4. In the Royal Museum at Copenhagen, is preserved a curious little pectoral cross, of the same kind as that already engraved, but smaller. It consists of two portions united by hinges; on one side is represented the Saviour on the cross, with the usual monogram; on the other are represented five circles containing half-figures. In the centre, is the Saviour blessing; on his right, V. Mary; on his left, St. John; above is St. Basil; below, St. George: the inscriptions are in Greek. Before the names of the saints occurs the contraction for ἅγιος. The ground to all the figures is enamel.
This cross is peculiarly interesting from its having been found in the tomb of Queen Dagmar, at Ringsted. This lady, whose real name was Margaret, was daughter of Ottocar, king of Bohemia. She was born in 1186, and, in 1205, married Valdemar II., king of Denmark. She died in 1213, and was buried at Ringsted. It is not improbable that she brought the cross with her from Bohemia.[1]
5. In the Convent of Notre Dame, at Namur, is preserved a silver-gilt cross, once belonging to the Monastery of Ognies. This interesting object has double arms, and is of the shape usually called patriarchal,—a very common form in Greek crosses, and generally intended to contain a fragment of the Holy Cross. The front is ornamented with seven enamelled medallions. The medallion at top contains the favourite Greek subject, ετοιμασια, the preparation. The others represent SS. John, Matthew, Mark, Peter, and Panteleemon, and the Archangel Gabriel. The figures are all executed in various colours, on a gold ground, in which the inscriptions are engraved. The names of the saints are preceded by the contraction for the word ἅγιος. They exactly resemble, in workmanship and design, the small medallion which will be next noticed, but are round instead of square. The spaces between the medallions are filled with filagree ornaments and stones. The colours employed in the enamels are opaque, with the exception of the flesh colour and the green; the flesh colours appear slightly shaded in the faces. The cross rests on a foot of copper gilt,
- ↑ Engraved in Mémoires de la Société des Antiquaires du Nord, 1840-43, pl. x.
silver work of the fourteenth century, and the enamelled plates can scarcely be reckoned painting. In considering merits of works of this kind, allowances should be made for the difficulties of execution. Had Lord Lindsay examined the enamels surrounding the Bamberg carvings, he would have found that they were no better than those on the Pala d'Oro.
