Cross Call Peñalba is a cross of cast and chased brass. It measures 49 x 49 cm. and 0.4 cm. thick.'s kick , apex concave and arms, brass sheet is inserted into a central disc composed of two plates joined by eight small nails. Responds to a widespread model in its time as it is the crux quadrata or Greek cross, consisting of trapezoidal, with the same length, which meet in a smaller side in a central disk.
Unlike other jewelry Romanesque more solemn, made of gold and fine woods, in this case we chose the brass, an alloy of copper and zinc yellow pale but susceptible to a shine and polish similar to gold.
is known that the manufacture of brass was known to the Romans from the first century C. Pliny and Dioscorides described obtaining aurichalcum (brass) by the method of heating in a crucible a mixture of cadmium (calamine) with copper, the Brass subsequently obtained was cast or forged to make objects. It is believed that the term brass could derive from the medieval Latin luteum aes literally "Yellow brass." He was also known by the names of oricalco and brass (Arabic for "yellow"). The artisans and craftsmen Hispano highlighted especially in the production of decorative objects made of bronze and brass, often with partial baths alloys or gold and silver. The artists were given to a richly decorated incised or chiseled, geometric and delicate vegetables, or the eternal Kufic inscriptions .
Unlike other jewelry Romanesque more solemn, made of gold and fine woods, in this case we chose the brass, an alloy of copper and zinc yellow pale but susceptible to a shine and polish similar to gold.
is known that the manufacture of brass was known to the Romans from the first century C. Pliny and Dioscorides described obtaining aurichalcum (brass) by the method of heating in a crucible a mixture of cadmium (calamine) with copper, the Brass subsequently obtained was cast or forged to make objects. It is believed that the term brass could derive from the medieval Latin luteum aes literally "Yellow brass." He was also known by the names of oricalco and brass (Arabic for "yellow"). The artisans and craftsmen Hispano highlighted especially in the production of decorative objects made of bronze and brass, often with partial baths alloys or gold and silver. The artists were given to a richly decorated incised or chiseled, geometric and delicate vegetables, or the eternal Kufic inscriptions .
All stones displaying our cross is false, the result of a restoration in which late also outstanding points were added alpha and omega . It is very possible that originally carried a similar letter, as the elements for attachment appear to be covered in its design. The stones chatons as presented today, a total of thirty pieces: six in each of the arms distributed by partners of the same color, which must be added four more embedded in the central disc, a large gem , false as all others in the center and another on the back.
deterioration and total or partial loss of the stones had to be a common problem in the history of such crossings. It should be noted that the exhibition would be very common public procession leaving and make them kiss to the faithful who came to venerate the treasures of churches and monasteries. Fouls
were also similar, as seen in photographs before his disappearance, on the cross was donated by Alfonso III to the church of Santiago de Compostela. In this case the space left by the mountings correspond to the shape of a Latin cross. This is because during the eighteenth century the play was called the crucifix superimposed Ordoño II, now preserved in the treasury of the cathedral of Santiago.
On the front of our cross carved crosses a thin border around its perimeter, with the exception of the lower leg. This detail suggests some kind of device for holding or exposure, perhaps a stem or shaft for display. Likewise, it is possible that the medial disc invest some time, since it accuses the border in repousse, which is identical to that developed in the four arms on the reverse. The carving was done with a chisel and hammer on plates of thin brass, following a design, which on one side highlighted the relief, while in the other gaps will be noticeable negative reason.
reason was used here scrolls forming wavy stem or buttons. The case is similar but not identical, to those based on the twisted ends of two stems or that is unprecedented linked to the Visigoths, as with the passage of lattice type "Meridan" at the Museum of Tarragona . In the same vein are the imposts of the arches start side of San Juan de Baños. In the Asturian architecture known examples are from the second half of the IX or early X (San Miguel de Lillo , San Salvador de Priesca , San Salvador de Valdediós ), which could add double braid border carved bezel surrounding the window mullioned windows of the church of San Martin Salas. Of timing not specified, although formally closer to our model, are other examples scattered the remains preserved decoration on the walls of the churches of Santa Eulalia and Moreruela of Tábara (Zamora).
A formal registration of the identity gives the man and his dedication. The text is divided into the back, in the four arms of the cross. It was recorded with a chisel using a spelling of capital in thin oblique lines. Separation between words is done by triple interpunción , including also two Greek crosses.
