Copyright © Edward Riojas
It is clear that the hymn writer had a processional crucifix in mind when he penned the words to "Lift High The Cross," (LSB 837). Even the hymn’s tune, “Crucifer,” is named for the acolyte responsible for carrying the crucifix in a procession. It’s also clear that the hymnist was writing as a member of the Church Militant; as a Christian still fighting the world and its temptations this side of heaven. The words are militaristic, as in the stanza, “Led on their way by this triumphant sign, the hosts of God in conqu’ring ranks combine.”
Processional crucifixes are special pieces of liturgical art. They come in a variety of forms, but typically show the crucified Christ. While not always found in Lutheran churches, they are somewhat common, and tend to be more so in “confessional” or “high” churches. Sometimes budgets don’t allow them, and sometimes they do. Those in the pews shouldn’t, however, worry that processionals are “too Catholic.”
In my experience, processional crucifixes are used not only to process into and recess out of the sanctuary, but they are also used on special occasions during the Gospel readings, in which the Gospel is read in the midst of the congregation. It’s understood, with proper teaching, that the congregation should always face the crucifix as it enters and leaves the sanctuary. This is a sign of respect. So also is the act of bowing as it passes by. Rome has no monopoly on showing respect to the Lord – even a poor representation of Him – and Lutherans will do well to get off their duffs and bow when given the chance to confess their King.
This brings me to an unveiling of my latest piece, a very special processional crucifix. It was not commissioned by anyone. I occasionally allow myself the freedom to create something apart from a client’s wishes. In this case, the idea had been floating around in my mind for some time.
This is not the average processional crucifix, and nothing like it will be found in any church supply catalog. Every part of it was custom made by me, and, while I am more than satisfied with the results, I won’t create another identical to it. That’s not how this artist works.
The crucifix’s uniqueness flows through every component, and it is highly confessional through those same components and as a whole. The corpus – the body of Christ – is the second of three bronzes I had cast from my own wax model. The first corpus was used in a processional crucifix commissioned by First Lutheran, Boston. This corpus, however, has a different patina. A matching tabula ansata – the piece on which Pontius Pilate had an inscription written – hangs above the sculpted image of Christ.
The cross on which the corpus hangs, along with many other components of the piece, are of black walnut. Supporting the crucifix, both structurally and symbolically, is a 3-dimensional representation of the Church. The four Gospel writers have been carved into the four sides of the church's facade. Supporting this is a stout walnut staff with a steel core. If the walnut church or the staff were cut horizontally, a cross would be revealed. In the words of one of my sons, “[I] must hate acolytes,” for carrying the whole takes more than just reverence – it takes the muscles of a young man. Then again, there is something to be said for substance and weightiness, and the same can be said of what we believe and confess.
The incredibly-heavy base into which it stands is arguably the most “Lutheran” part of the design, although any Christian denomination that clings to Holy Scripture can certainly appreciate it. It is a representation of an open Bible. The pages are oak, and the “cover” is walnut. Walnut inlay is used on the open pages in a VDMA cross design. VDMA is an acronym representing the Latin phrase, “Verbum Domini Manet in Aeternum” – “the Word of the Lord endures forever” (1 Peter 1:25). The phrase was used during the Lutheran Reformation, and still serves as a sort of rallying cry among confessional Lutherans. Well, okay, perhaps the Roman crowd may take umbrage, if only out of ignorance.
Symbolically, the fact that “We preach Christ crucified” (1 Cor. 1:23) is supported by the Church, whose Gospel always proclaims the same. This is, and always will be, immovable through the enduring Word of God, Who is, indeed, the living Christ Jesus Himself. This we will fight to proclaim, “...Till all the world adore His sacred name.”
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For those interested in purchasing this processional crucifix, or for more information, please email me at edriojasartist@gmail.com. Because of the time and materials invested in this piece, the firm asking price is $15,000, plus shipping.
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| Details of the four Gospel writers from Processional Crucifix. Edward Riojas. 2020. (Copyright © Edward Riojas) |
