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

Altar finish. Embossed silver in its color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast markings. Altar finish made of embossed silver in its color on a wooden core that has seven oval-shaped mirrors and profiles cut into curves and countercurves. The upper part has a canopy imitating textiles from which a series of small bells hang and shelters a dove with outstretched wings, located in front of a venerated shape and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun rays, volutes, seed beads, oval mirrors, circular tears resembling rain, flowers, leaves, a bouquet of ears next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; The remaining part does not have reliefs but does have two mirrors. This type of liturgical metalwork was relatively common in churches, cathedrals, etc. with significant purchasing power and influence, although not many of those made are preserved because it is a valuable material that can be melted down and be subject to looting at certain times. Let us mention, highlighting the differences, the silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestator-Sagrarium of the Cathedral from Valencia from the 18th century, the silver altarpiece from the Diocesan Museum of Huesca (work by José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed before the Main Altarpiece of the Cathedral, and has a canopy and pinjantes bells), display for the Blessed Sacrament of gilded silver and in its color dated in the 18th century and found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (dove) and the cluster of ears of wheat and the vine with the cluster of grapes would link the piece with the Eucharist, and it may be a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to an already somewhat advanced Rococo. The contrast marks present in various points of the silver place the creation of the finial in Vitoria (Spain), also providing an approximate date (around the 60s of the 18th century) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the faithful contrast) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also served as a faithful representative of the city (the City Council appointed him appraiser of diamonds and precious stones in 1751, and in 1769 a representative of the city, a position he held until 1779, when he resigned and was appointed Mauricio Llorente). Prominent institutions such as the Museum of Sacred Art of Vitoria (Reliquary of Santa Lucía of the hermitage of Santa Lucía de Vitoria, 18th century) preserve works with his punch. José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and it is documented between 1760 and 1799. Works with his punch are preserved in the Church of Santiago de Logroño (aviatic holder), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.