475:
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".
564:. 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.
411:
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.
496:
122:
353:
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:
398:
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.
508:
484:
390:
210:
310:
1284:
189:. 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
550:, 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.
325:" 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
581:
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
376:
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
687:
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
410:
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
401:
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
572:
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
465:
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
397:
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
352:
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
329:
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
525:
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
474:
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
342:
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
300:
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
200:
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
334:
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").
453:
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
538:. 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
688:
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.
227:
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
177:. 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
201:
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.
223:, 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
343:
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
438:
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
129:
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
301:
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.
1443:
232:
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
1252:
272:(†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
360:, 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
1309:
89:, 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
617:
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
610:
527:
1029:
Klaus Lange, "Die Krypta der Essener Stiftskirche. Heuristische Überlegungen zu ihrer architektonisch-liturgischen Konzeption," in Jan Gerchow, Thomas Schilp (edd.),
1160:
554:
1474:
1448:
445:
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
268:
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
462:. 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.
535:
357:
1288:
1356:
530:, 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
1108:
603:
648:. 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
1334:
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.
1194:
547:
141:
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
458:, 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
586:, which controlled the liturgical use of the Abbey's treasure, speaks of processional crosses only in general terms. During the
1316:
1268:
1246:
1227:
1206:
1154:
683:
The details of the liturgical use of the crosses in Essen Abbey are not known. Though the sources, particularly the Essen
526:
shows numerous parallels to a group of cast bronze crucifixes, of which the most prominent example is the crucifix on the
577:
of Essen Abbey in 1802. However, the sources for the Essen Cathedral Treasury do not explicitly mention the cross. The
146:
1515:
1187:
1172:
1139:
1124:
1495:
675:
in 1958 and the elevation of Essen Minster to the status of Cathedral, the cross became property of the diocese.
539:
1428:
133:
core covered in gold sheet. Under the cross is a modern glass ball which serves as a handle. The ends of the
77:
plaque on the cross's stem. It was made between about 1000, when Mathilde was abbess, and 1058, when Abbess
1510:
378:
224:
1165:
Der Essener Marsusschrein. Untersuchungen zu einem verlorenen Hauptwerk der ottonischen Goldschmiedekunst.
519:
The stylistic relationship of the crucified Jesus on the Cross of Mathilde is significant in comparison.
1397:
281:
90:
78:
1218:
802:
93:
or "first cross of Mathilde" from late in the preceding century, a third cross, sometimes called the
70:
364:
it has been suggested that the actual act of donation was performed in the presence of the statue.
110:
24:
1132:Äbtissin Theophanu und das Stift Essen. Gedächtnis und Individualität in ottonisch-salischer Zeit.
361:
426:, which have a significant iconographic role. On the horizontal beam of the cross is a brownish
292:
are now stored in the Cathedral treasury chamber separately under inventory numbers MK1 to MK4.
153:
cast in bronze and gilt, with three cavities for holding relics: two in the back and one in the
1505:
459:
317:
The donor enamel is 6 cm × 2.9 cm (2.4 in × 1.1 in) in size. Its
1080:
Lydia Konnegen, "Verborgene Schätze. Der Essener Münsterschatz in Zeiten des Ruhrkampfes." in
1500:
1371:
1302:
253:
1257:
Das Gedächtnis der Gegenstände. Spolien im Essener Schatz als Zeichen von Rang und Herkunft.
761:
Falk, Catalogue "Krone und Schleier", p. 273; Beuckers, Catalogue "Gold vor Schwarz", p.86.
574:
8:
1366:
1351:
1407:
466:
the Sun and the Moon, it seems possible that they are intended to amplify those images.
74:
1438:
1361:
1346:
285:
98:
54:
543:
381:, is absent, in contrast to the inscription plaque of the Cross of Otto and Mathilde.
1469:
1264:
1242:
1223:
1202:
1183:
1168:
1150:
1135:
1120:
277:
94:
1180:
Farbiges Gold - Die ottonischen Kreuze in der Domschatzkammer Essen und ihre Emails.
