Thoughts on Processional Cross Design

Processional crosses are one of the most neglected of objects of liturgical art in my opinion. One rarely sees them discussed, perhaps in part because they are often only focused on in very short bursts, specifically the few moments when they are carried to and fro in procession. In that regard they can feel a bit 'transitory.' At the same time though, they can certainly add a powerful and dramatic quality to processions insofar as they bring to the fore one of the most powerful symbols of Christianity: The Cross.  The power of the processional cross in a liturgical procession is thus, to my mind, akin to the symbolic power that a flag or standard can have within the context of formal military or civil parade. 

Of course, this is especially so when it is a well designed processional cross -- in fact that is key.  The first such processional cross that I can recall being particularly struck by and drawn to in this regard is the processional cross one often sees used at St. Peter's basilica in Rome. 

For me, the most impactful processional crosses are those which take on a Medieval or Renaissance form. At their most basic, this is typically a Latin cross with rounded medallions on each of the four ends of the arms of the Cross and a proportionately sized orb, or node, which connects the Cross to the stem or handle by which it is carried. Add to this additional ornamental details and we really -- to use a popular turns of phrase -- begin "cooking with gas."  

It's difficult to explain why this type of design works, at least for me; all I can say is that it does indeed work. It has ornamentality to it but at the same time it is not ostentatious; it is a well-balanced design, emphasizing the Cross itself, but also giving us other details to draw us in and hold our interest.

This style of processional cross can be found throughout the older countries of Christendom, especially countries such as Italy. An example of this type of processional cross comes from Bergamo, dated to 1616, located in the Chiesa di San Alessandro Martire. In point of fact, some of the parts of this particular processional cross even predate 1616, going back to the fourteenth and fifteenth centuries, and other pieces reaching into the nineteenth century, but at its core the overall design is certainly of the Medieval and Renaissance type under consideration today -- though in this instance it is beginning to become more heavily ornamental than the base type I am describing.

The reverse side of the processional cross features an image of the church's patron saint, S. Alessandro

A closer look at some of the other details:

Christ crucified, surrounded behind by numerous angels

A cherub, probably an earlier medieval piece, with almost Celtic or Saxon like features 

St. John

Blessed Virgin Mary

S. Alessandro on horseback, found on the back of the Cross.

There are many other examples of this type of processional cross design however -- even better examples in fact. We will conclude by showing you just a few such examples.

The aforementioned processional cross of St. Peter's Basilica that originally brought this to my attention many decades ago. This is the reverse side of the Cross please note.

Venice, 15th cent.

16th century. This example really begins to hit the core type which I wish to describe.

16th century (Note the stem/pole is detached in this instance. The slender stem you see at the bottom would insert into the orb and pole that completes the design). This is another example of the core type I am seeking to particularly highlight in this article.

Rieti, 16th cent.

Of all these examples, I would still say that it is those that most closely approach the Vatican cross in their design that present the strongest and most impactful designs; successfully balancing simplicity and ornamentality. These designs seem to be those which are the most balanced and most successfully exude the all important characteristics of Roman liturgical art: noble simplicity and noble beauty.

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