This capezzalle[1] embodies the most celebrated characteristics of coral workmanship from Trapani, particularly of those produced in the first half of the 17th century. Its structure, technical execution and ornamentation correspond closely to the traditions described throughout the literature on Sicilian coral art.

On a smooth gilt copper background, The Assumption of the Virgen is the central composition. The crowned Virgin, shown with crossed arms, is draped in a curvilinear mantle. Above her, the Eternal Father bestows his blessing while holding the Orb, and winged cherubs surround the scene. This subject was a widespread devotional theme during the Catholic Counter-Reformation and in the region’s coral workshops[2]. The absence of perspectival modelling in the relief suggests a relatively early date within the 17th century, before more developed spatial effects became standard.

This devotion plaque features a slightly elongated octagonal inner-frame divided into trapezoidal sectors, each treated as a self-contained decorative field. The dense carpet-like ornamentation is composed of coral curls, commas, pods, drops and centre rosettes. These elements, typical of Trapani production of the 1st half of the 17th century, express the baroque “horror vacui” that scholars have remarked upon[3], a practice linked to Arab-Islamic ornamental traditions of Mesopotamian origin that persisted in Sicilian visual culture well into the 17th century[4]. These frames were widely used in medallions, holy water vessels and mirror frames being repeatedly reproduced with few variations, reflecting a consolidated tradition rooted in client expectations. The persistent use of the octagon also carried symbolic meaning: the number eight, according to Kabbalistic interpretations, expressed the mystical union of the imperfect and the perfect, the male and the female[5].

This piece displays extensive use of retroincastro ornamentation. This technique, central to Trapani coral work from the late 16th century onward, was first coined by Corrado Maltese and Maria Concetta Di Natale on the exhibition The Art of Coral in Sicily, held at the Pepoli Museum in Trapani in 1986, as a process that consists in inserting small smooth coral pieces on the reverse of pre-drilled gilt copper and securing them with black pitch and wax, sealed with cloth, later finishing the back with another gilt-copper plate[6]. This technique is characteristic of works dated between the late 16th and early 17th century and often accompanied by white or polychrome enamels[7].

The external frame, characterised by geometric herringbone motifs in white enamel, develops into a rich openwork lace-like composition in gilt copper and decorated in white champlevé enamel. The frame alternates coral cherub heads and rosettes with white enamel crown, wings and scrolls, all part of a typically baroque language[8]. The pervasive use of white enamel applied over copper helps generate a luminous contrast with the deep orange of the Mediterranean coral. The fixation system, using small metal rods or pins reflects a refined technical language. The upper portion of the frame is dominated by scroll-like openwork in white enamel, enclosing a slightly larger cherub head and coral-enamel rosettes. This scheme recurs in comparable pieces from the first half of the 17th century[9].

At the top of the frame, a circular copper ring was placed intended for holding the piece.

The reverse is finely engraved with an outer-frame of phytomorphic motifs, and an inner-frame of lanceolate and flaming rays framing the HIS monogram. The figure of the Salvator Mundi with a quadrangular halo and the Globe in His right hand is inserted in the central letter. Such decorative treatment of the reverses of capezzali appears in several catalogued examples, however, this depiction, possibly indicative of a commission linked to the Society of Jesus, is considerably rarer. A comparable rendering may be observed in the Capezzale con il Battesimo di Cristo, exhibited at Rosso Corallo. Arti Preziose della Sicilia Barocca in Turin in 2008 (cat. pp. 126–129).

Another rare and noteworthy aspect of this object is the survival of its original wooden case, fitted with a red velvet lining that, while not original, is period accurate.

Its integration of dense retroincastro coral work, white enamel lace-like frames, symbolic octagonal geometry, and baroque iconography firmly anchors this capezzale within the golden age of Trapani coral art, when local workshops produced some of the most sought-after devotional objects in Europe[10].

Coral objects produced in Trapani belonged to a long tradition of craftsmanship admired across Europe. These works were often intended for courtly patronage and were highly appreciated by noblemen, sovereigns, and popes, frequently forming part of prestigious diplomatic gifts.

Their craftsmanship was favoured by the presence of nearby coral banks and an active commercial network. In its earliest form, this craft likely focused on the production of coral beads used to make the characteristic paternosters. These, along with a small coral brooch, are mentioned in the 1393 inventory of goods belonging to Martino and Maria, king and queen of Sicily, confiscated from Manfredi Alagona[11]. A major turning point came in the 16th century with the introduction of the burin technique by Antonio Ciminello, a renowned coral master. This tool made it possible to carve with exceptional precision, allowing artisans to create miniature sculptures of remarkable technical refinement and beauty. By 1605, the city boasted twenty-five active workshops whose works travelled widely and were highly coveted. The art of these masters was never isolated within the confines of a single workshop as it remained receptive to outside influences. The workshops formed an open, collaborative artistic environment: craftsmen frequently exchanged techniques with bronze workers, goldsmiths and silversmiths, producing complex multi-material works[12].

