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The Cross As an Art Expression Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1960 The rC oss as an Art Expression Foster Leroy Marlow Eastern Illinois University Recommended Citation Marlow, Foster Leroy, "The rC oss as an Art Expression" (1960). Masters Theses. 4506. https://thekeep.eiu.edu/theses/4506 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THE CROSS AS AN ART EXPRESSION A Thesis Presented To The Department of Art Eas tern Illinois University In Partial Fulfillment Of The Requirements for the Degree Master of Science in Education by Foster Leroy Marlow April 1960 ! Ap proved:_ Dr. Calvin Countr yman. Dr. Roland Leiphol2 Dr. Gerhard MatzneI iii ACKNOWLEDGEMENTS The author of this thesis wis hes to express gratitude for the guidance of his advisor Dr. Carl Shull of the Department of Art, Eastern Illinois Univers ity in the approach to this subject. My gratitude also goes to those artists both of ancient and modern times who have enriched the body of art in symb olization and ornamentation by the use of the cross. Foster Marlow iv TABLE OF CONTENI'S Page ACKNOWLEDGEMENTS. • • • iv LIST OF ILLUSTRATIONS • .vii PREFACE • x PURPOSE OF THE PAPER • • xi INTRODUCTION • • xiii Chapter I THE CROSS AS A SYMBOL AND SIGN OF MAN. 2 Visually Discerned • 2 The Orant Figure • • 4 Instrument of Execution. • • 4 Birth and Death 6 The Evil and the Dead • 6 Funerary Use • 9 Fertility Sign • • 9 Sex and Passion Symb ol • 12 Environment of Man • 12 Summary. 13 II THE CROSS AS A SY MBOL OF MYSTERY AND MAGIC • 15 Natural and Supernatural Concern • 15 The Mysterious Sun • 15 Natural Phenomenon • 17 Divine Symb ols • 19 Magico-Religious Uses 21 Good Luck Symb ol� 24 Swmnary • 26 III THE CROSS IN NATURAL AND MANMADE FORMS • 28 The Bird and Winged Forms. • 28 Floral and Plant Forms • 28 Created Forms • 32 Summary • • 35 IV THE CROSS IN HERALDRY AND SOCIETY. • 37 Profusion in Social and Military Use • 37 Crowns, Coins and Medals • 39 Flags 39 Warning and Summons • 43 Secular Signs • 43 Summary • • 43 Chapter Page v THE CHRISTIAN CROSS • • 46 Basic Forms • • • 46 Group Emblems • • • • 46 Liturgi cal Uses • • • • . • 0 • 46 Ar chitectural Uses • • • • • 50 Summary . • • 52 VI SUMMARY AND CONCLUSIONS • • 54 APPENDIX A - THE NATURE OF A SYMBOL • • 55 APPENDIX B RE LIGION AND SYMBOLISM • • • • • 56 APPENDIX C - SOCIAL EFFECT OF THE SYMBOL • • • 57 APPENDIX D - NOTES ON THE CHRISTIAN CROSS • • • • 58 BIBLIOGRAPHY . • • . • • • • 60 SUPPLEMENTARY BIBLIOGRAPHY • • . • • 6 2 vi LIST OF ILLUSTRATIONS Figure Page 1 AFRICAN FIGURE •••••••••••••••••••••••••••••••••••••••••o• 1 2 H�R ••••••••••••••••••••••••••••••••••••••••••••••• o ••• 3 3 HOSTAGE ..