The cross motif is also to find in the BACH motif:
A cross motive (chiasmus) is a popular musical symbol, especially in the baroque era. It consists of four notes that follow each other in such a way that you get a cross when you connect the outside and inside tones.
The most famous cross motif is B-A-C-H, the setting of the name of Johann Sebastian Bach. Bach himself set this episode many times in fugues, chorales and other works. This is especially noteworthy, since B-A-C-H are very small steps (spacing of 3 semitones from A to C), which is not harmonically easy to compose.
But what you are asking for is:
In the Passion of St. Matthew
How the unruly rage of the masses of the people increases, is represented by the increase of crosses as a sign, up to C sharp major, which has seven crosses. In strict polyphony of a joint exposition, the individual voices, which ascend one after the other from the bass to the soprano, demand "as it were formulated lawfully, the merciless harshness of the maximum punishment" (quote from Platen).  The effect is underlined by the cross motive in the melody, the syncopation and the diminished fifths.
Symbols play a vital role
in Bach's music, since his work is a masterpiece
of synthesis of artistic trends reaching far into the Middle Ages (cf.
Geiringer, 1956). Bach uses different kinds of symbolism, one of the most
frequent being pictorialism, a technique employed to conjure up, through
musical means. visual impressions associated with the words set to music.
An example of the typical Baroque form of "sound-painting" can be found
in the Gloria of Bach's Magnificat. At the words, et Spiritui sancto, the
melodic line is inverted to symbolize the descent of the Holy Ghost. Also
in the chorale-prelude • 'Old Mam's Fall," the fall from grace to sin is
symbolird through a series of more or less gruesome diminished sevenths.
There are also numerous examples in Bach's works of the cross motif
(Chiasmus), an arrangernent of notes in the shape of the cross that can be
both heard and seen (e.g , in No. 51 of the St. Matthew Passion, "'Give me
back my Lord, I pray ye' i). Examples of pictorialism are numerous in the
St. Matthew Passion. For example, in No. 9, a motif intoned by two flutes
conveys the gentle flow of tears. In No. 20, the ascent to the Mount of Olives
is indicated by ascending notes. In the same piece, Jesus 's prediction of his
desertion by the disciples and the words, "The sheep of the flock shall be
scattered," are accompanied by the strings in an agitated contrary motion
passage between the upper instruments and the bass singers (Terry, 1926).
In No. 60, a realistic description of Jesus's flagellation is given. In No. 69
("Ah, Golgotha"), Bach uses piaicati violoncelli to portray the funeral bells.
Bach's "St. Matthew Passion": A Rudimentary Psychological Analysis, Part II
Vladimir J. Konečni)