The text must first be read horizontally, from left to right, and then vertically from top to bottom. Start on the left arm, continued on the right, passes to the lower leg and is completed at the top:
deterioration and total or partial loss of the stones had to be a common problem in the history of such crossings. It should be noted that the exhibition would be very common public procession leaving and make them kiss to the faithful who came to venerate the treasures of churches and monasteries. Fouls
were also similar, as seen in photographs before his disappearance, on the cross was donated by Alfonso III to the church of Santiago de Compostela. In this case the space left by the mountings correspond to the shape of a Latin cross. This is because during the eighteenth century the play was called the crucifix superimposed Ordoño II, now preserved in the treasury of the cathedral of Santiago.
On the front of our cross carved crosses a thin border around its perimeter, with the exception of the lower leg. This detail suggests some kind of device for holding or exposure, perhaps a stem or shaft for display. Likewise, it is possible that the medial disc invest some time, since it accuses the border in repousse, which is identical to that developed in the four arms on the reverse. The carving was done with a chisel and hammer on plates of thin brass, following a design, which on one side highlighted the relief, while in the other gaps will be noticeable negative reason.
reason was used here scrolls forming wavy stem or buttons. The case is similar but not identical, to those based on the twisted ends of two stems or that is unprecedented linked to the Visigoths, as with the passage of lattice type "Meridan" at the Museum of Tarragona . In the same vein are the imposts of the arches start side of San Juan de Baños. In the Asturian architecture known examples are from the second half of the IX or early X (San Miguel de Lillo , San Salvador de Priesca , San Salvador de Valdediós ), which could add double braid border carved bezel surrounding the window mullioned windows of the church of San Martin Salas. Of timing not specified, although formally closer to our model, are other examples scattered the remains preserved decoration on the walls of the churches of Santa Eulalia and Moreruela of Tábara (Zamora).
A formal registration of the identity gives the man and his dedication. The text is divided into the back, in the four arms of the cross. It was recorded with a chisel using a spelling of capital in thin oblique lines. Separation between words is done by triple interpunción , including also two Greek crosses.
The text must first be read horizontally, from left to right, and then vertically from top to bottom. Start on the left arm, continued on the right, passes to the lower leg and is completed at the top:
+ IN NOMINE DOMINI NSI / IHU XPI OB ONOREM / + SANCTI IACOBI / APLOSTOLI RANEMIRUS REX OFRT
Registration is quite similar in structure to that developed in the cross Peñacorada sources, today in the cathedral, the Diocesan Museum Leon: OB Bono Sancta Maria Santorum Sperati COELI REGINA ET FAMULUS OFFER MARINE DEI ADFON [...]. The mage of the text, the stylistic similarities between the two medals are very significant.
The type of writing Peñalba cross corresponds to the so-called Visigothic, Mozarabic. We find, for example, "A" without cross, the "O" diamond shape, the "T" with the known loop left on the top line, the "C" features straight and "N" does not carry its full central diagonal line, resembling an "H". However, perhaps because of the limitations imposed by the hardware or the lack of expertise of the author, the entry does not have the grandeur and solemnity characteristic of other text equivalents.
The perpetrator was found with some difficulty to accommodate all the text so peculiar epigraphic field. At the end of the inscription, in the right arm, the font size is reduced slightly and the lyrics are too gaudy, and yet the "REX : OFRT "reveals a remarkable overcrowding and deformation of the script. For Gómez Moreno, the use of the form "APLOSTOLI" is because the recorder first attempt to abbreviate the word "APPLY", as usual, proving that after he ran out of space for the "OFFER".
As seen, the gem was donated by Ramiro II the monastery of Santiago de Peñalba in unspecified date. The text does not include a time reference. Traditionally, this issue has been putting around 940, because this year was the King of Leon a significant donation to the monastery berciano heritage. You may also be part of the dowry founding of the church, whose consecration by Bishop Solomon took place in 937. This date has recently been called after cleaning and restoration of the temple walls. The inscription runs along the fascia of the apse: "... ... SALOMON AEPISCOPO TEMP DISCURRENTE Nobi RYE L XX VA ...".
