Title

Processional Cross

Anónimo castellano

Generic classification

Object

Date

Century

Cultural context / style

Dimensions

Material

Technique

Iconography / Theme

Provenance

Current location

Inventory Number in Current Collection

Object history

Burgos was one of the cities where silverwork reached its peak during the 15th and 16th centuries (Taburet-Delahaye, 1989; Barrón, 1998). Around 1530, one of the most notable types of Burgos silverwork appeared: the cross with baluster arms. This processional cross is precisely of that type. Its exact location is unknown, as many such crosses were sold in Burgos in various forms; however, there is no doubt that it was made in one of the workshops in the province.

The piece was acquired by William Randolph Hearst, who had several processional crosses in his collection. According to Levkoff (2008), the magnate owned three, one of which came from the Cathedral of Zaragoza. In addition, in 1925 he acquired two more: one he bought from French & Company (New York, United States) and the other from William Permain (London, United Kingdom). Hearst displayed several of these processional crosses at one of his residences, Clarendon House, in the heart of Manhattan. One of them was placed in the center of the armory, on the refectory table and next to the tapestries from the Cathedral of Toledo; while the other, likely the one from Burgos, was in the reception hall, an imposing room featuring a richly decorated coffered ceiling where he displayed his large collection of Spanish ceramics (Merino de Cáceres and Martínez Ruiz, 2012).

During the 1930s, Hearst’s finances deteriorated, and by 1937 his debts exceeded one hundred and ten million dollars (Merino de Cáceres and Martínez Ruiz, 2012). The magnate’s dire financial situation forced him to put properties and objects from his collection up for sale. This is how this processional cross was purchased by the Los Angeles County Museum in 1949, where it remains today.

Description

This processional cross follows the Latin model and stands on a base divided into three sections. In the center is Christ, fastened by three nails and wearing a cloth of purity. Accompanying him at the ends of the piece are the evangelists: Saint Mark with the lion, Saint John with the eagle, Saint Matthew with the angel, and Saint Luke with the ox. The cross combines elements of the late Gothic style, such as openwork designs, with Renaissance elements, as seen in the decoration of the base: grotesques, coats of arms, and skulls arrangedin a candelieri pattern. All these elements have allowed it to be dated to around 1550–1575.

Locations

• Mid XVI^th c.

  province

  Burgos, Burgos (Spain)

• First quarter of the XX^th c. - Second quarter of the XX^th c.

  private collection

  Collection of William R. Hearst, New York (United States) *

• ca. 1949 - present

  museum

  Los Angeles County Museum, Los Ángeles (United States)