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A part of this sign, relic known as the "Title" or "Titulus Crucis", kept in the Cappella delle Reliquie in Rome, Italy. Saint Helena, Roman Empress and mother of Emperor Constantine the Great, went on pilgrimage to the Holy Land and reportedly discovered the True Cross and many other relics which were donated to the church of Santa Croce in Gerusalemme ("Holy Cross in Jerusalem") which she ...
The San Damiano Cross is the large Romanesque rood cross before which St. Francis of Assisi was praying when he is said to have received the commission from the Lord to rebuild the Church. It now hangs in the Basilica of Saint Clare ( Basilica di Santa Chiara ) in Assisi , Italy, with a replica in its original position in the church of San ...
A pectoral cross or pectorale (from the Latin pectoralis, "of the chest") is a cross that is worn on the chest, usually suspended from the neck by a cord or chain. In ancient history and the Middle Ages , pectoral crosses were worn by both clergy and laity .
Cross of Saint James: A red Cross of Saint James with flourished arms, surmounted with an escallop, was the emblem of the twelfth-century Galician and Castillian military Order of Santiago, named after Saint James the Greater. Saint Julian Cross: A Cross Crosslet tilted at 45 degrees with the tops pointing to the 'four corners of the world'.
The Holy Face of Lucca (Italian: Volto Santo di Lucca) is an eight-foot-tall (2.4 m), ancient wooden carving of Jesus crucified in the cathedral of San Martino, Lucca, Italy. Medieval legends state that it was sculpted by Nicodemus who assisted St. Joseph of Arimathea in placing Christ in his tomb after the crucifixion. The same legends placed ...
Giotto's Crucifix at Santa Maria Novella is a cross painted in tempera and gold on wood panel (578 x 406 cm) by Giotto di Bondone around 1290-1295. The crucifix is preserved in the center of the nave of Florence's Santa Maria Novella basilica. It is one of the earliest known works by the artist, then in his early twenties.
Cimabue achieves a masterful handling of colour; medieval churches tended to be extremely colourful, with frescoed walls, painted capitals, and gold leaf paintings. [8] Pale tonalities dominate, with the main contrast found in the dark areas of Christ's hair and beard, which are utilised to make the features of his face stand out more and position his head as the focal point.
During the Middle Ages small crucifixes, generally hung on a wall, became normal in the personal cells or living quarters first of monks, then all clergy, followed by the homes of the laity, spreading down from the top of society as these became cheap enough for the average person to afford. Most towns had a large crucifix erected as a monument ...
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