undoubtedly, as I have said before, the custodias.
The name of custodia is given in Spain, not only to the monstrance or
ostensoir where the Blessed Sacrament is exposed, but also to a sort of
temple or tabernacle, of large size, made also of silver, inside which
is placed the monstrance, which is carried in procession on Corpus
Christi day. In order to distinguish these objects one from another, the
name of _viril_ is given to the object which holds the consecrated host;
it is generally made of rock crystal, with a gold stem and mount
ornamented with precious stones. The small tabernacles are generally
objects of the greatest importance both from their artistic and
intrinsic value. The description of one of them will be sufficient to
give an idea of their construction.
Although a fine custodia existed formerly at Toledo, which we know
weighed 164 pounds, Cardinal Ximenez de Cisneros wished a finer one to
be made, and caused the plan to be furnished by competition. Diego
Copin, Juan de Borgoña, and Enrique de Arphe presented designs; the one
by Enrique de Arphe was selected. Arphe began his work in 1517, and
continued exclusively employed in this, and without the help of other
master silversmiths, until April, 1524, when he gave up the monstrance
to the authorities of the cathedral. The silversmith, Lainez, finished
in 1523 the gold and jewelled cross which is on the top. It represents a
Gothic hexagonal temple, 8 feet high, of three orders, with all the
variety and number of necessary architectural details such as
pilasters, arches, columns, pyramids, canopies, crest-work, &c., to the
closing of the vaulted roof; the whole is _percé à jour_, and so
delicate that it looks like lace. From the roof hang bells and
incense-holders of filigree work; in the key-stone are studded precious
gems. Carvings in relief, representing passages of the life of Our
Saviour, appear on the base of the six pedestals; they are admirably
carved. In the centre of the second order is a figure representing the
Resurrection of Our Lord. On the pilasters and brackets which appear in
the temple there are more than 260 statues of different sizes, all of
which are executed with the same skill. This monstrance was mounted on
iron wires; and Archbishop Fonseca, wishing that the whole of it should
be made of silver, gave orders that Arphe himself should alter it, which
he did in 1525, when the total weight was found to be 388 pounds. The
_viril_ was then placed inside it, this was made of the first gold
brought from America. It is completely covered with precious stones, and
was bought by Cisneros from Queen Isabel (the Catholic); it weighs 29
pounds of gold. The tabernacle was ordered to be gilt in 1595 by
Archbishop Quiroga; this was done by the Masters Diego de Valdivieso and
Francisco Merino. This splendid work of art remains in this state, and
may be seen at the cathedral of Toledo; it was most fortunately saved
from the rapacity of the French, by being sent to Cadiz during the war.
In 1513 the monstrance at the cathedral of Cordova was also made by
Arphe, it is similar in style and importance to that of Toledo. Before
this, he had also finished the splendid one formerly at Leon, which was
destroyed by the French, as was likewise a similar smaller one, also by
Arphe, formerly at the Monastery of St. Benito, at Sahagun.
The custodia made by Juan de Arphe in 1587, a Leonese artist, and
grandson of Enrique, for the cathedral of Seville, competes with that of
Toledo. It is formed in the same manner as a temple, but in the
Græco-Roman style, covered with an immense number of statuettes, some of
which are upwards of a foot high, and reliefs of all kinds, and
delicate ornamentation, worked with the utmost skill. The chapter of the
cathedral commissioned the theologian, Francisco Pacheco, to direct the
subjects which were to be represented, and when it was finished Arphe
published a full description of the monstrance, which he does not
hesitate to call "the largest and finest work in silver known of its
kind." This opinion is hardly an exaggerated one if we look at this
splendid work of art. Its plan is circular, and measures 3-1/2 yards
high, and weighs 1082 pounds of silver. For details consult Cean
Bermudez' "Diccionario," Descripcion de la Catedral de Sevilla, Museo
Español de Antiguedades, vol. viii., p. I.
Besides these two celebrated silversmiths there was another of the same
family, the son of Enrique, and father of Juan, Antonio Arphe, an artist
also of great merit, who made in 1554 the custodia which still exists at
the cathedral of Santiago.
Cean Bermudez says in his "Diccionario," "that in the same manner as the
city of Leon gave Spain three illustrious silversmiths, Cuenca gave them
other three in the Becerrils," these were Alonso and Francisco Becerril
brothers, and Christoval, the son of Francisco. They all worked at the
famous and splendid custodia of Cuenca, and between them they produced a
most important series of works from 1528 to 1584.
