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Arm of processional cross
- Title/name : Arm of processional cross
- Production place : al-Andalus
- Discovery place : San Millán de la Cogolla monastery
- Date / period : End of 10th century
- Materials and techniques : Carved, engraved and ornamented ivory, gold inlay (traces)
- Dimensions : a. 37.3 x 13.5 cm, b. 36.2 x 13.6 cm, c. 37.2 x 14 cm, 0.4 cm thick
- Conservation town : Paris y Madrid
- Conservation place : a and b: Louvre museum, Paris, c: Museo Arqueológico Nacional, Madrid.
- Inventory number : a et b : OA 5944, 5945 ; c : 63.935
This piece is a beautiful example of Mozarabic art. That the three fragments originate from one cross has been the subject of much debate. According to Charles T. Little, it is more than likely that this is the case. The decoration and sizes of the three fragments are very similar. Each trapezoid fragment has a flattened, slightly broader extremity and slightly curved edges. The arms were attached to the body by their extremities, where we can distinguish two small holes. Once assembled, the cross that is formed is of a shape often seen in the 10th century, inherited from Visigothic art and Asturian workmanship.
The decoration on each arm depicts stylized animal faces with a fine border of vegetation and is only to be found on the face of the object. The central section bears no decoration and is slightly hollowed out. It was probably decorated with gold leaf. The garland is decorated in the style of ivory artefacts from Cordoba. The animals – Lions, stags, eagles and griffons – alternate between being face-to-face and back-to-back. They are surrounded by leafy patterns. The link between Cordoban ivories and the ornamental tradition of the Orient almost certainly originates with textiles. The animals carved into the Mozarab ivories from San Millan are less realistic than those from Cordoba and the stalks of the vegetation are longer.
These arms were made in the sculpture workshops of San Millan. There is a strong likelihood that Mozarabs from Cordoba came to live in this area. They undoubtedly came north from al-Andalus, attracted by the territorial conquests of the Christian kings and their policies of repopulation. The influence of work carried out in the Cordoba workshop of Halaf (an artist, who created a pyxis, which can be seen at the Hispanic Society of Islamic Art in New York) is clearly visible in the objects created in San Millan. These fragments are amongst the most important examples of Islamic influenced Christian sculpture. They are the forebears of the ivories created at the time of the Taifa princes.
Ferrandis, J., « Marfiles ‘Multinational Roman », in Árabes de Occidente, t. I, nº 33, p. 101, Madrid, 1935.
Gaborit-Chopin, D., Ivoires médiévaux Ve-XVe siècle, Paris : RMN, 2003, p. 195-198.
Montoya Tejada, B. ; Montoya Díaz, B., Marfiles Cordobeses, Cordoue : Real Academia de Córdoba, de Ciencias, Bellas Letras y Nobles Artes, 1979, p. 45-47.
El Esplendor de los Omeyas cordobeses, cat. exp. Cordoue, 2001, Grenade : Fundación El Legado Andalusí, 2001, p. 172-173.
Les Andalousies : de Damas à Cordoue, cat. exp. Paris, Institut du monde arabe, 2000-2001, Paris : Hazan / Institut du monde arabe, 2000, p. 172-173, n°203 a et b.
The Art of Medieval Spain. A.D. 500-1200, cat. exp. New York, The Metropolitan Museum of Art, 1993-1994, New York, 1993, p. 149-50.
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