709:
The view that it is silver, often encountered in the literature, is faulty: Pawlik,
1402:
672:
629:
587:
393:
The personification of the Moon and the ancient cameo on the right arm of the cross
269:
185:
which depicts Mathilde (named) in monastic clothing, kneeling in prayer before the
138:
82:
495:
420:
178:
158:
106:
35:
1147:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen.
356:
This donor portrait shows parallels with the donor portrait on the cover of the
121:
1433:
1376:
907:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
894:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
878:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
865:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
852:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
724:
Goldemails. Untersuchungen zu ottonischen und frühsalischen Goldzellenschmelzen
595:
345:
322:
182:
43:
434:
lying down or sleeping. On the left arm of the cross, a horizontally striated
1489:
1464:
1392:
637:
618:
614:
531:
186:
1117:
Herrschaft, Bildung und Gebet – Gründung und Anfänge des Frauenstifts Essen.
69:
in Germany since it was made in the 11th century. It is named after Abbess
1325:
1098:
660:. From April to October 1949 the Essen Cathedral Treasury was displayed in
653:
599:
423:
273:
190:
60:
51:
244:
relic wrapped in white linen is in the middle cavity with an accompanying
19:
1263:
Essener Forschungen zum Frauenstift, Bd. 9. Klartext Verlag, Essen 2011,
1241:
Essener Forschungen zum Frauenstift, Bd. 9. Klartext Verlag, Essen 2011,
455:
339:
331:
261:
257:
219:
134:
102:
507:
932:
622:
427:
249:
483:
389:
209:
665:
625:, whence it was returned in 1925 in equally secretive circumstances.
142:
137:
are flared in a way found in Mathilde's First Cross and the Ottonian
1050:, p. 118; Beuckers, Catalogue "Gold vor Schwarz", p. 86; Beuckers,
661:
633:
174:
150:
1235:
Heilige, Reliquien und Reliquiare im Essener Stift - ein Inventar.
1149:
Pro Business Verlag, Berlin 2008 (zugleich Diss. Stuttgart 2004),
557:. Making Theophanu herself the donor of the cross, he dates it to
309:
785:
Heilige, Reliquien und Reliquiare im Essener Stift – ein Inventar
711:
Heilige, Reliquien und Reliquiare im Essener Stift – ein Inventar
649:
641:
591:
449:
snake appears on the Cross of Otto and Mathilde and in which the
233:
154:
1113:
Der Essener Kirchenschatz aus der Frühzeit der Stiftsgeschichte.
553:
A newer interpretation of the Cross of Mathilde is suggested by
1294:
1283:
920:
Der Essener Kirchenschatz aus der Frühzeit der Stiftsgeschichte
737:
Der Essener Kirchenschatz aus der Frühzeit der Stiftsgeschichte
657:
645:
450:
446:
440:
284:, Abbess Mathilde's grandfather, attributed his success in the
256:
dates this to the 10th or 11th century and localises it to the
1115:
in Günter Berghaus, Thomas Schilp, Michael Schlagheck (edd.):
229:
170:
66:
377:
the gold border, which is characteristic of the workshop of
602:), where it was kept in an orphanage donated by the Abbess
542:
had discontinued several projects of Mathilde, such as the
435:
431:
318:
194:
181:
of a lion and under that there is an enamel plate with the
166:
1031:
Essen und die sächsischen Frauenstifte im Frühmittelalter.
197:, showing a helmeted soldier in profile, holding a spear.
888:
886:
621:
of 1920 the whole treasury was taken in great secrecy to
162:
130:
1199:
Gold vor Schwarz - Der Essener Domschatz auf Zollverein.
883:
652:
and later to a collection for displaced artworks in
1167:Aschendorffsche Verlagsbuchhandlung, Münster 2006,
922:, p. 147, considered the lion cameo to be Medieval.
594:and in 1794, as the French advanced on Essen, the
157:. To the left and right of the crucifix there are
986:
984:
85:. It may have been completed in stages, and the
73:(died in 1011) who is depicted as the donor on a
1487:
816:
814:
812:
264:. There are three further fragmentary parchment
513:Ivory on the bookcover of the Theophanu Gospels
419:The Cross of Mathilde contains three classical
981:
101:from her period as abbess. All were made for
1310:
1054:, p. 14, followed by Westermann-Angerhausen,
809:
1193:Klaus Gereon Beuckers. "Mathildenkreuz." In
58:
1317:
1303:
1103:Die Kunstwerke der Münsterkirche zu Essen.
