A pair of 17th century Portuguese silver candlesticks, Portugal; 17th century, later 1713 inscription
silver
15.5 cm
550.0 g
550.0 g
B271
Further images
With case. With inscription: “Soi’ De[e]l S, mo Sacramento year 1713; I confess to you the Father, the Lord, the Caeli, and the Earth; who abscond,sti, have asaPi,enti,b,9 et ; Pruden[ti]b9, et Reuelasti, and the Parbuli,s” 1. Dated later than 1713.
. Com inscrição:“Soi’ De[e]l S, mo Sacramento año de 1713; Confiteor tibi Pater Domi,ne Caeli, et Terrae; quia abscondi,sti, haec asaPi,enti,b,9 et ; Pruden[ti]b9, et Reuelasti, e a Parbuli,s” 1. Datação de 1713 posterior.
Rare pair of solid silver 17th century (c.1665) Portuguese candlesticks, the square base rising onto two circular pad discs separated from the shaft by a prominent ring.The faceted octagonal shaft is extended by a link of three plain ring sections defined by raised edges, finishing in a plain lip cylindrical candleholder cup.Erudite pieces of exceptional quality, these candle stands follow a Portuguese classical stylistic model, in the taste of the “estilo chão” (a “plain and simple” style, adopted in Portugal from the mid-16th century), which adopted a purified language that favoured shape in detriment of decoration, therefore enabling the domain of well-defined volumes and plain surfaces, purged from decorative excess. This aesthetic current, directly affiliated to the Mannerist principles adopted during the 17th century, reflected directives emerged from the Council of Trent that demanded the eradication of “all impurity and lewdness lure”, excluding all unnecessary ornamentation in either secular or religious artefacts.In this instance the silversmith underlined the bare, balanced and austere character of the objects, in which prevail the plain surfaces defined by delicate turned appointments, and the clear geometric shapes, thus reaching an extraordinary and successful equilibrium.The absence of hallmarks in Portuguese silver objects is common in this period. This practice will be radically altered in the Baroque period, when King Pedro II (r.1683-1706) decrees the obligation of marking silver pieces, in an attempt at controlling the quality of raw materials and the standards of practice for the profession (1688).This pair of candlesticks summarize the relationship between the inscribed message and the purpose for which they are destined. Most probably commissioned as secular objects, they were later adapted to a religious context by the sacralization of their use, as attested by the Castilian inscription [Soi’ De[e]l S, mo Sacramento año de 1713], the year corresponding to their reusing in the cult of the Holy Sacrament. Considerably reinforced by the Council of Trent, which redefined Communion as of triumphal importance, the devotion to the Holy Sacrament called for Fraternities and Brotherhoods, specifically created for its glorification, which would commission paintings, altarpieces, vestments and gold and silver pieces to decorate their chapels and altars.In addition to the dating and the allusion to the Holy Communion, the engraved inscription transcribes a psalm of Saint Matthew (Chap. 11, vers. 25: Confiteor tibi, Pater, Domine caeli et terrae, quia abscondisti haec a sapientibus et prudentibus et revelasti ea parvulis) (1), reinforcing their religious character.In order to ensure that the free, cursive writing inscription fitted in the available space, it was necessary for the engraver to abbreviate some of the words.
The use of the Castilian language in a period post Restoration of Independence from Spain, can be explained by the cultural links that were maintained between the two countries, albeit the total political separation. Both languages, Portuguese and Castilian, were often used in literature, a fact that should not surprise, considering that many courtiers, magistrates and clergyman, the social groups that had access to culture, had attended the General Studies in Salamanca or Alcalá, and were connected to Spain by intellectual and friendship ties (2).Formally this pair of candlesticks is associated to other contemporary pieces, namely eight silver sticks, converted to incense burners and dated 1665 (3), made by the Guimarães silversmith Francisco Luís Pinheiro who “made and restored for the Collegiate, at the time of Prior D. Diogo Lobo da Silveira (1663-1666), several silver and gold pieces” (4). These rare objects, today at the Alberto de Sampaio Museum, were originally deposited at the Guimarães Collegiate Sacristy, as is recorded in the 1661–1665 inventory (5).An identically shaped pair, albeit with no inscription other than an engraved flower urn on each angle of the base, was shown at the exhibition “A Ourivesaria Portuguesa e os Seus Mestres” at Oporto’s Soares dos Reis Museum in 2007 (6).Curiously, one other pair closely related to the candlesticks here presented, albeit with slightly divergent linguistic inscriptions, has also been identified in recent literature. The noticeable differences, in this instance, being in the caption [Soi’ De[e]l S, mo Sacramento año de 1713] in which the [Soi’] is absent, the [Del] has become [De] and the [año], [ano] (7), suggesting the possibility that, considering the inexplicable gaps, the words have been intentionally altered.In this context, and considering the unequivocal similarities between both pairs of candlesticks, it is legitimate to assume that they were most certainly part of a single commission to a local Guimarães workshop.
