Abstract
The exceptional gold and silver work of art known as the Lignum Crucis from Seville Cathedral, dating from the second half of the fourteenth century, has always been considered to be a unitary piece, donated to the cathedral in 1389. Now, however, based on both stylistic analysis and documentation, it can be concluded that it is actually composed of three different parts and that they were joined during the first half of the sixteenth century.
Highlights
The exceptional gold and silver work of art known as the Lignum Crucis from Seville Cathedral, dating from the second half of the fourteenth century, has always been considered to be a unitary piece, donated to the cathedral in 1389
Escritura de los siglos xvii-xviii; Donazión que hizo el señor arzobis//po don Pedro Gómez Barroso de santa// memoria a esta santa yglesia de la cruz//de oro y del relicario de San Leandro// con muchas piedras presiosas y de //mucho valor y de muchos libros que// están en la librería
Summary
The exceptional gold and silver work of art known as the Lignum Crucis from Seville Cathedral, dating from the second half of the fourteenth century, has always been considered to be a unitary piece, donated to the cathedral in 1389. Pedro Gómez de Albornoz, Arzobispo de Sevilla, dio en 12 de Julio de 1389, una Cruz con catorce marcos de oro y dos de plata y varias piedras preciosas; un Relicario de plata dorado con dos ángeles y su imagen o figura grabada y varios libros que se expresan al por menor, siendo testigos Don Pedro Manuel, Deán; Don Juan Sánchez, Arcediano de Jerez; y Don Fernán Martinez, Prior y Racionero.
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