the Gorgon cameo appears on the Senkschmelz Cross - both of these symbolise evil's defeat as a result of the crucifixion of Christ. The lion cameo can also be put in this symbolic system. But the depiction of the lion lying peacefully might also have another meaning: in the Physiologus, a characteristic of the lion is that it brings its newborn young to life on the third day with its breath, which makes lion a symbol for the resurrection of Christ. The lion cameo could therefore also be interpreted as a reference to the hope for the resurrection of the donor depicted on the enamel plaque below it. The meaning of the cameos on the horizontal arms is even less clear. The use of these particular items of spolia seems intentional, but a convincing iconographic interpretation of the naked warrior with spear and helmet and the noble women has not yet been made. Since both look towards Jesus, like the Sun and the Moon, it seems possible that they are intended to amplify those images. Dating and patroness The Cross of Mathilde is always considered in connection with the other three Ottonian processional crosses of the Essen Cathedral Treasury. Long ago, Humann noticed significant parallels with the Cross of Otto and Mathilde and the Senkschmelz Cross, such that he assumed that the goldsmith of the Cross of Mathilde had knowledge of the Cross of Otto and Mathilde (known to him as the Older Cross of Mathilde). The form and general idea of the Cross of Otto and Mathilde are adopted by the Cross of Mathilde: donor portrait, crucifixion inscription, the crucified Jesus on a golden background, surrounded by an elaborate border. The adoption is particularly significant in the case of the crucifixion inscription, since the inscription on the Cross of Mathilde is directly copied from the older cross. The border is adopted from the Senkschmelz Cross. The Cross of Mathilde must, therefore be younger than these models. In 1904, Humann concluded on the basis of the image of Mathilde on it, that the Cross of Mathilde was made before 1011, the year of her death. On the grounds that the Cross of Mathilde is generally less harmonised, colourful, and technically successful, it was assumed that Mathilde donated it shortly before the end of her life, when she no longer had the superior artist of the Cross of Otto and Mathilde