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[[File:Lisboa-Museu Nacional de Arte Antiga-Custódia da Bemposta-20140917.jpg|thumb|The Bemposta Monstrance]]
The '''Bemposta Monstrance''' () is a [[monstrance]] dated 1777, designed by architect [[Mateus Vicente de Oliveira]] and made by [[Prussia]]n-born jewelsmith [[Adam Gottlieb Pollet]]. It was originally commissioned by [[Peter III of Portugal]] for the Chapel of [[Bemposta Palace]], an estate in the Infante's dominions as [[House of the Infantado|Lord of the House of the Infantado]].
It is one of the finest examples of Portuguese [[Baroque]] goldsmithing. It is currently part of the collection of the [[National Museum of Ancient Art]], in [[Lisbon]].
==History==
Tracing the history of the Bemposta Monstance has been made difficult by the fact that few documents about it have reached this day.<ref name="SplendorCustódia">Liquid error: wrong number of arguments (given 1, expected 2)</ref>
It was originally commissioned by [[Peter III of Portugal|Infante Peter of Portugal]]. In his will dictated in 1783, Infante Peter instructed [[John VI of Portugal|Infante John]], his sucessor over the dominion of the [[House of the Infantado]], the [[appanage]] tied to the King's second eldest son, on "the great care he ought to take in the divine worship given to God in the Chapel of [[Bemposta Palace]]"; to this effect, he left "the precious Monstrance in [his] possession" to that estate's chapel.<ref name="SplendorCustódia"/> It is known that in 1832, during the [[Liberal Wars]], the Monstrance (along with other treasures of the Crown and the House of the Infantado; notably the [[Patriarchal Monstrance]]) was taken to [[Queluz Palace]] and seized by [[Miguel I of Portugal|King Michael I]]. It would only return to [[Lisbon]] in 1834, following the [[Concession of Evoramonte|Convention of Evoramonte]] and the end of the civil war. In 1836, in line with the disentailment policies of the [[History of Portugal (1834–1910)|new constitutional regime]], the Bemposta Monstance found its way to the [[Imprensa Nacional-Casa da Moeda|National Mint]] where it was [[evaluation|evaluated]] by Court Assayer Justino Roberto de Sousa and was saved from melting by a report by the Treasury: "the ornateness of those pieces far exceeds their intrinsic value, we are of the opinion that it would be the height of barbarity to destroy them — a view that did not seem to please the workers of the National Mint."<ref name="SplendorCustódia"/>
It was then, from 1847, kept by [[Infanta Isabel Maria of Braganza|Infanta Isabel Maria]] in her palace in [[Benfica (Lisbon)|Benfica]]. From there, it was incoporated into the collections of the [[:pt:Academia Nacional de Belas-Artes|Royal Academy of Fine Arts]] and thence, in 1884, to the new National Museum of Fine Arts and Archaeology (reorganised into the modern-day [[National Museum of Ancient Art]] in 1911).<ref name="SplendorCustódia"/>
The Monstrance had long been misattributed to [[João Frederico Ludovice]] and, by consequence, wrongly dated to the 1740s–50s at the latest. A modern [[Conservation and restoration of cultural heritage|restoration]] of the Monstrance, undertaken in 2013 for the exhibition "''A Encomenda Prodigiosa: Da Patriarcal à Capela Real de São João Baptista''" ("The Prodigious Commission: from the Patriarchal Basilica to the Royal Chapel of St. John the Baptist"), revealed a hidden inscription saying "''El Rey D. Pedro 3º mandow fzr / En 13 Mayo de 1777''" ("King Peter III commissioned it / 13 May 1777") and the signature "''Adam Pollet''".<ref name="SplendorCustódia"/> The date has great significance in that 13 May 1777 was the day of the solemn [[:pt:Aclamação de Maria I de Portugal|Acclamation of Queen Maria I]], Infante Peter's wife, making him King ''[[jure uxoris]]'' — and suggesting the commission was a [[votive offering]] as thanksgiving for having prevailed over the [[Sebastião José de Carvalho e Melo, 1st Marquis of Pombal|Marquis of Pombal]]'s schemes to hand the crown instead to [[José, Prince of Brazil|Joseph, Prince of Brazil]].<ref name="SplendorCustódia"/><ref name="SplendorInvenit">Liquid error: wrong number of arguments (given 1, expected 2)</ref>
==Description==
[[File:Lisboa-Museu Nacional de Arte Antiga-Pé da Custódia da Bemposta-20140917.jpg|thumb|left|Detail of the Monstrance's supporting base, showing the figures of Faith, Hope and Charity]]
A [[monstrance]] functions as a vessel to present the consecrated [[Host (liturgy)|host]] to the faithful, as part of the liturgical ritual of [[Eucharistic adoration]] by the faithful.