. Com inscrição:“Soi’ De[e]l S, mo Sacramento año de 1713; Confiteor tibi Pater Domi,ne Caeli, et Terrae; quia abscondi,sti, haec asaPi,enti,b,9 et ; Pruden[ti]b9, et Reuelasti, e a Parbuli,s” 1. Datação de 1713 posterior.
Rare pair of solid silver 17th century (c.1665) Portuguese candlesticks, the square base rising onto two circular pad discs separated from the shaft by a prominent ring.The faceted octagonal shaft is extended by a link of three plain ring sections defined by raised edges, finishing in a plain lip cylindrical candleholder cup.Erudite pieces of exceptional quality, these candle stands follow a Portuguese classical stylistic model, in the taste of the “estilo chão” (a “plain and simple” style, adopted in Portugal from the mid-16th century), which adopted a purified language that favoured shape in detriment of decoration, therefore enabling the domain of well-defined volumes and plain surfaces, purged from decorative excess. This aesthetic current, directly affiliated to the Mannerist principles adopted during the 17th century, reflected directives emerged from the Council of Trent that demanded the eradication of “all impurity and lewdness lure”, excluding all unnecessary ornamentation in either secular or religious artefacts.In this instance the silversmith underlined the bare, balanced and austere character of the objects, in which prevail the plain surfaces defined by delicate turned appointments, and the clear geometric shapes, thus reaching an extraordinary and successful equilibrium.The absence of hallmarks in Portuguese silver objects is common in this period. This practice will be radically altered in the Baroque period, when King Pedro II (r.1683-1706) decrees the obligation of marking silver pieces, in an attempt at controlling the quality of raw materials and the standards of practice for the profession (1688).This pair of candlesticks summarize the relationship between the inscribed message and the purpose for which they are destined. Most probably commissioned as secular objects, they were later adapted to a religious context by the sacralization of their use, as attested by the Castilian inscription [Soi’ De[e]l S, mo Sacramento año de 1713], the year corresponding to their reusing in the cult of the Holy Sacrament. Considerably reinforced by the Council of Trent, which redefined Communion as of triumphal importance, the devotion to the Holy Sacrament called for Fraternities and Brotherhoods, specifically created for its glorification, which would commission paintings, altarpieces, vestments and gold and silver pieces to decorate their chapels and altars.In addition to the dating and the allusion to the Holy Communion, the engraved inscription transcribes a psalm of Saint Matthew (Chap. 11, vers. 25: Confiteor tibi, Pater, Domine caeli et terrae, quia abscondisti haec a sapientibus et prudentibus et revelasti ea parvulis) (1), reinforcing their religious character.In order to ensure that the free, cursive writing inscription fitted in the available space, it was necessary for the engraver to abbreviate some of the words.
The use of the Castilian language in a period post Restoration of Independence from Spain, can be explained by the cultural links that were maintained between the two countries, albeit the total political separation. Both languages, Portuguese and Castilian, were often used in literature, a fact that should not surprise, considering that many courtiers, magistrates and clergyman, the social groups that had access to culture, had attended the General Studies in Salamanca or Alcalá, and were connected to Spain by intellectual and friendship ties (2).Formally this pair of candlesticks is associated to other contemporary pieces, namely eight silver sticks, converted to incense burners and dated 1665 (3), made by the Guimarães silversmith Francisco Luís Pinheiro who “made and restored for the Collegiate, at the time of Prior D. Diogo Lobo da Silveira (1663-1666), several silver and gold pieces” (4). These rare objects, today at the Alberto de Sampaio Museum, were originally deposited at the Guimarães Collegiate Sacristy, as is recorded in the 1661–1665 inventory (5).An identically shaped pair, albeit with no inscription other than an engraved flower urn on each angle of the base, was shown at the exhibition “A Ourivesaria Portuguesa e os Seus Mestres” at Oporto’s Soares dos Reis Museum in 2007 (6).Curiously, one other pair closely related to the candlesticks here presented, albeit with slightly divergent linguistic inscriptions, has also been identified in recent literature. The noticeable differences, in this instance, being in the caption [Soi’ De[e]l S, mo Sacramento año de 1713] in which the [Soi’] is absent, the [Del] has become [De] and the [año], [ano] (7), suggesting the possibility that, considering the inexplicable gaps, the words have been intentionally altered.In this context, and considering the unequivocal similarities between both pairs of candlesticks, it is legitimate to assume that they were most certainly part of a single commission to a local Guimarães workshop.
