Theophanu Cross

Theophanu Cross, Essen Cathedral Treasure

The Theophanu Cross is one of the four Ottonian lecture crosses from the Essen Cathedral Treasury and is one of the most important goldsmith works of its time. It was donated by the Essen abbess Theophanu , who held office from 1039 to 1058.

description

The basic shape is a Latin cross, 44.5 cm high and 30 cm wide, mounted on the knob of an Egyptian rock crystal bottle with a cedar core that is clad on both sides and on the edges. On the side edges there was once an inscription on gold-plated silver, which has now largely been lost, and which identified Theophanu as the donor . At least part of the fragments can be meaningfully supplemented with the following text: EDITA REGALE GENERE NOBILIS ABBATISSA THEOPHANU HOC SIGNUM DEDIT (“This symbol was donated by the noble abbess Theophanu, who came from the royal family”). The ends of the crosses, the inner corners of which are rounded, are terminated by rectangular crutches. On the crossing of the front is a large, oval rock crystal , behind which two cross particles embedded in red velvet are enclosed as relics . The crystal is placed on a round plate decorated with pearls, jewels and filigree , which extends beyond the crossing and thus forms an extension of the center of the cross. The cross is decorated with two high-quality ribbons running along the edges, alternating with enamel plates and set stones on filigree, a narrow central strip covered with filigree work is left free. On each of the crutches there are two enamel plates, also decorated with precious stones, pearls and filigree, on either side of a stone. The total of 18 enamel plates can be divided into three groups: The first group, formed from a total of eight plates of crutches, depicts stylized animals and plants whose natural models can only come from the oriental region. The six tablets attached to the cross beam and trunk show, however, braided ribbon patterns. Finally, the third group, consisting of the four image surfaces made in an interplay of cell and pit melting processes , represents a scale pattern. The back is covered with a gold-plated, engraved copper plate, with the bust of the Pantocrator in the center in circular medallions and the evangelist symbols at the ends of the cross shows.

history

Theophanu can be identified as the donor of the cross based on the fragmentary inscription. One could think of a counter-foundation to the so-called cross with the large sinkholes that was created under her predecessor Mathilde . An exact dating of the foundation by Theophanu within its abbey is hardly possible, but it makes sense to assume that it is related to the consecration of the cathedral crypt from 1051 or the high altar consecration in 1054. In contrast, a more recent dating of Beuckers' assumes an earlier period between 1040 and 1045; The time of origin of the enamels is assumed to be 980/90 or the first half of the 11th century.

Recent research shows that some of the 18 enamel plates must have belonged to the Golden Madonna . The six slightly circular enamels on the cross beam and the upper cross stem together with the four small plates of the cross nail reliquary, also donated by Theophanu, must have been part of the nimbus of the Madonna. The four so-called tranny enamels on the lower cross stem, which were originally probably attached to the base or throne of the figure, also come from the same production. The eight small plates attached to the ends of the cross, on the other hand, may be attributed to a high-quality Byzantine workshop or to be regarded as exact copies of the same.

classification

The design of the Theophanu Cross differs significantly from its two older predecessors, the Otto Mathilden Cross and the cross with the large sinkholes, especially in the ratio of the edge framing to the inner cross: The edge design in the latter still served to distinguish the inner area, so it has the main weight in the Theophanu Cross. The reduction of the ends of the cross is also continued in the overall form, which already sounds like a flattening of the cross with the large sinkholes. Most noticeable, however, is the accentuation of the crossing by the large oval rock crystal, which lets the cross relics shine through and thus gives the Theophanu Cross a special priority over the other Essen lecture crosses in terms of its reliquary character. The principle of the enamel plates reused as spolia , alternating with filigree fields set with gemstones and pearls, is also borrowed from the cross with the large sinkholes, but is much more generous in the Theophanu cross. The filigree fields take a back seat to the enamels and are more like filling forms for the gaps. The enamels specify the width of the edge framing and make the inner cross appear only like a central stripe, which is also colored by a layer of silver filigree. Here, the concept of the two older Essen crosses with their emphasis on the inner cross is almost reversed. Nevertheless, the interior area of the Theophanu Cross is also the carrier of a content allocation, since its surface-filling, symmetrical filigree pattern is formed from filled heart-shaped blossoms, the figuration of which can be derived from the filigree of the Golden Madonna.