••••••••••••••••••••••••••••••••••••• •••••••• •. •• 3 4 THE CCl4.PLETE CROSS •• ao•••••••••o•o••····················· 5 5 GENEAtJ)GY SYMBOLS: ASTERISK AND DAGGER•••••••••••••••••• 5 6 GREEK 6 CROSS •••••••••••••••••••••••••••••••••••••••••••• 7 7 CHRI.sMON IX_••••••••••••••••••••• ••••••••••••••••••••••••• 7 8 CE11ETERY ?1.A.RKING:•••••••••••••••••• o••••••••••••••••••••• 8 9 RECLINING CROSS •••••••••••••••••••••••••••••••••••••••••• 8 10 SARCOPHAGUS BAS-RELIEF••••••••••••••••••••••••••••••••••• 10 11 FORMS OF THE SWASTIKA•••••••••••••••••••••••••••••••••••• 10 12 CRUX ANSATA•••••••••••••••••••••••••••••••••••••••••••••• 10 13 DAKOTA INDIAN PASSION CROSS•••••••••••••••••••••••••••••• 11 14 (a) SWASTIKA, CROSS, SUN MOTIFS ON NEOLITHIC POTTERY ••••• 14 (b) WHEEL, CIRCLE, SUN, MOON••••••••••••••••••••••••••••• 14 15 SWASTIKA FORMS••••••••••••••••••••••••••••••••••••••••••• 14 16 LAPLAND THUNDERBOLT DESIGN••••••••••••••••••••••••••••••• 16 17 ARAPAHO STAR CROSSES••••••••••••••••••••••••••••••••••••• 16 18 ESTOILE CROSS - 4 POINT STAR••••••••••••••••••••••••••••• 16 19 DIVINITY 'NAl4E•••••••••••••••••••••••••••••• • •••••••••• • •• 18 20 SKY GOD ANU SYMBOL••••••••••••••••••••••••••••••••••••••• 18 I 18 21 THOR s l�R ••••••• g ••• 0 •• 0 •••••••• 0 ••••••••••••• 0 •••••• 22 FOOTPRINTS OF BUDDHA••••••••••••••••••••••••••••••••••••• 20 vii Figure Page 23 DRUID ALTAR TREE••••••••••••••••••••••••••••••••••••••••• 20 24 QUETZALCOATL 'S SHIELD•••••••••••••••••••••••••••••••••••• 20 25 THE HAND OF GOD•••••••••••••••••••••••••••••••••••••••••• 22 26 THE HOLY SPIRIT•••••••••••••••••••••••••••••••••••••••••• 22 27 CHRIST AS REPRESENI'ED BY THE CROSS••••••••••••••••••••••• 22 28 CONGO MASK DECORAT ION•••••••••••••••••••••••••••••••••••• 23 29 PALEOLITHIC CROSS•••••••••••••••••••••••••••••••••••••••• 23 30 TRANSMIGRATION LADDER OF THE SOUL•••••••••••••••••••••••• 23 31 NEFER , THE GOOD LUCK SIGN•••••••••••••••••••••••••••••••• 23 32 CRUCIFIED ROSE••••••••••••••••••••••••••••••••••••••••••• 23 33 HEX SIGN ••••••••••••••••••••••••••••••••••••••••••••••••• 25 34 RUNIC CROSS•• , ••••••••••••••••••••••••••••••••••••••••••• 25 35 SCANDINAVIAN ROCK ENGRAVINGS••••••••••••••••••••••••••••• 25 36 THUNDERBIRD AND SUN SYMBOL.... ..... ................. .... 27 37 TEOTIHAUCAU , MEXICO BIRD STAMP••••• •••••••••••••••• •••••• 27 38 ORNATE STAFF••••••••••••••••••••••••••••••••••••••••••G•• 21 39 ANALOGIES FROM: GREEK AR'ie................................. 29 40 INDIAN BUTTERFLY··.:• • • •• • •• •• • • •• • • • •• • • • • • • •• • • •• • •• • •• • •• 29· 41 CAUCASUS CHRISTIAN PATTERNS........ ... .. .... ........ .... .. Z9 42 ISLAND CROSSES•••••••••••••••••••••••••••••••••••• o•••••• 30 43 THE PAl.M••••••••••••••••••••••••••••••••••••••••••••o••o• JD 44 PLANT INFLUENCE ON CROSSES . •• • • • •• • •• • •• • • •• • • •.• • •• •• •• •• JJ.; 45 CEREl10NIAL KN'IFE••••••••••• o• •• • • •• • • •• • • •• •• • • • • •• • •• • • • Jl· 46 CELTIC I<N'OT.• • •• •• • • •• • •• •• • •• • •• • • •• • •• • • • • • • •• .. • • • • • • • • .Jl. 47 BOWL COVER DESIGN•••••••••••••••••••••••••••••••••••••••• :!l viii Figure Page 48 MILLER {MOLINE) CROSS DESIGN••••••••••••••••••••••••••••• 33 49 ANCHOR ••••• o••••••••••••••••••••••••••••••••••••••••••••• 33 50 THE MAST AND FISH•••••••••••••••••••••••••••••••••••••••• 34 51 THE SWORD•••••••••••••••••••••••••••••••••••••••••••••••• 34 52 THE KNIGHT••••••••••••••••••••••••••••••••••••••••••••••• 36 53 THE TRIUMPHANI' CROSS••••••••••••••••••••••••••••••••••••• 36 54 CRUSADER 'S CROSS••••••••••••••••••••••••••••••••••••••••• 36 55 GE<l>1ETRIC DESIGN - CROSSES••••••••••••••••••••••••••••••• 36 56 THE NAVY CROSS••••••••••••••••••••••••••••••••••••••••••• 38 57 ST. STEPHEN 'S CROWN•••••••••••••••••••••••••••••••••••••• 38 58 CROSSES USED ON COINS•••••••••••••••••••••••••••••••••••• 38 59 FLAGS WITH CROSSES••••••••••••••••••••••••••••••••••••••• 40 60 NATIONAL SOCIALISM••••••••••••••••••••••••••••••••••••••• 41 61 CATTLE BRAND••••••••••••••••••••••••••••••••••••••••••••• 42 6 2 SHOPPING BAG DESIGN•••••••••••••••••••••••••••••••••••••• 42 6 3 STRE ET SIGNS••••••••••••••••••••••••••••••••••••••••••••• 42 64 FORMS OF THE CHRISTIAN CROSS••••••••••••••••••••••••••••• 45 65 POSSIBLE EVOLtrrION OF THE GAMMADION FROM THE ANKH•••••••• 45 66 EMBLEMATIC CROSSES••••••••••••••••••••••••••••••••••••••• 47 67 FITCHEE - PILGRIM'S CROSS •••••••••••••••••••••••••••••••• lflJ 68 PATRIARCHAL CROSSES•••••••••••••••••••••••••••••••••••••• 48 69 THE CRUCIFIX ••••••••••••••••••••••••••••••••••••••••••••• ·49 70 THE ALTAR CROSS•• •••••••••••••• •••••••••••••••••••••••••• 71 LITHUANIAN IRON CROSS.••••••••••••••••••••••••••••••••••• 72 ST. PAUL'S CATHEDRAL••••••••••••••••••••••••••••••••••••• 73 TRIUMPH OF THE GOSPEL•••••••••••••••••••••••••••••••••••• 74 11FLORENCE BE HOLD"•••••••• • • • •• • •• • • • • • • • • •• •• • •• • • • •• • • •• ix PREFACE The design elements and the art qualities of the cross are extensively used both in the secular and religious expressions of mankind. In some cases, the cruciform and quatrefoil shapes have great social and religious me anings . At other times , the cross is simp ly an eye pleas ing motif. The cross appears where ver man lives and his art is greatly enriched by its presence . Due to its universality, it may be found in almost every era of history and in even the mos t primitive cultures. Its variations seem to be only slightly less numerous than its ap pearances. x PURPOSE OF THE PAPE R This thesis is an investigation of the artistic nature of the form of the cross. The expressions and uses of the cross with their ascribed meanings are presented in top ical form. The universality and the significance of this somewhat simp le art form is established by il lus trations redrawn by this author, and by appropriate citations of sources. The conclus ions are based up on logical inferences of the evidence and experience . xi "Now if the sun and moon do not throw out their cruci­ form rays, they do not sh ine: and if birds do not spread their wings like a cross, they cannot fly. Jus t so, Man , if you do not protect yourself by the sign of the cross and spread your yard-arm wings of love, you will not be able to go through the tempests of this wo rld to the quiet haven of the heavenly land. Finally, when Moses raised his arms like a bird, Israel - prevailed: when he lowered his 'arms , .Amalech conquered." T. H. Wh ite Th e Beastiary p. 120 1 Paris -Match Photo, Newsweek Magazine, March 28, 19 60, p . 42. xii INTRODUCTION Th e definit ion of the cross has basically to do with its visually discerned form. A cross is the figure formed by the intersection of two lines at right angles to each other,
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