As Di Natale stresses, Trapani coral enjoyed widespread fame: «Few cities can boast like Trapani [...] of having been famous throughout the world over the centuries for the mastery of their artisan-artists, among whom the members of the “ars corallariorum et sculptorum coralli” certainly stood out»[13]. The persistent presence of these works on the international art market today demonstrates the continued recognition of this craftsmanship[14].

Coral’s apotropaic and symbolic meanings also played a central role in its use. Originating in classic mythology, where coral embodied the blood of Medusa, it later acquired a Christian interpretation, becoming a material symbol of Christ’s blood, charged with protective and salvific value[15].

During the Counter-Reformation, the Roman Catholic Church deliberately reinforced its religious identity through doctrine, devotion, and the visual arts. In response to internal dissent and the rapid spread of Protestantism, the Church undertook a period of intense self-examination that culminated in the Council of Trent (1545–1563). Within this artistic and devotional framework, Marian piety assumed a position of exceptional importance. Catholic devotion to the Virgin Mary was especially strong, supported and promoted by the popes of the post-Tridentine era[16]. In parallel, new religious orders, most notably the Society of Jesus (Jesuits), emerged as champions of the reformed Catholic Church, actively promoting the faith on a global scale[17].

In this context, this capezzale emerges as a synthesis of Counter-Reformation values: its coral evokes the blood of Christ and its apotropaic power, its Marian imagery reflects the heightened veneration of the Virgin, and its Jesuit associations align it with the missionary and doctrinal ambitions of the post-Tridentine Church. Together, these elements elevate the object from ornament to a concentrated embodiment of Counter-Reformation belief and practice.

Regarding provenance, this piece can be traced with considerable continuity to the Quinta de Carvalhais, Torres Novas, where it is recorded as having remained from around 1870. It was held in the Raposo de Sousa family, first in the possession of Bernardim Raposo de Sousa de Alte Espargosa (1859-1912), former owner of the estate, and then passing by descent to his son, José Maria Raposo de Sousa de Alte Espargosa (1886-1974), and subsequently to his grandson, Bernardim Raposo de Sousa D`Alte Espargosa (1940-2022). Shortly before 1989 the piece was acquired by Dr. Carlos Nuno Nunes Ferreira, and thereafter purchased by Joaquim Horta Correia on 17 August 1989. Given that Bernardim Raposo de Sousa de Alte Espargosa only assumed ownership of the Quinta de Carvalhais in 1889, while the piece is stated to have been there since circa 1870 according to its latest owner, it is possible that it previously belonged to Joaquim de Gouveia Prestes dos Guimarães Pinto, of the Gouveia Prestes family, who owned the estate until 1889[18].

Marta Silva Pereira

Bibliography:

BALME, Clelia Arnaldi di, CASTRONOVO, Simonetta (eds.), Rosso Corallo. Milan: Skira, 2003.

Di Natale, Maria Concetta (ed.), Splendori di Sicilia. Milan: Charta, 2001.

DI NATALE, Maria Concetta; DEL MARE, Cristina, Mirabilia Coralii. Palermo: Regione Siciliana – Assessorato dei Beni Culturali e dell’Identità Siciliana, 2008.

GHIO, Dario, Da Trapani a Napoli. Coralli trapanesi e napolitani dal XVII al XIX secolo. Naples: Arte’m, 2014.

GONÇALVES, Artur, Memórias de Tôrres Novas. Torres Novas: Câmara Municipal de Torres Novas, 1986.

INTORRE, Sergio, Coralli trapanesi nella collezione March. Trapani: Museo Pepoli, 2007.

LI VIGNI, Valeria; DI NATALE, Maria Concetta; ABBATE, Vincenzo (eds.), I Grandi Capolavori del Corallo. Palermo: Edizioni Caracol, 2007.

MAUNDER, Chris (ed.), The Oxford Handbook of Mary. Oxford: Oxford University Press, 2019.

Shrine M.159-1956, V&A. London: Victoria and Albert Museum. Available at:

https://collections.vam.ac.uk/item/O108691/shrine-unknown/ Accessed on: 26/11/2025.