This was not, of course, the only existing beautiful cross in the Bierzo. We hear of the donation of other gems like other monasteries in the region. According to a diploma Tumbo Old San Pedro de Montes , at 918 Ordoño II would have given to this monastery, among other presents, a "argeteam Similiter crucem deauratam lapidis most precious cum instructam" . Similarly, the monastery of Saints Justo and Pastor of Compludo told at some point with a "crucem argenteam Similiter of aurata" due to a donation, no less, that the Visigoth king and his wife Chindasvinto Reciberga at 646. As shown by the criticism both documents appear to be forged or interpolated, but this does not mean that these crossings actually exist and are attributed, with varying degrees of success, the monarchs mentioned.
Most authors have tried to relate this cross apocalyptic constant emblem of the Asturian monarchy, and later of asturleonesa with another stone cross that existed until recently in the facade of the chapel of the Santa Cruz Mountains Valdueza . Both pieces refer, in turn, the model par excellence Asturian cross preserved in the Holy Chamber of the Cathedral of Oviedo .
La Cruz de los Angeles or Cross Oviedo is a jewel of gold with the soul of cherry wood, stones fine carvings and Roman cameos reused, donated by Alfonso II to the Basilica of the Savior of Oviedo in 808. From the time of Alfonso III , and based on the same model, we can cite the cross of Santiago de Compostela, donated by King magnum to the cathedral in 874, and stolen in 1906, and perhaps also from sources Peñacorada , now in the Diocesan Museum, León Cathedral. Such crossings
not be identified as exclusively Asturian Asturian tradition or, as often defined, as already previously been known and used in sculpture and in full gold Visigothic. This is a very common iconographic motif which should include chrismon, crosses, anagrams representations of lignum Cross -whether Greek or Latin- exposed for public veneration in blocks or slabs of stone, painted walls, stamped on bricks clay or carved into medallions as crismón of Quiroga. Appear frequently supported by stem or shaft vertical lower on pedestals or litter.
are heirs of the earliest issues or Greek monogram of Christ blade times Paleochristian . Your institutionalization as vexilum political-military connected to the highest authority of the state take place from time Constantine, continues in the crosses Visigoths and later moved to the Asturian monarchy as a symbol of the rite courtly and Christian militias. The inclusion of letters and alpha omega, aleph and tau of the Hebrews, refers to the Revelation of St. John "I am alpha and omega, first and last, the beginning and end. " The issue goes beyond mere architectural decoration or epigraphic and is also shown in the thumbnail altomedieval , with a theme strongly represented in the codices Hispanic.
not be identified as exclusively Asturian Asturian tradition or, as often defined, as already previously been known and used in sculpture and in full gold Visigothic. This is a very common iconographic motif which should include chrismon, crosses, anagrams representations of lignum Cross -whether Greek or Latin- exposed for public veneration in blocks or slabs of stone, painted walls, stamped on bricks clay or carved into medallions as crismón of Quiroga. Appear frequently supported by stem or shaft vertical lower on pedestals or litter.
are heirs of the earliest issues or Greek monogram of Christ blade times Paleochristian . Your institutionalization as vexilum political-military connected to the highest authority of the state take place from time Constantine, continues in the crosses Visigoths and later moved to the Asturian monarchy as a symbol of the rite courtly and Christian militias. The inclusion of letters and alpha omega, aleph and tau of the Hebrews, refers to the Revelation of St. John "I am alpha and omega, first and last, the beginning and end. " The issue goes beyond mere architectural decoration or epigraphic and is also shown in the thumbnail altomedieval , with a theme strongly represented in the codices Hispanic.
also the emblem of the cross appears in contemporary sources as labarum protector. So Valerio del Bierzo invoked the Victoria Cross, one of the passages in his "Autobiography." This is a supernatural event occurred in the church of San Felice. When you try to leave the church a menacing demon giant blocks the entrance. It is at this point when he says the sign on her forehead and pronounces: "Ecce , inquio , crucem Domini mei iesu Christi , qui est uirtus et uictoria mea. use as a protective amulet This explains the frequent occurrence in both the early medieval miniature and decoration of temples and palaces Hispanic, apotropaic formula type: " Hoc sign tuetur pius, hoc sign uincitur inimicus " or " Signum salutis Domine put in domibus istis et permitted non introire ... ".
