Pendant in the Form of a Cross

Pendant in the Form of a Cross

An item at Metropolitan Museum of Art

While precise identification of this cross is difficult, the maker must have been familiar with more sophisticated goldsmiths’ work made in the second half of the sixteenth century. The schematic form of the crucified Christ, the inexpert use if basse-taille enameling techniques, resulting in the loss of most of the enamel that once covered the front of the cross; and the rather awkward chasing of some of the symbols of the Passion, overlaid with translucent enamels on the back, indicate that the cross was nor made in one of the major centers of European goldsmithing. The sides are inscribed ·ECCE·/·VT·/IMI/TERIS· and VT CONREGNES/COMPATERE [Behold. Suffer with Him in order that you may imitate Him and reign with Him (in Heaven)]. The cross is now a great deal more somber than its maker intended it to be, for, in addition to the loss of the dark blue enamel that once covered the front, only traces remain of the red, green, and white enamels that enlivened the foliate decorations at the ends of the arms.

European Sculpture and Decorative Arts

An exhibit at Metropolitan Museum of Art

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The fifty thousand objects in the Museum's comprehensive and historically important collection of European sculpture and decorative arts reflect the development of a number of art forms in Western European countries from the early fifteenth through the early twentieth century. The holdings include sculpture in many sizes and media, woodwork and furniture, ceramics and glass, metalwork and jewelry, horological and mathematical instruments, and tapestries and textiles. Ceramics made in Asia for export to European markets and sculpture and decorative arts produced in Latin America during this period are also included among these works.