939:Fredebeul & Koenen, Essen 1966, p. 46.
632:the Cathedral Treasury was first taken to
402:a single wire for the nose and the mouth.
113:, where this cross is inventory number 4.
1069:Die Kunstwerke der Münsterkirche zu Essen
992:Die Kunstwerke der Münsterkirche zu Essen
976:Die Kunstwerke der Münsterkirche zu Essen
772:Die Kunstwerke der Münsterkirche zu Essen
750:Die Kunstwerke der Münsterkirche zu Essen
573:continuously from its donation until the
313:The enamel plaque with the donor portrait
288:(955) to Lawrence. The relic packets and
405:
388:
308:
208:
120:
18:
1134:Verlag Peter Pomp, Bottrop/Essen 2002,
668:, before it was brought back to Essen.
590:, the Abbess fled with the treasure to
469:
1488:
1105:Schwann, Düsseldorf 1904, pp. 115–160.
1067:The inventory is presented by Humann,
1018:Äbtissin Theophanu und das Stift Essen
835:Äbtissin Theophanu und das Stift Essen
534:, such as the ivory book cover of the
161:roundels with personifications of the
1298:
1178:Klaus Gereon Beuckers, Ulrich Knapp.
579:Inventarium reliquiarum Essendiensium
367:
125:The reverse of the Cross of Mathilde
1035:Essener Forschungen zum Frauenstift
338:The background of the enamel is in
13:
837:, p. 102; Westermann-Angerhausen,
81:died; both were princesses of the
14:
1527:
1276:
678:
304:
145:which is accompanied by the four
1444:Cross of San Salvador de Fuentes
1324:
1282:
506:
494:
482:
1289:Jüngeres Mathildenkreuz (Essen)
1074:
1061:
1040:
1023:
1010:
997:
968:
955:
942:
925:
912:
899:
870:
857:
844:
827:
822:Die Inschriften der Stadt Essen
798:Die Inschriften der Stadt Essen
609:At secularisation the Catholic
604:Francisca Christina of Sulzbach
384:
1429:Essen cross with large enamels
1253:Hiltrud Westermann-Angerhausen
1056:Das Gedächtnis der Gegenstände
963:Das Gedächtnis der Gegenstände
950:Das Gedächtnis der Gegenstände
839:Das Gedächtnis der Gegenstände
790:
777:
764:
755:
742:
729:
716:
703:
276:of the oldest Ottonian abbey,
116:
1:
1201:Klartext-Verlag, Essen 2008,
1119:Klartext Verlag, Essen 2000,
691:
558:
23:The Cross of Mathilde in the
1182:Domschatzkammer Essen 2006,
696:
598:was taken to Steele (modern
374:IHC NAZA/RENVS REX / IVDEORV
149:. On the obverse there is a
7:
611:church of St Johann Baptist
204:
16:Ottonian processional cross
10:
1532:
1398:Cross of Otto and Mathilde
1091:
1005:Der Essener Marsus-Schrein
937:Der Essener Münsterschatz.
644:and thence to a bunker in
567:
295:
193:cut in a piece of striped
91:Cross of Otto and Mathilde
1457:
1416:
1385:
1339:
1332:
1222:Bd. 81). Wiesbaden 2011,
1219:Die Deutschen Inschriften
1145:Sybille Eckenfels-Kunst.
803:Die Deutschen Inschriften
671:With the creation of the
544:westwerk of Essen Minster
414:
252:(r.401-417). The script,
1516:Works in vitreous enamel
1259:In Thomas Schilp (ed.):
961:Westermann-Angerhausen,
948:Westermann-Angerhausen,
582:Cathedral Treasury. The
528:Cross of Hermann and Ida
501:Cross of Hermann and Ida
330:Greek inscriptions. The
111:Essen Cathedral Treasury
65:style which has been in
25:Essen Cathedral Treasury
1496:11th-century sculptures
1237:In Thomas Schilp (ed),
1214:Die Essener Inschriften
362:Golden Madonna of Essen
460:resurrection of Christ
394:
372:The cross inscription
314:
214:
126:
59:
47:
39:
27:
1372:Treasure of Guarrazar
1161:Klaus Gereon Beuckers
806:vol. 81), p. 17 n. 8.