[1] In Sicily, the term capezzale indicates a type of devotional plaque which was usually hung next to the bed’s headboard. Having an apotropaic function, it protects the sleeper against the nocturnal raids of the Evil One (CAMPIONE, Francesco, “16. Capezzale con San Michele Arcangelo”, in LI VIGNI, Valeria DI NATALE, M.C. and ABBATE, Vincenzo (eds.), I Grandi Capolavori del Corallo, p. 81).

[2] See INTORRE, Sergio “Coralli trapanesi tra XVI e XX secolo nella collezione di Manolo March”, in Coralli trapanesi nella collezione March, pp. 31–32; For example, see LI VIGNI, Valeria DI NATALE, M.C. and ABBATE, Vincenzo (eds.), I Grandi Capolavori del Corallo, p. 71,76 and 95. DI NATALE, M.C., “Oro, argento e corallo tra commitenza ecclesiastica e devozione laica”, in DI NATALE, M.C. (ed.), Splendori di Sicilia, p. 33.

[3] See DI NATALE, M.C., Mirabilia Coralii, p. 126–130; INTORRE, Sergio “Coralli trapanesi tra XVI e XX secolo nella collezione di Manolo March”, in Coralli trapanesi nella collezione March, p. 35.

[4] See DI NATALE, M.C, “Ars corallariorum et sculptorum coralli a Trapani”, in BALME, Clelia Arnaldi di, CASTRONOVO, Simonetta (eds.), Rosso Corallo, p. 21.

[5] See DI NATALE, M.C., Mirabilia Coralii, pp. 122–130.

[6] See INTORRE, Sergio, “Coralli trapanesi tra XVI e XX secolo nella collezione di Manolo March”, in Coralli trapanesi nella collezione March, p. 31-32.

[7] See DI NATALE, M.C., “Una Collezione per il Corallo nel XXI Secolo”, in GHIO, Dario (ed.), Da Trapani a Napoli, Coralli trapanesi e napolitani dal XVII al XIX secolo, p. 4.

[8] See DI NATALE, M.C., Mirabilia Coralii, p. 120.

[9] For example, see LI VIGNI, Valeria DI NATALE, M.C. and ABBATE, Vincenzo (eds.), I Grandi Capolavori del Corallo, pp. 75-95.

[10] See MARE, Cristina del, “Sicilian Coral from 11th to 17th. Merchants, tradition and jewish craftsmen”, in DI NATALE, M.C., MARE, Cristina del, Mirabilia Coralii, p. 10.

[11] See DI NATALE, M.C., “Ad Laborandum Curallum”, in LI VIGNI, Valeria DI NATALE, M.C. and ABBATE, Vincenzo (eds.), I Grandi Capolavori del Corallo, pp. 39-42; DI NATALE, M.C.,, “Ars corallariorum et sculptorum coralli a Trapani”, in BALME, Clelia Arnaldi di, CASTRONOVO, Simonetta (eds.), Rosso Corallo, p. 17; MARE, Cristina del, “Sicilian Coral from 11th to 17th. Merchants, tradition and jewish craftsmen”, in DI NATALE, M.C., MARE, Cristina del, Mirabilia Coralii, p. 54.

[12] See DI NATALE, M.C., “Ars corallariorum et sculptorum coralli a Trapani”, in BALME, Clelia Arnaldi di, CASTRONOVO, Simonetta (eds.), Rosso Corallo, p. 21.

[13] DI NATALE, M.C., “Ad Laborandum Curallum”, in LI VIGNI, Valeria DI NATALE, M.C. and ABBATE, Vincenzo (eds.), I Grandi Capolavori del Corallo, p. 39. ASCIONE, Gina Carla, “Il corallo a Napoli. Storia de un collezionismo tra viceregno e regno””, in DI NATALE, M.C. (ed.), Splendori di Sicilia, p. 101.

[14] See INTORRE, Sergio “Coralli trapanesi tra Seicento e Ottocento nel mercato internazionale dell’arte del XXI secolo”, in Coralli trapanesi nella collezione March, p. 24.

[15] See DI NATALE, M.C., “Una Collezione per il Corallo nel XXI Secolo”, in GHIO, Dario, Da Trapani a Napoli, Coralli trapanesi e napolitani dal XVII al XIX secolo, p. 3. ASCIONE, Gina Carla, “Il corallo a Napoli. Storia de un collezionismo tra viceregno e regno””, in DI NATALE, M.C. (ed.), Splendori di Sicilia, p. 104.

[16] See Fastiggi, “Mariology in the Counter Reformation”, in MAUNDER, Chris (ed.), The Oxford Handbook of Mary, pp. 454–467.

[17] See Shrine M.159-1956, V&A.

[18] See GONÇALVES, Artur, Memórias de Tôrres Novas, pp. 289-290.