With case. With inscription: “Soi’ De[e]l S, mo Sacramento year 1713; I confess to you the Father, the Lord, the Caeli, and the Earth; who abscond,sti, have asaPi,enti,b,9 et ; Pruden[ti]b9, et Reuelasti, and the Parbuli,s” 1. Dated later than 1713.
Rare pair of solid silver 17th century (c.1665) Portuguese candlesticks, the square base rising onto two circular pad discs separated from the shaft by a prominent ring.The faceted octagonal shaft is extended by a link of three plain ring sections defined by raised edges, finishing in a plain lip cylindrical candleholder cup.Erudite pieces of exceptional quality, these candle stands follow a Portuguese classical stylistic model, in the taste of the “estilo chão” (a “plain and simple” style, adopted in Portugal from the mid-16th century), which adopted a purified language that favoured shape in detriment of decoration, therefore enabling the domain of well-defined volumes and plain surfaces, purged from decorative excess. This aesthetic current, directly affiliated to the Mannerist principles adopted during the 17th century, reflected directives emerged from the Council of Trent that demanded the eradication of “all impurity and lewdness lure”, excluding all unnecessary ornamentation in either secular or religious artefacts.In this instance the silversmith underlined the bare, balanced and austere character of the objects, in which prevail the plain surfaces defined by delicate turned appointments, and the clear geometric shapes, thus reaching an extraordinary and successful equilibrium.The absence of hallmarks in Portuguese silver objects is common in this period. This practice will be radically altered in the Baroque period, when King Pedro II (r.1683-1706) decrees the obligation of marking silver pieces, in an attempt at controlling the quality of raw materials and the standards of practice for the profession (1688).This pair of candlesticks summarize the relationship between the inscribed message and the purpose for which they are destined. Most probably commissioned as secular objects, they were later adapted to a religious context by the sacralization of their use, as attested by the Castilian inscription [Soi’ De[e]l S, mo Sacramento año de 1713], the year corresponding to their reusing in the cult of the Holy Sacrament. Considerably reinforced by the Council of Trent, which redefined Communion as of triumphal importance, the devotion to the Holy Sacrament called for Fraternities and Brotherhoods, specifically created for its glorification, which would commission paintings, altarpieces, vestments and gold and silver pieces to decorate their chapels and altars.In addition to the dating and the allusion to the Holy Communion, the engraved inscription transcribes a psalm of Saint Matthew (Chap. 11, vers. 25: Confiteor tibi, Pater, Domine caeli et terrae, quia abscondisti haec a sapientibus et prudentibus et revelasti ea parvulis) (1), reinforcing their religious character.In order to ensure that the free, cursive writing inscription fitted in the available space, it was necessary for the engraver to abbreviate some of the words.
The use of the Castilian language in a period post Restoration of Independence from Spain, can be explained by the cultural links that were maintained between the two countries, albeit the total political separation. Both languages, Portuguese and Castilian, were often used in literature, a fact that should not surprise, considering that many courtiers, magistrates and clergyman, the social groups that had access to culture, had attended the General Studies in Salamanca or Alcalá, and were connected to Spain by intellectual and friendship ties (2).Formally this pair of candlesticks is associated to other contemporary pieces, namely eight silver sticks, converted to incense burners and dated 1665 (3), made by the Guimarães silversmith Francisco Luís Pinheiro who “made and restored for the Collegiate, at the time of Prior D. Diogo Lobo da Silveira (1663-1666), several silver and gold pieces” (4). These rare objects, today at the Alberto de Sampaio Museum, were originally deposited at the Guimarães Collegiate Sacristy, as is recorded in the 1661–1665 inventory (5).An identically shaped pair, albeit with no inscription other than an engraved flower urn on each angle of the base, was shown at the exhibition “A Ourivesaria Portuguesa e os Seus Mestres” at Oporto’s Soares dos Reis Museum in 2007 (6).Curiously, one other pair closely related to the candlesticks here presented, albeit with slightly divergent linguistic inscriptions, has also been identified in recent literature. The noticeable differences, in this instance, being in the caption [Soi’ De[e]l S, mo Sacramento año de 1713] in which the [Soi’] is absent, the [Del] has become [De] and the [año], [ano] (7), suggesting the possibility that, considering the inexplicable gaps, the words have been intentionally altered.In this context, and considering the unequivocal similarities between both pairs of candlesticks, it is legitimate to assume that they were most certainly part of a single commission to a local Guimarães workshop.
