Crux gemmata in the context of "Early Christian art and architecture"

The Cross of Lothair or Lothair Cross (German: Lotharkreuz) is a crux gemmata (jewelled cross) processional cross dating from about 1000 AD, though its base dates from the 14th century. It was made in Germany, probably at Cologne. It is an outstanding example of medieval goldsmith's work, and "an important monument of imperial ideology", forming part of the Aachen Cathedral Treasury, which includes several other masterpieces of sacral Ottonian art. The measurements of the original portion are 50 cm height, 38.5 cm width, 2.3 cm depth.

The cross comes from the period when Ottonian art was evolving into Romanesque art, and the engraved crucifixion on the reverse looks forward to the later period.

Pendilia (singular pendilium; from Latin pendulus, hanging) or pendoulia (the Greek equivalent), are pendants or dangling ornaments hanging from a piece of metalwork such as a crown, votive crown, crux gemmata, or kamelaukion, and are a feature of Early Medieval goldsmith work. On crosses the pendilia may include the letters alpha and omega, and on votive offerings, which were often designed to be hung over altars and where pendilia are at their largest and most spectacular, they may spell out whole words (see illustration).

The term is commonly used in coin collecting. Pendilia are depicted on coins as jewels or pearls hanging from the sides of the crown, and occur frequently on coins of Byzantine emperors. The pendilia which hung from the Emperors' crowns began with Marcian. Although the years saw the styles of crown change, the pendilia remained, at least through Manuel II Palaiologos. Surviving crowns with pendilia include the Holy Crown of Hungary and many votive crowns of the Treasure of Guarrazar from Visigothic Spain.

A processional cross is a crucifix or cross which is carried in Christian processions. Such crosses have a long history: the Gregorian mission of Saint Augustine of Canterbury to England carried one before them "like a standard", according to Bede. Other sources suggest that all churches were expected to possess one. They became detachable from their staffs, so that the earliest altar crosses were processional crosses placed on a stand at the end of the procession. In large churches the "crux gemmata", or richly jewelled cross in precious metal, was the preferred style. Notable early examples include the Cross of Justin II (possibly a hanging votive cross originally), Cross of Lothair, and Cross of Cong.

The Hetoimasia, Etimasia (Greek ἑτοιμασία, "preparation"), prepared throne, Preparation of the Throne, ready throne or Throne of the Second Coming is the Christian version of the symbolic subject of the empty throne found in the art of the ancient world, whose meaning has changed over the centuries. In Ancient Greece, it represented Zeus, chief of the gods, and in early Buddhist art it represented the Buddha. In Early Christian art and Early Medieval art, it is found in both the East and Western churches, and represents either Christ, or sometimes God the Father as part of the Trinity. In the Middle Byzantine period, from about 1000, it came to represent more specifically the throne prepared for the Second Coming of Christ, a meaning it has retained in Eastern Orthodox art to the present.

The motif consists of an empty throne and various other symbolic objects, in later depictions surrounded when space allows by angels paying homage. It is usually placed centrally in schemes of composition, very often in a roundel, but typically is not the largest element in a scheme of decoration.

The Cross with large enamels, or Senkschmelz Cross, known in German as the Senkschmelzen-Kreuz or the Kreuz mit den großen Senkschmelzen (Cross with large senkschmelz enamels), is a processional cross in the Essen Cathedral Treasury which was created under Mathilde, Abbess of Essen. The name refers to its principal decorations, five unusually large enamel plaques made using the senkschmelz technique, a form of cloisonné which looks forward to champlevé enamel, with a recessed area in enamel surrounded by a plain gold background, and distinguishes it from three other crosses of the crux gemmata type at Essen. The cross is considered one of the masterpieces of Ottonian goldsmithing.