It is extremely difficult to give in so small a space the description of
the works and names of the numerous artists on silver and gold work, who
worked in Spain during the 16th century. At the present time,
notwithstanding the innumerable objects lost, a long list would remain
of the specimens which have reached us, and their different forms and
applications, still visible in the churches of Toledo, Seville,
Zaragoza, Palencia, Santiago, and others of the Spanish peninsula. Some
idea may be gathered of the importance this art attained in Spain by
looking through the following list of artists who worked in silver and
gold, upwards of 450 of whom I have added to the 95 given by Cean in his
dictionary. It must be borne in mind that the objects on a large scale
which reproduce an architectural model, adopt three styles during the
century, all three of them admirable as regards beauty of form. The
first is Gothic, a reminiscence of the former time, improved by the
change which had already taken place, in drawing and modelling. The
second style is known by the name of _plateresque_, when applied to
architecture, and consists in copying the general structure of buildings
in the classical style, and applying the orders and pointed arch, while
keeping to the profusion of decoration of the earlier period, and
modifying the general plan with the object of introducing the greatest
quantity of ornamentation. The third style is the Greco-Roman; it is
more sober in decoration, and has a greater tendency to keep to the
imitation of the classical school.
Besides the objects described, which may be considered as original works
and the most important examples of Spanish silversmiths' work, I must
mention those which came from South America, chiefly from Mexico, which
possess a certain aspect; they consist of carved and _repoussé_ work
ornamented with flora of the country adapted in an oriental style;
others consist of filigree work, double-headed crowned eagles are
frequently met with in the same style as those made at Cordova and
Salamanca.
There are interesting specimens at the Kensington Museum which give an
excellent idea of Spanish silversmiths' work. Besides those already
described attention must be drawn to
No. 305-66. A silver-gilt cross ornamented with foliage, statuettes of
saints and the Evangelists with their emblems, Marked NOE/M. About 1560.
Height 3 feet 2 inches.
No. 302-66. Silver-gilt chalice, ornamented with foliated scroll work
and half figures beaten and chiselled. Marked Estorga. About 1540.
No. 132-73. A silver-gilt chalice, the bowl inscribed outside "+ Sangvis
mevs vere est potvs;" the stem is of baluster form, in several tiers,
ornamented with brackets and large chatons set with crystal, and a band
of cherubim. The foot is chased with masques, festoons, harpies, and
birds, and surrounded by eight semicircular projections, on which are an
armorial shield and a cross set with emeralds and lapis lazuli. Engraved
at bottom "S. I. de Salinas." [See woodcut] With it is a paten dated
1549.
[Illustration: SPANISH CHALICE. SOUTH KENSINGTON MUSEUM.]
No. 481-75. Chalice, silver-gilt; the bowl chased in relief with the
instruments of the Passion; on the knop are ten applied figures of
Apostles on ground of translucent blue enamel; the foot, which has eight
semicircular projections, is _repoussé_ with representations of the
Evangelists, cherub and other heads, the Crucifixion, and a shield with
the initials L. B. P. around a crown of thorns enclosing a heart. 17th
century. [See woodcut, p. 31.]
No. 314-64. Silver-gilt pax of architectural design; in the centre is a
group in full relief of the Virgin giving the chasuble to St. Ildefonso.
About 1540-50. [See woodcut, p. 33.]
No. 1129-64. Incense holder, boat-shaped, of rock crystal mounted in
silver-gilt. Around the rim is a band of guilloche pattern, set with
amethysts and garnets; on the lids a band inscribed "Oratio mea
dirigatur sicut incensum." About 1540-50.
[Illustration: SPANISH CHALICE. SOUTH KENSINGTON MUSEUM.]
No. 93-65. Silver triptych with suspending chain, the interior painted
in oils, the exterior engraved in arabesque. About 1550.
We find that Spanish jewels were as magnificent in the 16th century as
were the large architectural objects for ecclesiastical use. One of the
most important in richness and artistic merit was the splendid crown
belonging to the Virgen del Sagrario at Toledo, which it is deeply to be
regretted disappeared in 1868. This crown was made in 1556 by the
silversmith Hernando de Carrion; it then consisted of a gold circle with
chiselled and enamelled ornamentation, set with pearls, emeralds and
rubies. In 1574 Cardinal Loaisa wished to enrich it, and ordered a
silver worker called Alejo de Montoya to add to it an upper part, formed
as an imperial crown, which Montoya agreed to do by a special agreement.
