As seen in the pictures above, I have chosen to look the Cloisters Cross. The actual artist of this work of art is unknown, but there continue to be many different theories for its true origin. It was created in the years of ca. 1150-60 and it is made of walrus ivory. The overall size of this piece is about 57.5 by 36.2 centimeters with each of the different pieces varying in width and length. This cross has traditionally been attributed to the Abbey of Bury Saint Edmunds in eastern England in the middle of the twelfth century
Although the actual origin location of the cross is unknown, it is said that "This cross has traditionally been attributed to the Abbey of Bury Saint Edmunds in eastern England in the middle of the twelfth century"(Met Museum). Looking specifically at England during this time, it was not very uncommon to see glimpses of anti-semitism in the culture and this work is no exception. Although some of the inscriptions are tough to interpret, there are clearly some strong invectives against the Jewish population of England. Not to mention that by the end of the thirteenth century, all Jews had been expelled from the country.
The actual art itself, although very obvious to almost every single person who has ever seen it, is a cross. The coloring of it is somewhat of a faded beige and, as mentioned in the first paragraph, it is made of walrus ivory. It is engraved with different patterns and images, each meaning something specific such as the invectives against the Jewish community. It has four parts with each of these parts having a different size, shape, and thickness.
The physical structure of the Cloister Cross is a real work of art by itself. The walrus ivory material or "morse ivory" makes up all of the 57.5 by 36.2 centimeter frame. Carved into this frame is some ninety-two figures along with ninety-eight inscriptions that present some type of complex theological program. This program is normally something that someone would see on a cathedral facade, but here it is on an object that can fit in a hand. Looking at the parts that make up the actual shape of the cross, a shaft, a top piece, a crossing piece, and a center medallion would make up the piece of art. Going along with that, there are three different terminal plaques appearing on the crossing piece and the top piece. Each of these three represent a biblical figure, Mark, Luke, and John are all represented on this cross. In all, although it is a somewhat smaller piece of art, the many different aspects of the piece give it multiple dimensions of understanding.
As discussed earlier in this post, the Cloister Cross had pretty significant religious implications in the culture of the British society. In the thirteenth century in England, growing christian values were starting to not only affect but eliminate the Jewish influence in the country. The cross has about ninety-two figures and ninety-inscriptions all over the piece. Within those inscriptions were many invectives against the Jewish population, it was obvious to see that anti-semitism was a growing theme in the country of England. This idea was solidified when by the end of the thirteenth century, all of the Jewish citizens of England were expelled from the country. This ideology has been created and developed by the curator that was involved when the cross was moved to the metropolitan, Thomas Hoving, in a book that he wrote. In another book by Elizabeth C. Parker and Charles T. Little, it was disagreed with Hoving on the fact that it was made to show the rise of antisemitism in England. The book states that the Jewish population was already very small in England and it was doubtful to mean any actual harm towards the Jews. Despite this argument, it is widely accepted in history that the Cloister Cross was made for the purpose of showing the religious shift made by England in the twelfth to thirteenth century.
What's cookin' good looking'!