The cross made on behalf of Theophanus is stylistically very closely related to the Kreuznagel reliquary , which is already explained by the fact that both works and the Theophanu Gospels go back to the same donor. The three pieces, which were most likely placed in the Easter grave on the west gallery of the cathedral on Good Friday instead of Christ and raised again on Easter vigil , form a unit characterized by formal takeovers as a group. The color juxtaposition of gold and silver pearls characterizes the cross and the triple ensemble as a whole. The enamels taken from the Madonna sculpture and further processed in both the Theophanu cross and the Kreuznagel ostensorium act as elements conveying continuity and legitimation, as they continue to form the ornament for use in the Essen monastery liturgy of certain sacred objects.

literature

Georg Humann : The works of art of the cathedral church to eat. Düsseldorf 1904, p.?.
Ernst Günther Grimme : Goldsmithing in the Middle Ages. Form and meaning of the reliquary from 800 to 1500. M. DuMont Schauberg, Cologne 1972, ISBN 978-3-7701-0669-1 , p. 40.
Klaus Gereon Beuckers : The Ezzonen and their foundations. A study of foundation activities in the 11th century (= art history. Vol. 42). Lit Verlag, Münster & Hamburg 1993, ISBN 3-89473-953-3 , pp. 91-94 ( digitized version ).
Alfred Pothmann: The Essen church treasure from the early days of the monastery history. In: Reign, Education and Prayer - Founding and Beginnings of the Essen Women's Monastery . Klartext Verlag, Essen 2000, ISBN 3-88474-907-2 , pp. 135–153.
Irmgard Siede: Goldsmith's Art. Function - effect - client. In: Klaus Gereon Beuckers (ed.): The Ottonen. Art - architecture - history. Imhof, Petersberg 2006, ISBN 978-3-932526-91-6 , pp. 165-173.
Sybille E. Eckenfels art: As precious as a precious stone. For the use of Ottonian enamels. In: Klaus Gereon Beuckers (ed.): The Ottonen. Art - architecture - history. Imhof, Petersberg 2006, ISBN 978-3-932526-91-6 , pp. 175-190.
Klaus Gereon Beuckers, Ulrich Knapp: Colored gold. The Ottonian crosses in the Essen Cathedral Treasury and their enamels. Cathedral Treasury Essen 2006, ISBN 3-00-020039-8 .
Birgitta Falk : The Essen Cathedral Treasure. Klartext, Essen 2009, ISBN 978-3-8375-0200-8 , pp. 78–79 (no. 13).

Remarks

↑ Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. Note 666 explains the paramount importance of cedar wood in the medieval context to the effect that it was "completely unusual" for use in occidental goldsmithing work and, due to its great rarity in western latitudes, it had an "almost relic-like position". Beuckers also sees the origin of the wood, which may originally have come from the Byzantine possession of Empress Theophanu and came to the Ezzonin as a inheritance , in the Mediterranean area and suspects a second use or an acquisition intended for "later processing".
↑ Quoted from Leonhard Küppers , Paul Mikat : Der Essener Münsterschatz. Fredebeul & Koenen, Essen 1966, p. 58.
↑ Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. P. 91, note 669.
↑ Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. P. 91 mw N.
↑ ^a ^b Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. P. 94.
↑ Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. Note 671 discusses the possibility of completing the collection with a fourth lecture cross on the occasion of the consecration of the crypt in 1051, in which there were four altars, or with reference to the four corners of the high altar consecrated in 1054, on which the crosses during the ceremony presumably were set up. Ultimately, however, he leaves the decision open, as a determination seems impossible and makes little sense to him in view of the close proximity of the two consecration dates.
↑ ^a ^b ^c ^d ^e Klaus Gereon Beuckers, Ulrich Knapp: Colored gold. The Ottonian crosses in the Essen Cathedral Treasury and their enamels. P. 11.
↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k Klaus Gereon Beuckers, Ulrich Knapp: Colored gold. The Ottonian crosses in the Essen Cathedral Treasury and their enamels. P. 12.

[1] Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. Note 666 explains the paramount importance of cedar wood in the medieval context to the effect that it was "completely unusual" for use in occidental goldsmithing work and, due to its great rarity in western latitudes, it had an "almost relic-like position". Beuckers also sees the origin of the wood, which may originally have come from the Byzantine possession of Empress Theophanu and came to the Ezzonin as a inheritance , in the Mediterranean area and suspects a second use or an acquisition intended for "later processing".

[2] Quoted from Leonhard Küppers , Paul Mikat : Der Essener Münsterschatz. Fredebeul & Koenen, Essen 1966, p. 58.

[Beuckers1993-3] Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. P. 91, note 669.

[Beuckers1993_A-4] Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. P. 91 mw N.

[Beuckers1993_B-5] Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. P. 94.

[6] Klaus Gereon Beuckers: The Ezzonen and their foundations. An investigation into foundation activities in the 11th century. Note 671 discusses the possibility of completing the collection with a fourth lecture cross on the occasion of the consecration of the crypt in 1051, in which there were four altars, or with reference to the four corners of the high altar consecrated in 1054, on which the crosses during the ceremony presumably were set up. Ultimately, however, he leaves the decision open, as a determination seems impossible and makes little sense to him in view of the close proximity of the two consecration dates.

[Beuckers-7] Klaus Gereon Beuckers, Ulrich Knapp: Colored gold. The Ottonian crosses in the Essen Cathedral Treasury and their enamels. P. 11.

[Beuckers_A-8] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k Klaus Gereon Beuckers, Ulrich Knapp: Colored gold. The Ottonian crosses in the Essen Cathedral Treasury and their enamels. P. 12.