His Royal Standard

Copyright © Edward Riojas

Nothing man creates is worthy of worship, and a processional crucifix is really only bits of mundane wood, metal, and paint. A processional crucifix, however, rightly demands greater respect than a bride walking down the church aisle. When either is revealed at the doors, the congregation stands as one in each instance and faces the rear. No one, however, bows to a bride, no matter how beautiful she is. There are decidedly few smiles when a crucifix processes. There is infinitely more reverence.

Early processional crucifixes were sometimes altar crucifixes fitted with removable staffs for processing. Staffs did not enter the Orthodox tradition, and processional crucifixes remained a smaller affair for them. The Western Church, traveling a different course, embraced the idea of a crucifix held aloft. Simply put, the device is visible in a crowd, and seeing a crucifix move above heads of worshippers announces that something important is about to begin.

In the early Church, pews and chairs were absent in sanctuaries. Everyone stood. Typically, worshippers arrived early to sing hymns. In a packed house, it would be a bit hard to know when it was time to stop singing – that is, until the image of Christ crucified parted the worshipping throng and processed toward the chancel.

The crucifix may be simple materials wrought by human hands, but we revere the greater Truth contained in its symbolism when it enters the sanctuary. What follows is an explanation of a crucifix recently commissioned by Christ Lutheran Church, Platte Woods, Missouri...

The finished crucifix

commissioned by Christ Lutheran Church,

Platte Woods, Missouri.

The poplar outer cross is a subtle variation of the cross-crosslet – an old symbol in which the four arms of the cross are themselves crossed. It represents the four Gospels and the spread of the Gospel to the four corners of the earth. In this example, the Gospels are further represented by depictions of the writers in four roundels. In their role as Gospel writers, these saints are sometimes shown with pen in hand, but nearly always with a scroll indicating Holy Scripture. There is not much in tradition concerning the writer’s appearance, with the exception of St. John, who is usually shown as a young man without a beard
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The bird’s eye maple cross on which the Corpus is nailed contains three visual devices – a tabula, a tri-radiant nimbus, and a skull. The tabula is inscribed with a traditional “INRI.” It is shorthand for “IESVS NAZARENVS REX IVDAEORVM,” or “Jesus of Nazareth, King of the Jews.” Of course, two other languages were also represented, but they are ignored altogether in this greatly-abbreviated form.

The tri-radiant nimbus is used to distinguish Jesus Christ from haloed depictions of His disciples. It’s three rays (it is NOT a cross) confess Jesus as a person of the Holy Trinity. Symbols of the Holy Spirit and the Hand of the Father also bear the tri-radiant nimbus.

Placing a skull at the base of the cross is also traditional. It gives a nod to the place name where Christ was crucified and underscores the horror of His death. Furthermore, it points to Christ’s victory over death.

The basswood Corpus bears not only the wounds of nails and crown of thorns, but also the gaping wound in His side. It’s issue of blood and water point us to the sacraments of Holy Baptism and The Lord’s Supper, and remind us that life and salvation are found in Christ alone.