555:Klaus Gereon Beuckers
406:Enamels of the edging
392:
327:MA/HTH/ILD / AB/BH/II
312:
254:Carolingian minuscule
212:
169:, surrounded by four
124:
22:
1475:Cross of Chersonesus
1449:Cross of Stift Enger
1291:at Wikimedia Commons
1261:Frauen bauen Europa.
1239:Frauen bauen Europa.
1084:58, 2005, pp. 67–81.
470:Dating and patroness
430:, with a cameo of a
147:Evangelists' symbols
1511:Ottonian sculptures
1367:Cross of Desiderius
1352:Cross of the Angels
1439:Cross of Theophanu
1347:Cross of Justin II
1082:Münster am Hellweg
1048:Der Marsus-Schrein
1037:, Band 2), p. 178.
931:Leonhard Küppers,
395:
315:
286:Battle of Lechfeld
217:Jesus stands on a
215:
127:
109:, and are kept in
99:Cross of Theophanu
55:processional cross
28:
1483:
1482:
1470:Cross of Adelheid
1424:Cross of Mathilde
1287:Media related to
1269:978-3-8375-0672-3
1247:978-3-8375-0672-3
1230:, S. 17–19 Nr. 8.
1228:978-3-89500-823-8
1207:978-3-8375-0050-9
1155:978-3-86805-061-5
1130:Thorsten Fremer.
905:Eckenfels-Kunst,
892:Eckenfels-Kunst,
876:Eckenfels-Kunst,
863:Eckenfels-Kunst,
850:Eckenfels-Kunst,
722:Eckenfels-Kunst,
536:Theophanu Gospels
489:Cross of Mathilde
368:Cross inscription
358:Theophanu Gospels
95:Senkschmelz Cross
32:Cross of Mathilde
1523:
1408:Cross of Peñalba
1403:Cross of Lothair
1357:Cross of Agilulf
1319:
1312:
1305:
1296:
1295:
1286:
1085:
1078:
1072:
1065:
1059:
1044:
1038:
1027:
1021:
1014:
1008:
1001:
995:
988:
979:
972:
966:
959:
953:
946:
940:
929:
923:
916:
910:
903:
897:
890:
881:
874:
868:
861:
855:
848:
842:
831:
825:
818:
807:
794:
788:
781:
775:
768:
762:
759:
753:
746:
740:
733:
727:
720:
714:
707:
685:Liber Ordinarius
673:Diocese of Essen
630:Second World War
588:Thirty Years War
584:Liber Ordinarius
563:
560:
510:
498:
486:
270:Lawrence of Rome
139:Cross of Lothair
83:Ottonian dynasty
75:cloisonné enamel
64:
1531:
1530:
1526:
1525:
1524:
1522:
1521:
1520:
1486:
1485:
1484:
1479:
1453:
1412:
1381:
1362:Cross of Gisulf
1340:6th–9th century
1335:
1328:
1323:
1279:
1274:
1212:Sonja Hermann.
1109:Alfred Pothmann
1094:
1089:
1088:
1079:
1075:
1066:
1062:
1045:
1041:
1028:
1024:
1015:
1011:
1002:
998:
989:
982:
973:
969:
960:
956:
947:
943:
930:
926:
917:
913:
904:
900:
891:
884:
875:
871:
862:
858:
849:
845:
832:
828:
819:
810:
795:
791:
782:
778:
769:
765:
760:
756:
747:
743:
734:
730:
721:
717:
713:, p. 286 n. 71.