The Peñalba cross was donated in 1879 by the bishop of Astorga , then under the government of Mariano Brezmes and Arredondo (1875-1885), the Museum of León, which appears under inventory number 15. Event echoes Ramón Álvarez the brane in an article written in Ponferrada on 25 September this year: "In her [the church of Santiago de Peñalba ] be the cross votive Byzantine style, which owns the Archaeological Museum of Leon, which was donated by a few months ago the illustrious Bishop of Astorga . " At this time exercised
as priest in charge of Peñalba treasurer of Forestry, Hilario Cadierno Lobo. The parish church was served by a priest of income and filing of the Chapter of Astorga. It was at that time Peñalba Santiago a poor village of 20 houses belonging to the jurisdiction of Ponferrada. Madoz dictionary in his ways in 1849 qualifies as "bad sidewalks almost impassable." Bishop Mariano
Collage and Arredondo had previously held the seat of Guadix (1866-1875). Born in 1805 in the town of Leon de Marne, enjoyed a sinecure in the cathedral of León as a prison, was rector of the Theological Seminary of San Froilan and came to participate in the First Vatican Council (1869-1970). Some sources say that by 1866, with Canon and thus even before the creation of the Provincial Museum, would have carried the cross of Peñalba Leon, a point which I could not confirm documented. In that year, 1866 was the bishop of Astorga Miranda Fernando Arguelles, who occupied the episcopal chair between 1858 and 1870. From this date until 1875 the seat was vacant Asturicense.
The Peñalba cross was donated in 1879 by the bishop of Astorga , then under the government of Mariano Brezmes and Arredondo (1875-1885), the Museum of León, which appears under inventory number 15. Event echoes Ramón Álvarez the brane in an article written in Ponferrada on 25 September this year: "In her [the church of Santiago de Peñalba ] be the cross votive Byzantine style, which owns the Archaeological Museum of Leon, which was donated by a few months ago the illustrious Bishop of Astorga . " At this time exercised
as priest in charge of Peñalba treasurer of Forestry, Hilario Cadierno Lobo. The parish church was served by a priest of income and filing of the Chapter of Astorga. It was at that time Peñalba Santiago a poor village of 20 houses belonging to the jurisdiction of Ponferrada. Madoz dictionary in his ways in 1849 qualifies as "bad sidewalks almost impassable." Bishop Mariano
Collage and Arredondo had previously held the seat of Guadix (1866-1875). Born in 1805 in the town of Leon de Marne, enjoyed a sinecure in the cathedral of León as a prison, was rector of the Theological Seminary of San Froilan and came to participate in the First Vatican Council (1869-1970). Some sources say that by 1866, with Canon and thus even before the creation of the Provincial Museum, would have carried the cross of Peñalba Leon, a point which I could not confirm documented. In that year, 1866 was the bishop of Astorga Miranda Fernando Arguelles, who occupied the episcopal chair between 1858 and 1870. From this date until 1875 the seat was vacant Asturicense.
income begins a series of donations with the Bishop of León, the Diputación, City Hall in the capital, the Economic Society of Friends of the Country and a group of individuals, contributed to swell the collections of a museum opened in 1869 and was thus enabled to form a sample leading museum.
In 1894 the piece already had the "restoration" of the fake jewels and the addition of the letters "alpha and the omega." An article about the Museum of Leon published in English and American Illustration "is described as the situation of the jewel in San Marcos: "On the same side of the cloister find another room, smaller capacity than the previous one, occupied by a large number of ancient artifacts [...] Of the Christian era is worth quoting a cross votive, metal, stone carvings on the front, the letters alpha and omega slopes of two of its arms, and back registration, monastic character, next. ... "The text continues with the reading of it and a comparison with the cross of Santiago de Compostela.
In images from the early twentieth can be and our cross, exposed on wooden base and gilded with cabinet Glass, in his former position: the Board of the Museum or "Treasury" in San Marcos.
Jewel In 1929 he participated in one of the first exhibitions of that record. In History Catalog and Journal of Barcelona International Exposition of 1929-1930, appears as No. 215 with a photographic reproduction of it, accompanied by a short form written in Castilian and French.
Today Peñalba cross can be seen in the modern central facilities of the Museum of León in the building Pallares. In 1993 a facsimile was made the occasion of the exhibition "Origins", held in Oviedo. In 1994 it traveled to Ponferrada replica for the exhibition "El Bierzo, stone by stone." Since June 1997 the facsimile is displayed permanently on loan to the Museum of León, at the Museum Bierzo.
On this question the following article available in PDF Description: R. GONZÁLEZ RODRÍGUEZ, "La Cruz de Peñalba. Alma del Bierzo in brass." Published in Bierzo , 2010, pp. 5-27.
