Title
Monstrance
Generic classification
GoldsmithingObject
MonstranceDate
ca. 1460-1475Century
Third quarter of the 15th c.Cultural context / style
Late GothicDimensions
16,9 x 7,2 inMaterial
SilverProvenance
Possible origin in the province of Burgos (Burgos, Spain)Current location
The Stage Hermitage (San Petesburgo, Russia)Inventory Number in Current Collection
F-166Object history
We do not know the exact origin of this monstrance, as it bears no markings (Barrón, 1991). However, its morphology points to Burgos. During the 14th and 15th centuries, this city became one of the most important centers of artistic production in Castile, promoting and renewing different styles (Cruz Valdovinos, 1992; Barrón, 1994). The oldest monstrances from Burgos did not allow the form to be seen directly, but had a closed temple, as in this case (Barrón, 2000). If we look at some examples from Burgos dating from the late 15th century, such as the monstrance from the church of San Pedro y San Felices by Juan de Villorejo or the monstrance of San Hipólito el Real in Támara (Palencia) attributed to Juan de Santa Cruz, we can see that their pavilions are open. We can therefore date this monstrance to around 1460-1475.
As there is no silversmith's mark, we cannot know who made it. However, some of the most prominent artists of the late 15th century were Juan de Santa Cruz, Fernando de Oviedo, Alonso Sánchez de Salinas, and Bernardino de Porres (Barrón, 1992).
We do not know how or when the monstrance was sold, but in the mid-19th century it was in the collection of Alexander P. Basilewsky, a diplomat of Russian origin who auctioned his collection in 1874. The piece is mentioned in the catalog raisonné of his possessions under number 189: "Art italien ou espagnol, fin du XVe siècle. Lanterne exagone, surmontée d'une pyramide et portée sur un pied au moyen d'une tige interrompue par un noeud. La lanterne est formée de six panneaux percés à jour d'un réseau de style flamboyant [...]" (Darcel and Basilewsky, 1874). Although Basilewsky was unsure about its origin, its morphology and similarities with other Burgos monstrances seem to indicate its provenance. The diplomat's collection was acquired by the Hermitage Museum, becoming part of its holdings in 1885, where it remains today.
Description
The monstrance is crowned by a perforated hexagonal pyramid with elements typical of the late Gothic period. It has a closed temple that does not allow the shape to be seen directly, only glimpsed through the Gothic tracery. It stands on a shaft with an architectural knot and rests on a base with alternating larger and smaller lobes. The larger lobes feature decorative scenes alluding to the life of Christ, such as the Crucifixion and the Annunciation.
Locations
XVth c.
Mid XIXth c. - ca. 1885
private collection
Alexander P. Basilewski collection (or Basilewsy) (Russia) *
ca. 1885 - present
Bibliography
- BARRÓN GARCÍA, Aurelio (1994): La platería burgalesa, 1475-1600, Universidad de Zaragoza, Zaragoza.
- BARRÓN GARCÍA, Aurelio (1992): "La platería burgalesa, 1475-1600", nº 8, Artigrama: Revista del Departamento de Historia del Arte de la Universidad de Zaragoza, p. 555.
- BARRÓN GARCÍA, Aurelio (1998): La época dorada de la platería burgalesa, 1400-1600, Excma. Diputación de Burgos, Burgos.
- BARRÓN GARCÍA, Aurelio (2000): "La platería en Castilla y León", en El arte de la plata y de las joyas en la España de Carlos V, SEACEX, La Coruña, p. 146.
- CRUZ VALDOVINOS, José Manuel (1992): Platería en la época de los Reyes Católicos, Fundación Central Hispano, Madrid.
- DARCEL, Alfred y BASILEWSKY, Alexandre (1874): Collection Basilewsky. Catalogue raisonné, précédé d'un essai sur les arts industriels du 1er au 16e siècle, A. Morel, París, p. 74.
Record manager
Isabel Escalera FernándezCitation:
Isabel Escalera Fernández, "Monstrance" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/495