This addition was formed of small figures of angels of enamelled gold,
in pairs supporting the side bands, which met in the upper part forming
a group of allegorical figures, upon which was placed a spherical
emerald, without a flaw, 1-1/2 inches in diameter, which served as a
base to the cross. The bands were studded with precious stones and
ornamented inside with subjects of the life of the Blessed Virgin in
enamel. The height of this crown was 10-1/2 inches by 8-1/2 wide.
Montoya took 12 years to do this work--he finished it in 1586. The fine
bracelets belonging to this crown, which have also disappeared, were
made at the same time by Julian Hernando.
The jewels worn by the Spanish kings and grandees were equally
magnificent. In the description of the gems which Prince Don Carlos, the
son of Philip II, left to be distributed at his death, are included a
sword the hilt of which was of solid gold enamelled in different
colours: this Don Carlos bequeathed to the Grand Master of the Order of
St. John:--a halberd composed of 27 pieces of enamelled gold in high
relief; and a sword with gold mount enamelled in colours with masks,
medals and festoons in the Roman style, made by Rodrigo Reynalti.
Consult "Coleccion de Documentos Ineditos para la Historia de España,"
vol. 27, Madrid, 1855. I owe to the courtesy of Count Valencia de Don
Juan, the following description of arms made by _Toto platero de su
Alteza_ in 1554. [Archives of Simancas legajo, No. 37.] These arms
belonged to Prince Don Carlos.
[Illustration: SPANISH PAX. SOUTH KENSINGTON MUSEUM.]
A gold sword, the cross of which is ornamented with masks of white,
grey, and black enamel.
A gold dagger, and sword-belt belonging to the same sword, ornamented in
a similar manner.
Also a gold sword, belt and dagger ornamented with figures of children
in solid gold and enamel.
Although the greater part of these silversmiths were Spaniards, the
Milanese artist, Jacome de Trezzo was very celebrated during the reign
of Philip II. He made several jewels of great importance for the king
and royal family. The splendid tabernacle which was taken by the French
in 1810 from the Escorial was one of his finest works; they carried off
at the same time the superb shrines, the gifts of kings and princes, and
everything they could lay their hands on of gold and silver, loading ten
campaign carts. Consult, "Historia del Escorial," by Quevedo. Madrid,
1849, p. 220.
At the South Kensington Museum are several objects of this kind, which
will give an excellent idea of Spanish jewel work.
No. 334-70. A gold enamelled pendant, in form of a chained dog,
supported on a scroll from which small pearls depend, and suspended by
two chains of alternate enamelled and plain links, united to a fastening
crowned by a bird.
No. 335-70. Enamelled gold pendant in form of a pelican and her young,
enriched with a carbuncle and pearls, and suspended by pearl links.
No. 336-70. Enamelled gold pendant in form of a dog enriched with
jewels.
No. 337-70. Enamelled gold pendant, in form of a parrot, set with
hyacinth, suspended by chains.
No.340-70. Enamelled gold pendant representing the Virgin of the
Immaculate Conception.
Nos. 341 and 342-70. Pendants representing the Virgen del Pilar
Saragossa, attended by saints. [See woodcut opposite.]
[Illustration: SPANISH JEWEL, 17TH CENTURY. SOUTH KENSINGTON MUSEUM.]
Spanish jewel work does not decrease during the 17th century, the
number of artists who worked was very great, and the quantity of objects
of all kinds which were made by them to enrich the shrines of churches,
and the houses of grandees, was remarkable, although their artistic
merit was far inferior to the work of the 16th century. The general
decay of art, which produces in Europe the _barroco_ style, appears in
Spain more exaggerated and to a greater extent than elsewhere. The
objects made during this period reproduce until the beginning of the
18th century the lines and extravagant ornamentation which we meet with
in architecture, the handiwork however continued to be excellent, and no
expense was spared to give an aspect of richness to the objects made.
[Illustration: SILVER DISH. SPANISH, 17TH CENTURY. SOUTH KENSINGTON
MUSEUM.]
The large quantity of objects of all kinds made of silver, and the
quantity also used in wearing apparel, gave rise to constant
prohibitions restricting its use from the reign of Ferdinand and Isabel,
and even to a far greater extent at the beginning of the 16th century.
In a Decree, issued at Madrid in 1594, "it is forbidden to make or sell
cabinets, escritoires, caskets, brasiers, _chapines_ (clogs), tables,
commodes decorated with silver, either beat in _repoussé_, stamped,
carved or plain, and whoever makes, sells, or buys them, is to lose
them." Notwithstanding this and other restrictions which appeared in the
17th century, this abuse can hardly have been checked, judging by the
number of these objects which have reached us, not counting those
preserved in the shrines of Spanish churches and cathedrals.
