CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOSÉ (1760-1799); SOTIL, JUAN ANTONIO (1754-1768). VITORIA, SPAIN, 18TH CENTURY.

Altar finial. Repoussé silver in its natural color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast markings. An altar finial crafted from repoussé silver on a wooden frame features seven oval mirrors with profiles cut in curves and counter-curves. The upper section presents a canopy imitating textiles, from which hang a series of small bells and shelters a dove with outstretched wings, positioned before a scallop-shaped motif and a cloud with winged angel heads. Approximately the upper three-quarters of the piece display a low-relief decoration with sunbeams, scrolls, rocaille, oval mirrors, circular teardrops resembling rain, flowers, leaves, a sheaf of wheat next to a vine with a bunch of grapes, etc., combined with five mirrors and arranged symmetrically; the remaining section has no reliefs but does contain two mirrors. This type of liturgical metalwork was relatively common in churches, cathedrals, and other institutions with significant purchasing power and influence, although many examples have not survived because the material was valuable, easily melted down, and subject to looting. Among the notable examples, highlighting their differences, are the silver altar of Seville Cathedral (16th-17th centuries, by various silversmiths), the ensemble of the main chapel of Santiago de Compostela Cathedral (17th century), the monstrance-tabernacle of Valencia Cathedral (18th century), the silver altarpiece in the Diocesan Museum of Huesca (a work by José Estrada and Juan and Jerónimo Carbonell y Gros, created between the 17th and 19th centuries, which was placed before the main altarpiece of the Cathedral and features a canopy and hanging bells), and the silver-gilt and natural-colored monstrance for the Blessed Sacrament, dating from the 18th century and located in the Segovia Cathedral Museum, among others. The presence of the Holy Spirit (dove), the bunch of wheat ears, and the vine with the bunch of grapes would link the piece to the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) for a monstrance. Stylistically, the work clearly belongs to a somewhat advanced Rococo period. The hallmarks present in various places on the silver indicate that the finial was created in Vitoria, Spain, also providing an approximate date (around the 1760s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also served as the city's hallmark (the City Council appointed him appraiser of diamonds and precious stones in 1751, and city hallmark in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works bearing his hallmark are held by prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Saint Lucy from the Hermitage of Saint Lucy in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works bearing his mark are preserved in the Church of Santiago in Logroño (pyx), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.