The Penitential Cross
Enrico Finotti
Don Enrico Finotti, a native of Rovereto, is the editor of the magazine Liturgia Culmen et Fons and the author of numerous texts on liturgy and the correct application of the liturgical reform following the Second Vatican Council.
What is the penitential cross? We would like to understand the meaning of this cross and better comprehend its use in liturgy.
In liturgical tradition and expressions of popular piety, three forms of the cross can be identified, used in different ecclesiastical contexts and with peculiar, yet complementary, characteristics: the gemmed cross, the crucifix, and the penitential cross.
The Gemmed Cross. The first representations of the cross emerged when the terrible torture lost its stigma in a now-Christian society, and the Lord's cross was contemplated as the banner of victory, a sign of resurrection and life, a proclamation of His glorious and final coming, when Christ will appear on the clouds of heaven with the banner of the holy cross: Hoc signum Crucis erit in caelo, cum Dominus ad iudicandum venerit. Early Christian basilicas splendidly testify to this: the cross is represented, precious and mighty, in the golden center of apse mosaics or in the aureate nimbus of the triumphal arch (e.g., the apse of St. John Lateran or St. Clement). From this solemn beginning arise the precious liturgical crosses carried in processions and erected on altars. These are the "processional cross" and the "altar cross," which, throughout history, starting from that luminous beginning, are characterized by the preciousness of the materials, the genius of noble forms, the admirable biblical and theological symbols, and the powerful attraction of a marching banner for the Christian people and an orientation point for the Church's prayer. On this type of cross, Christ is not directly depicted, but is implied in the majesty of the symbol, which stands sovereign. In some crosses, however, the Crucifix soon appears, but adorned with his regal insignia or at least in the act of exercising his divine "Lordship," according to the beautiful expression of the Vexilla regis prodeunt ("The King’s banners forward go"). This is the properly liturgical cross, which, alongside the precious Gospel book, constitutes the pinnacle of the sacred furnishings of the ancient Roman liturgy. Confronted with the still unsurpassed models of these truly precious crosses, monumental in their dimension, most noble in their art, and admirable for their symbolic composition, we are still today entranced, noting how weak the theological and spiritual tone of our sacred furnishings often is, mediocre and serial. When crosses of such depth preside over the divine Sacrifice from the altar or lead solemn liturgical processions, holy awe pervades the soul, and holy pride in our faith irresistibly rises in the heart, according to the words of St. John: "This is the victory that has overcome the world: our faith" (1 John 5:4). Such an altar cross seems to tell all of us: Stat crux dum volvitur orbis ("The cross stands firm while the world turns"), and our supplicant gaze seems to respond: O crux, ave, spes unica! ("Hail, O cross, our only hope!"). The ancient liturgical hymns, in fact, translate into literary and poetic terms those theological concepts that inform the art of liturgical furnishings.
The Crucifix. At the beginning of the second millennium, popular piety, guided by the charism of great Saints (e.g., St. Francis of Assisi), loved to meditate with feelings of affection and piety on the Passion of the Lord, dwelling on the pains of his crucifixion and contemplating in the depiction of Christ on the cross the unspeakable torments he suffered. The pious exercise of the Stations of the Cross and that of the Five Wounds express this heightened sensitivity towards the Lord's humanity. The nativity scene and the crucifix are the plastic expression of this vast and important spiritual movement which, attentive to the humanity of the Savior, undoubtedly fostered many fruits of holiness in the Church and contributed to a legitimate and precious theological development together with the consequent reflection in the liturgy itself. Important parts of the liturgical rites and popular piety related to Holy Week owe their origin to this new perspective. However, the crucifix does not replace the precious, classical, and ancient cross, which continues its liturgical function, both on the altar and at the head of processions, but instead rises on the pulpits to inspire popular preaching, which drew large crowds. The crucifix, raised in the wooden hand that holds it, seems to announce to the people: "We preach Christ crucified, a stumbling block to Jews and foolishness to Gentiles" (1 Cor 1:23). The crucifix, therefore, does not arise properly from the liturgy, but in the context of the pious exercises of the Christian people. For this reason, its location finds space not so much near the celebratory places but in the side chapels of the church, where the grandeur of its plastic realization has more space and, especially, in places close to the faithful, who flock there to contemplate the holy wounds, see his loving face, and converse with Him, the only comfort of their souls. They must be able to touch it, kiss it, and venerate it with candles and votive offerings. Far from considering such a practice illegitimate, but admired by the moving beauty of so many wonderful sacred representations, we praise the Lord for the many graces that have irrigated the life of the Church from countless known and humble shrines, inspiring marvelous works of every kind and heroic witnesses of Christian holiness. This type of cross is the one we keep with reverence in our homes and display with faith in the shrines of our districts. The gemmed cross and the medieval crucifix interpret the two great realms of Christian spirituality: the liturgy and the pious exercises. These are distinct and well-configured realms, but not separate; rather, they constitute the "two lungs" of Christian holiness because, although subordinate to the liturgy culmen et fons, they flow from the same source: Christ in the power of the Holy Spirit.
The Penitential Cross. Everyone knows the Way of the Cross that, on Good Friday, the Supreme Pontiff leads at the Colosseum in Rome. There, one sees the model and use of the penitential cross. A simple wooden cross, undecorated, without the crucifix, possibly light enough to be borne by the Pope himself, who stops at each station (at least in the final ones). This type is frequently seen in pilgrimages when many faithful, in a spirit of penance, reach the shrine, basilica, or holy mountain they are heading towards. Even in sacred art, it is not uncommon to see this cross depicted, carried by monks or priests, barefoot and hooded, in significant and sometimes dramatic processions of strong penitential and supplicatory character. Again, the origin is evident: from popular piety; however, an intelligent liturgical use is not excluded. Particularly important is to note the meaning of the penitential cross based on which its specific use in worship is outlined. The austerity of an unadorned and essential cross effectively recalls the asceticism both interior of the soul and exterior of the body. From this, one can already understand which liturgical time best suits it: Lent and the days of the Lord’s Passion. Furthermore, this cross lacks the crucified Christ, and this is not accidental; indeed, its use in sacred representations, such as the Way of the Cross, better expresses the evangelical fact of Christ who walks the sorrowful way carrying the cross. Not by chance, the cross is carried by the priest, who assumes the role of the Lord. At the same time, the empty cross seems to emphasize the words of St. Paul: "If we die with him, we will also live with him; if we endure, we will also reign with him" (2 Tim 2:11-12). More than ever during the sacred time of Lent, every believer is personally called to be crucified with Christ to then rise with him. Christ's cross becomes, also symbolically, the cross of every believer, according to the evangelical admonition: "Whoever does not carry their own cross and follow me cannot be my disciple" (Luke 14:27). In this historical and symbolic horizon, the use of the penitential cross in the Lenten stational celebrations can be understood more precisely. It thus precedes the penitential processions, guides the pious exercise of the Way of the Cross, and, placed on its base in a central position in the church, orients and inspires the entire span of Lent.
Photo by Alicia Quan on Unsplash