The luxury which was apparent in this century of great decay for Spain
will be found in the numerous descriptions which exist of different
feasts and ceremonies.
A good idea may be had of this style of silversmiths' work from the
silver dishes in the South Kensington Museum. An engraving of one of
these appears on the preceding page.
[Illustration: BREAST ORNAMENT SET WITH EMERALDS. SPANISH, LATE 17TH
CENTURY. SOUTH KENSINGTON MUSEUM.]
During the 17th century, jewellery underwent a complete
transformation--the proceedings and _renaissance_ forms of the Italian
school were abandoned, with all their richness of sculptures, enamels,
and variety of stones. Instead of this, jewels were formed of emeralds,
diamonds or rubies in gold setting, _percés à jour_, producing an
excellent effect. The exceptions to this rule are the objects in which
enamelled work still predominates, a reminiscence of the former century.
Among the finest and best examples may be mentioned the gold crown of
the Virgen de los Desamparados of Toledo, made in Mexico in the 17th
century. It is formed like a basket of flowers, of delicate tracery, and
richly studded with fine emeralds. Several most interesting specimens
exist at Kensington of Spanish jewellery of this kind, bought at the
sale which took place in 1870 of the jewels belonging to the Virgen del
Pilar at Zaragoza.
No. 325-70 is a breast ornament of gold scroll open work, with enamelled
flowers, set with emeralds. [See woodcut on p. 37.]
No. 320-70, a gold breast ornament with five bosses and seven pendants,
set with rose diamonds.
No. 406-73. Breast ornament, gold open strap work and floral filigree,
the lower part an oval pendant, set with table diamonds. [See woodcut on
p. 39.]
The following fine Spanish jewels of the 17th century in the Kensington
Museum are also worthy of attention:
No. 330-64. A pectoral cross, with medallions containing relics.
No. 298-66. Gold filigree cross, within which is an ivory crucifix.
No. 344-70. Enamelled gold pectoral cross set with amethysts.
No. 417, 417A.-69. A pair of earrings of gold open work, branches set
with white crystals.
No. 323, 323A.-70. Silver open work earrings set with rose diamonds.
No. 330 to 330C.-70. Four miniature ewers of silver filigree open work,
the bodies of Chinese enamelled copper.
No. 1224-71. Silver frame _repoussé_, with the Holy Dove, and a bleeding
heart encircled with thorns.
Models of the baroque or, as it is called in Spain, _Churrigueresque_
styles continued to be copied during the beginning of the 18th century,
in the same manner as in the 17th century. At this time, as in the rest
of Europe, a reaction begins in every branch of art, due in Spain to the
influence of French and Italian artists who accompanied the family of
Bourbon. The Academy of Fine Arts of St. Fernando was founded by a king
of that House towards the middle of the century, the teaching was
reduced to copying Greco-Roman models, such as they were understood at
that time.
[Illustration: BREAST ORNAMENT SET WITH DIAMONDS. SPANISH, LATE 17TH
CENTURY. SOUTH KENSINGTON MUSEUM.]
The great centres which in the 16th century had produced such splendid
works of art had almost completely ceased. No great silversmiths
remained at Valladolid, Leon, Toledo, or Seville. The only localities
which have preserved even to the present day the traditional forms of
these ornaments are Salamanca, Cordova, Astorga, and Santiago. Madrid
absorbed from the middle of the 17th century the whole of this industry.
In Larruga's "Memorias," Vol. IV., will be found every detail given on
this subject. Several important establishments for the object of making
silver work on a large scale were founded at Madrid, the most important
being that of Tomas de Buenafuente, which passed after to Francisco
Novi. Two Frenchmen called Isaac and Miguel Naudin established a
manufactory in 1772. In each the greater part of the work was machine
made. Others were founded to cut and polish precious stones, and mount
paste stones. This was done with great skill by Antonio Martinez in
1778, in a building fitted up for the purpose, which still exists
opposite the Botanical Garden of Madrid. Martinez was pensioned by
Charles III. in Paris and London to study the improvements in this
industry. The principal object of the manufactory was to teach the
technical proceedings required in order to extend this industry in the
country, and supply a school in which machinery, models, drawings, &c.,
were to be met with. Pupils of both sexes were admitted; machinery was
made in the workshops, and Martinez undertook to teach the manufacture
of gold, doublé, or steel trinkets, with or without enamel or stones.
Sword-hilts, buckles, snuff-boxes, needle-cases, handles for sticks,
brooches, necklaces, orders, and other different objects, were made
either of open work or enamelled gold.