708:
704:
699:
694:
681:
570:
561:
523:
522:
521:
520:
516:
515:
514:
511:
503:
502:
499:
491:
490:
487:
472:
417:
408:
387:
379:Egbert of Trier
370:
346:Sedes Sapentiae
307:
298:
213:Crucifix detail
207:
119:
107:Essen Cathedral
17:
12:
11:
5:
1529:
1519:
1518:
1513:
1508:
1503:
1498:
1481:
1480:
1478:
1477:
1472:
1467:
1461:
1459:
1455:
1454:
1452:
1451:
1446:
1441:
1436:
1434:Imperial Cross
1431:
1426:
1420:
1418:
1414:
1413:
1411:
1410:
1405:
1400:
1395:
1389:
1387:
1383:
1382:
1380:
1379:
1377:Ardennes Cross
1374:
1369:
1364:
1359:
1354:
1349:
1343:
1341:
1337:
1336:
1333:
1330:
1329:
1322:
1321:
1314:
1307:
1299:
1293:
1292:
1278:
1277:External links
1275:
1273:
1272:
1271:, pp. 203–226.
1250:
1249:, pp. 261–317.
1231:
1210:
1191:
1176:
1158:
1143:
1128:
1127:, pp. 135–153.
1106:
1095:
1093:
1090:
1087:
1086:
1073:
1060:
1039:
1022:
1009:
996:
980:
967:
954:
952:, pp. 219-220.
941:
924:
911:
898:
882:
869:
856:
843:
826:
808:
789:
776:
763:
754:
741:
728:
715:
701:
700:
698:
695:
693:
690:
680:
679:Liturgical use
677:
613:took over the
596:Abbey Treasury
575:secularisation
569:
566:
532:ivory carvings
518:
517:
512:
505:
504:
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493:
492:
488:
481:
480:
479:
478:
477:
471:
468:
416:
413:
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404:
386:
383:
369:
366:
323:Seat of Wisdom
306:
305:Donor portrait
303:
297:
294:
206:
203:
183:donor portrait
118:
115:
40:Mathildenkreuz
15:
9:
6:
4:
3:
2:
1528:
1517:
1514:
1512:
1509:
1507:
1506:Essen Minster
1504:
1502:
1499:
1497:
1494:
1493:
1491:
1476:
1473:
1471:
1468:
1466:
1465:Cross of Cong
1463:
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1456:
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1437:
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1432:
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1399:
1396:
1394:
1393:Victory Cross
1391:
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1373:
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1368:
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1244:
1240:
1236:
1233:Anna Pawlik.
1232:
1229:
1225:
1221:
1220:
1215:
1211:
1208:
1204:
1200:
1196:
1195:Birgitta Falk
1192:
1189:
1188:3-00-020039-8
1185:
1181:
1177:
1174:
1173:3-402-06251-8
1170:
1166:
1162:
1159:
1156:
1152:
1148:
1144:
1141:
1140:3-89355-233-2
1137:
1133:
1129:
1126:
1125:3-88474-907-2
1122:
1118:
1114:
1110:
1107:
1104:
1100:
1097:
1096:
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1077:
1070:
1064:
1057:
1053:
1052:Farbiges Gold
1049:
1043:
1036:
1032:
1026:
1019:
1013:
1006:
1000:
993:
987:
985:
977:
971:
964:
958:
951:
945:
938:
934:
928:
921:
915:
909:, S. 253-254.
908:
902:
895:
889:
887:
879:
873:
866:
860:
853:
847:
840:
836:
830:
823:
817:
815:
813:
805:
804:
799:
793:
786:
780:
773:
767:
758:
751:
745:
738:
732:
725:
719:
712:
706:
702:
689:
686:
676:
674:
669:
667:
663:
659:
655:
651:
647:
643:
639:
638:Albrechtsburg
635:
631:
626:
624:
620:
619:Ruhr Uprising
616:
612:
607:
605:
601:
597:
593:
589:
585:
580:
576:
565:
556:
551:
549:
548:Marsus shrine
545:
541:
537:
533:
529:
509:
497:
485:
476:
467:
463:
461:
457:
452:
448:
443:
442:
437:
433:
429:
425:
424:engraved gems
422:
412:
403:
399:
391:
382:
380:
375:
365:
363:
359:
354:
350:
348:
347:
341:
336:
333:
328:
324:
320:
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293:
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287:
283:
279:
275:
271:
267:
263:
259:
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231:
226:
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211:
202:
198:
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168:
164:
160:
156:
152:
148:
144:
140:
136:
132:
123:
114:
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108:
104:
100:
96:
92:
88:
84:
80:
76:
72:
68:
63:
62:
56:
53:
49:
48:Crux Matildae
45:
41:
37:
33:
26:
21:
1501:Crux gemmata
1458:12th century
1423:
1417:11th century
1386:10th century
1326:Crux gemmata
1260:
1256:
1238:
1234:
1217:
1213:
1198:
1179:
1164:
1146:
1131:
1116:
1112:
1102:
1099:Georg Humann
1081:
1076:
1071:, pp. 34-35.