Rare pair of solid silver 17th century (c.1665) Portuguese candlesticks, the square base rising onto two circular pad discs separated from the shaft by a prominent ring.The faceted octagonal shaft is extended by a link of three plain ring sections defined by raised edges, finishing in a plain lip cylindrical candleholder cup.Erudite pieces of exceptional quality, these candle stands follow a Portuguese classical stylistic model, in the taste of the “estilo chão” (a “plain and simple” style, adopted in Portugal from the mid-16th century), which adopted a purified language that favoured shape in detriment of decoration, therefore enabling the domain of well-defined volumes and plain surfaces, purged from decorative excess. This aesthetic current, directly affiliated to the Mannerist principles adopted during the 17th century, reflected directives emerged from the Council of Trent that demanded the eradication of “all impurity and lewdness lure”, excluding all unnecessary ornamentation in either secular or religious artefacts.In this instance the silversmith underlined the bare, balanced and austere character of the objects, in which prevail the plain surfaces defined by delicate turned appointments, and the clear geometric shapes, thus reaching an extraordinary and successful equilibrium.The absence of hallmarks in Portuguese silver objects is common in this period. This practice will be radically altered in the Baroque period, when King Pedro II (r.1683-1706) decrees the obligation of marking silver pieces, in an attempt at controlling the quality of raw materials and the standards of practice for the profession (1688).This pair of candlesticks summarize the relationship between the inscribed message and the purpose for which they are destined. Most probably commissioned as secular objects, they were later adapted to a religious context by the sacralization of their use, as attested by the Castilian inscription [Soi’ De[e]l S, mo Sacramento año de 1713], the year corresponding to their reusing in the cult of the Holy Sacrament. Considerably reinforced by the Council of Trent, which redefined Communion as of triumphal importance, the devotion to the Holy Sacrament called for Fraternities and Brotherhoods, specifically created for its glorification, which would commission paintings, altarpieces, vestments and gold and silver pieces to decorate their chapels and altars.In addition to the dating and the allusion to the Holy Communion, the engraved inscription transcribes a psalm of Saint Matthew (Chap. 11, vers. 25: Confiteor tibi, Pater, Domine caeli et terrae, quia abscondisti haec a sapientibus et prudentibus et revelasti ea parvulis) (1), reinforcing their religious character.In order to ensure that the free, cursive writing inscription fitted in the available space, it was necessary for the engraver to abbreviate some of the words.
The use of the Castilian language in a period post Restoration of Independence from Spain, can be explained by the cultural links that were maintained between the two countries, albeit the total political separation. Both languages, Portuguese and Castilian, were often used in literature, a fact that should not surprise, considering that many courtiers, magistrates and clergyman, the social groups that had access to culture, had attended the General Studies in Salamanca or Alcalá, and were connected to Spain by intellectual and friendship ties (2).Formally this pair of candlesticks is associated to other contemporary pieces, namely eight silver sticks, converted to incense burners and dated 1665 (3), made by the Guimarães silversmith Francisco Luís Pinheiro who “made and restored for the Collegiate, at the time of Prior D. Diogo Lobo da Silveira (1663-1666), several silver and gold pieces” (4). These rare objects, today at the Alberto de Sampaio Museum, were originally deposited at the Guimarães Collegiate Sacristy, as is recorded in the 1661–1665 inventory (5).An identically shaped pair, albeit with no inscription other than an engraved flower urn on each angle of the base, was shown at the exhibition “A Ourivesaria Portuguesa e os Seus Mestres” at Oporto’s Soares dos Reis Museum in 2007 (6).Curiously, one other pair closely related to the candlesticks here presented, albeit with slightly divergent linguistic inscriptions, has also been identified in recent literature. The noticeable differences, in this instance, being in the caption [Soi’ De[e]l S, mo Sacramento año de 1713] in which the [Soi’] is absent, the [Del] has become [De] and the [año], [ano] (7), suggesting the possibility that, considering the inexplicable gaps, the words have been intentionally altered.In this context, and considering the unequivocal similarities between both pairs of candlesticks, it is legitimate to assume that they were most certainly part of a single commission to a local Guimarães workshop.
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