim
267:Essen Abbey
263:scriptorium
225:suppedaneum
140:Latin cross
122:Description
108:Essen Abbey
1495:Categories
1051:Beuckers,
1008:Beuckers,
938:Paul Mikat
923:Pothmann,
740:Pothmann,
697:References
641:, then to
628:Hildesheim
433:chalcedony
255:Innocent I
102:, and the
1063:, p. 217.
1025:, p. 102.
1012:, p. 117.
999:, p. 147.
983:, p. 145.
970:, p. 221.
885:, p. 252.
872:, p. 251.
846:, p. 218.
825:Hermann,
801:Hermann,
792:, S. 285.
779:, p. 119.
757:, p. 145.
744:, p. 147.
702:Citations
671:Amsterdam
184:cameo gem
148:Agnus Dei
84:Theophanu
37:‹See Tfd›
1214:, p. 86.
1021:Fremer,
995:Humann,
979:Humann,
901:, p. 66.
859:, p. 67.
838:Fremer,
788:Pawlik,
775:Humann,
753:Humann,
731:, p. 64.
667:Brussels
639:Warstein
210:Crucifix
196:intaglio
170:and the
156:crucifix
76:Mathilde
57:Ottonian
55:) is an
1202:(ed.):
1097:Sources
655:Marburg
647:Meissen
633:In the
597:Cologne
573:History
551:or the
301:Enamels
295:cedulae
271:cedulae
253:, from
239:taffeta
192:Madonna
160:occiput
62:in the
1272:
1250:
1231:
1210:
1191:
1176:
1158:
1143:
1128:
663:Rheydt
651:Siegen
545:Sophia
456:Gorgon
452:chased
446:spolia
420:Cameos
324:iconic
287:Otto I
251:cedula
247:nocent
243:cedula
176:pearls
164:enamel
110:, now
92:corpus
41:German
620:Abbey
426:cameo
235:relic
72:Essen
49:Latin
1270:ISBN
1248:ISBN
1229:ISBN
1208:ISBN
1189:ISBN
1174:ISBN
1156:ISBN
1141:ISBN
1126:ISBN
669:and
611:.
441:onyx
437:lion
285:and
245:. A
230:halo
200:onyx
172:Moon
30:The
1221:(=
661:in
645:in
265:of
168:Sun
136:oak
1497::
1260:.
1168:.
1116:.
1106:.
988:^
940:,
890:^
816:^
564:c.
354:.
51::
47:;
43::
1323:e
1316:t
1309:v
1195:.
1180:.
1162:.
1147:.
1038:(
805:(
326:"
34:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.