1068:
1063:
1055:
1051:
1047:
1042:
1034:
1030:
1025:
1017:
1012:
1004:
999:
991:
975:
970:
962:
957:
949:
944:
936:
927:
919:
914:
906:
901:
893:
877:
872:
864:
859:
851:
846:
838:
834:
829:
821:
801:
797:
792:
784:
779:
771:
766:
757:
749:
744:
736:
731:
723:
718:
710:
705:
684:
682:
670:
654:Schloss Dyck
627:
608:
600:Essen-Steele
583:
578:
571:
552:
524:
473:
464:
444:
418:
409:
400:
396:
385:Sun and Moon
373:
371:
355:
351:
344:
337:
326:
316:
299:
289:
274:patron saint
265:
245:
241:
237:
236:and lacks a
218:
216:
199:
175:filigreework
173:each and by
128:
86:
61:crux gemmata
31:
29:
824:p. 18 n. 8.
562: 1050
456:Physiologus
340:translucent
332:epigraphist
278:Gandersheim
262:Essen Abbey
258:scriptorium
220:suppedaneum
135:Latin cross
117:Description
103:Essen Abbey
1490:Categories
1046:Beuckers,
1003:Beuckers,
933:Paul Mikat
918:Pothmann,
735:Pothmann,
692:References
636:, then to
623:Hildesheim
428:chalcedony
250:Innocent I
97:, and the
1058:, p. 217.
1020:, p. 102.
1007:, p. 117.
994:, p. 147.
978:, p. 145.
965:, p. 221.
880:, p. 252.
867:, p. 251.
841:, p. 218.
820:Hermann,
796:Hermann,
787:, S. 285.
774:, p. 119.
752:, p. 145.
739:, p. 147.
697:Citations
666:Amsterdam
179:cameo gem
143:Agnus Dei
79:Theophanu
1209:, p. 86.
1016:Fremer,
990:Humann,
974:Humann,
896:, p. 66.
854:, p. 67.
833:Fremer,
783:Pawlik,
770:Humann,
748:Humann,
726:, p. 64.
662:Brussels
634:Warstein
205:Crucifix
191:intaglio
165:and the
151:crucifix
71:Mathilde
52:Ottonian
50:) is an
1197:(ed.):
1092:Sources
650:Marburg
642:Meissen
628:In the
592:Cologne
568:History
546:or the
296:Enamels
290:cedulae
266:cedulae
248:, from
234:taffeta
187:Madonna
155:occiput
57:in the
1267:
1245:
1226:
1205:
1186:
1171:
1153:
1138:
1123:
658:Rheydt
646:Siegen
540:Sophia
451:Gorgon
447:chased
441:spolia
415:Cameos
319:iconic
282:Otto I
246:cedula
242:nocent
238:cedula
171:pearls
159:enamel
105:, now
87:corpus
36:German
615:Abbey
421:cameo
230:relic
67:Essen
44:Latin
1265:ISBN
1243:ISBN
1224:ISBN
1203:ISBN
1184:ISBN
1169:ISBN
1151:ISBN
1136:ISBN
1121:ISBN
664:and
606:.
436:onyx
432:lion
280:and
240:. A
225:halo
195:onyx
167:Moon
30:The
1216:(=
656:in
640:in
260:of
163:Sun
131:oak
1492::
1255:.
1163:.
1111:.
1101:.
983:^
935:,
885:^
811:^
559:c.
349:.
46::
42:;
38::
1318:e
1311:t
1304:v
1190:.
1175:.
1157:.
1142:.
1033:(
800:(
321:"
34:(
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