Inkstands, dishes, dinner services, chocolate stands, cruets, knives and
forks, were made of silver in different styles, generally imitating the
English manner. [Consult Larruga, "Memorias Politicas y Economicas."
Madrid, 1789. Vol. IV., p. 116.]
The results obtained by the manufactory of Martinez were most
satisfactory; a large number of apprentices were taught there; but their
work was completely French in character; the manner and style of the
Spanish school of silversmiths was completely forgotten.
As I have already mentioned, the traditional forms were preserved in
some localities which require to be mentioned here in order to finish
this account of this industry in Spain. An interesting and varied
collection of modern Spanish peasant jewellery exists at the South
Kensington Museum. Strange to say, although this collection was formed a
very few years ago, in 1870, it would be very difficult now to make
another; for owing to the means of communication having been of late
years so much improved in Spain, the peasantry are leaving off their
national costumes, and substituting in every detail modern fashions.
Among this peasant jewellery the silver gilt necklace and reliquaries of
Astorga, No. 1114-73, deserve special attention. These necklaces were
worn round the neck and part of the body. The neck ornaments of gold and
seed pearls made at Salamanca, those of silver gilt of Santiago; the
filigree work of Cordova in the Moorish style, and the long earrings of
Cataluña with precious stones, are interesting reminiscences of older
times.
LIST OF SPANISH GOLDSMITHS AND SILVERSMITHS.
10TH CENTURY
Years in which
they worked. Residence.
961. Hudzen ben Bozla, a Moor. He made a silver
casket which exists still at Gerona Cathedral Gerona.
13TH CENTURY
1279. Maestre Jorge Toledo.
1283. Modova, Pablo de Burgos.
Niculas (Don)
1262. Perez, Juan Burgos.
14TH CENTURY
1357. Andreu, Raimundo de Gerona.
1358. Barners, Pedro Gerona.
1325. Bartolomé, Maestro Gerona.
Bernec, Pere, V. Barners
1382 to } Capellades, Pedro Tortosa.
1393. }
1378. Fernai, Rodrigo Oviedo.
1334. Frau, Ramon Palma de Mallorca.
1367. Martinez, Sancho Sevilla.
1382 to } Paris, Pedro de Tortosa.
1393. }
1373. Perpiña, Juan Valencia.
1370. Ponce, Bartolomé Palma de Mallorca.
15TH CENTURY
1417. Abello, Joan Daroca.
1495. Alcaçar, Juan de Toledo.
1477. Almerique Barcelona.
1494. Berenguer, Juan Valencia.
1499. Castellano Toledo.
1454. Castelnou, Juan de Valencia.
1460. Castelnou, Jayme de, son of Juan Valencia.
1470. Cetina, Mestre Valencia.
1458 to } Diez, Pedro el Cabalan Toledo.
1463 }
1494. Diaz, Thomas Toledo.
1417. Diaz, or Diez Caro, Ferrando Daroca.
1418 to } Garcia de Valladolid, Alfonso Toledo.
1426. }
1438. Garcia, Alonso Burgos.
1442. Garcia de Pielagos, Juan Burgos.
1477. Gomez, Garcia Valencia.
1424 to } Gonzalez de Madrid, Juan Toledo.
1459. }
1477. Hance
Lorenzo, Don
1425. Medina, Juan de Toledo.
1499. Medina, Pedro de Toledo.
1470. Nadal Yvo, Maestre Valencia.
1493. Narbona, Diego Toledo.
1495. Nuñez, Alonso Toledo.
1485. Oviedo, Fernando de Burgos.
1487. Pizarro Guadalupe.
1457. Rodriguez de Villareal, Alonso Toledo.
1459. Rodriguez de Villareal, Anton Toledo.
1483. Rodriguez, Gonzalo Toledo.
1496. Rodriguez, Geronimo Sevilla.
1459. Rodriguez de Villareal, Lope Toledo.
1417 to } Roiz, Pero Darroca.
1423. }
1489 to } Ruby, Maestre Toledo.
1491. }
1416. Ruiz de Astudillo, Alfonso Burgos.
1431. Ruiz de Medina Toledo.
1426. Ruiz, Juan Toledo.
1498. Ruiz, Juan Toledo.
1404. Sanchez, Martinez Sevilla.
1424. Sanchez, Anton Toledo.
1417. Sancho, Manuel Hernando Burgos.
1487. Segovia, Fr. Juan de Guadalupe.
1418. Valles, Juan Toledo.
1484 to } Vigil, Pedro de Valladolid.
1488. }
Yvo V. Nadal Yvo ----
16TH CENTURY