EXCEPTIONAL ROYAL PROCESSIONAL CROSS ETHIOPIAN ART, ŠÄWA, 1775–1780 In silver 46.5 × 29.5 cm (18³?? × 11??? in.) An exceptional royal processional cross, Ethiopian Art, Šäwa, 1775–1780 We would like to thank Mr Jacques Mercier, an Ethiopian art historian, for writing this description. Provenance: Collection of Jean-Jacques Rotthier (1932–2009), Brussels, then passed down through the family The form is a development—achieved through the multiplication of peripheral motifs—of the four-lobed shape common in the 14th? –15th? centuries. These birds are pecking at the fruits of the tree of life, which is the Cross. Its unusual thickness is a sign of its historical significance. Side 1: Inscription: ‘The cross of Téwodros, King of Shoa, and his father Ammeha-Iyäsus [reigned c. 1743–1775] and his mother Wälättä-Nob’etsub and Asfa-Wäsän [reigned c. 1775–1807]’.” Téwodros is the baptismal name of Asfa-Wäsän. The inscription reveals that Asfa-Wäsän was the first ruler of Choa to claim the title of ‘king ’ (negus), associated with his baptismal name, thereby refuting the writings of Ethiopian historians who attribute this first claim to his grandson Sahlé-Sellassié. ‘King Téwodros’ probably commissioned this cross shortly after his accession to the throne (alga) in 1775, following the death of Ammeha-Iyäsus, for liturgical use within the ‘royal’ camp. The art of Shoa is highly original due to the region’s semi-autonomy since the 17th century. This cross is the oldest known cross bearing the name of a Shoa dynast. It was published by Mario di Salvo, who mistakenly identified this Téwodros as the ‘King of Kings’ Téwodros, who committed suicide in Magdala in 1868 (Crosses of Ethiopia, 2006, pp. 142–3) Side 2: Crucifixion (Christ on the cross between the Virgin Mary and Saint John). AN EXCEPTIONAL ROYAL PROCESSIONAL CROSS ETHIOPIAN ART, ŠÄWA, 1775–1780 Silver 18³?? × 11??? in. We would like to thank Mr Jacques Mercier, a specialist in Ethiopian art history, for authoring this catalogue entry. Provenance: Jean-Jacques Rotthier Collection (1932–2009), Brussels, then by descent The form of this cross represents a development of the four-lobed type common during the 14?? and 15?? centuries, achieved through the multiplication of peripheral motifs—crosses and “birds” formed by the inscription. These birds peck at the fruits of the Tree of Life represented by the Cross. Its unusual thickness is a sign of its historical importance. Side 1, inscription: “The Cross of Téwodros, King of Šäwa, and of his father Ammeha-Iyäsus [reigned c. 1743–1775], and his mother Wälättä-Nob’etsub, and Asfa-Wäsän [reigned c. 1775–1807].” Téwodros was the baptismal name of Asfa-Wäsän. The inscription reveals that Asfa-Wäsän was the first ruler of Šäwa to claim the title of negus (“king”), associating it with his baptismal name. In doing so, it contradicts the writings of Ethiopian historiographers, who attribute this first claim to his grandson Sahlé-Sellassié. “King Téwodros” probably commissioned this cross shortly after his accession to the throne (alga) in 1775, following the death of Ammeha-Iyäsus, for liturgical use within the royal camp. The art of Šäwa is highly distinctive owing to the region’s semi-autonomous status since the 17?? century. This cross is the earliest known example bearing the name of a Šäwan ruler. It was published by Mario Di Salvo, who mistakenly identified this Téwodros as Tewodros II, the Emperor of Ethiopia who took his own life at Magdala in 1868 (Crosses of Ethiopia, 2006, pp. 142–143). Side 2: Crucifixion (Christ on the Cross between the Virgin Mary and Saint John).