A typical monstrance in form, the highly ornate Bemposta Monstrance comprises a sunburst framing the circular frame for the wafer (which has a curved holder set with stones that holds it up to view, its shape echoing the crescent moon that is usually depicted at the foot of Virgin Mary when evoking the [[Immaculate Conception]]) supported on a undulating stem that stands upon an intricately sculpted supporting base. The base is set with figures symbolising the three [[theological virtues]] (Faith, Hope and Charity) below angels with the symbols of the [[Eucharist]], flanking narrative medallions showing scenes from the [[Passion of Jesus|Passion]] cycle.<ref>Liquid error: wrong number of arguments (given 1, expected 2)</ref>
It is made of [[Silver-gilt|gilt silver]], and set with numerous stones: [[diamond]]s, [[ruby|rubies]], [[emerald]]s, [[sapphire]]s, [[amethyst]]s, [[chrysoberyl]]s, [[topaz]] (colourless, Imperial, and pink).<ref>Liquid error: wrong number of arguments (given 1, expected 2)</ref>
==References==
[[Category:Artworks in metal]]
[[Category:Baroque]]
[[Category:Baroque sculpture]]
[[Category:Eucharistic objects]]
[[Category:Gold objects]]
[[Category:Gold sculptures]]
The '''Bemposta Monstrance''' () is a [[monstrance]] dated 1777, designed by architect [[Mateus Vicente de Oliveira]] and made by [[Prussia]]n-born jewelsmith [[Adam Gottlieb Pollet]]. It was originally commissioned by [[Peter III of Portugal]] for the Chapel of [[Bemposta Palace]], an estate in the Infante's dominions as [[House of the Infantado|Lord of the House of the Infantado]].
It is one of the finest examples of Portuguese [[Baroque]] goldsmithing. It is currently part of the collection of the [[National Museum of Ancient Art]], in [[Lisbon]].
==History==
Tracing the history of the Bemposta Monstance has been made difficult by the fact that few documents about it have reached this day.<ref name="SplendorCustódia">Liquid error: wrong number of arguments (given 1, expected 2)</ref>
It was originally commissioned by [[Peter III of Portugal|Infante Peter of Portugal]]. In his will dictated in 1783, Infante Peter instructed [[John VI of Portugal|Infante John]], his sucessor over the dominion of the [[House of the Infantado]], the [[appanage]] tied to the King's second eldest son, on "the great care he ought to take in the divine worship given to God in the Chapel of [[Bemposta Palace]]"; to this effect, he left "the precious Monstrance in [his] possession" to that estate's chapel.<ref name="SplendorCustódia"/> It is known that in 1832, during the [[Liberal Wars]], the Monstrance (along with other treasures of the Crown and the House of the Infantado; notably the [[Patriarchal Monstrance]]) was taken to [[Queluz Palace]] and seized by [[Miguel I of Portugal|King Michael I]]. It would only return to [[Lisbon]] in 1834, following the [[Concession of Evoramonte|Convention of Evoramonte]] and the end of the civil war. In 1836, in line with the disentailment policies of the [[History of Portugal (1834–1910)|new constitutional regime]], the Bemposta Monstance found its way to the [[Imprensa Nacional-Casa da Moeda|National Mint]] where it was [[evaluation|evaluated]] by Court Assayer Justino Roberto de Sousa and was saved from melting by a report by the Treasury: "the ornateness of those pieces far exceeds their intrinsic value, we are of the opinion that it would be the height of barbarity to destroy them — a view that did not seem to please the workers of the National Mint."<ref name="SplendorCustódia"/>
It was then, from 1847, kept by [[Infanta Isabel Maria of Braganza|Infanta Isabel Maria]] in her palace in [[Benfica (Lisbon)|Benfica]]. From there, it was incoporated into the collections of the [[:pt:Academia Nacional de Belas-Artes|Royal Academy of Fine Arts]] and thence, in 1884, to the new National Museum of Fine Arts and Archaeology (reorganised into the modern-day [[National Museum of Ancient Art]] in 1911).<ref name="SplendorCustódia"/>
The Monstrance had long been misattributed to [[João Frederico Ludovice]] and, by consequence, wrongly dated to the 1740s–50s at the latest. A modern [[Conservation and restoration of cultural heritage|restoration]] of the Monstrance, undertaken in 2013 for the exhibition "''A Encomenda Prodigiosa: Da Patriarcal à Capela Real de São João Baptista''" ("The Prodigious Commission: from the Patriarchal Basilica to the Royal Chapel of St. John the Baptist"), revealed a hidden inscription saying "''El Rey D. Pedro 3º mandow fzr / En 13 Mayo de 1777''" ("King Peter III commissioned it / 13 May 1777") and the signature "''Adam Pollet''".<ref name="SplendorCustódia"/> The date has great significance in that 13 May 1777 was the day of the solemn [[:pt:Aclamação de Maria I de Portugal|Acclamation of Queen Maria I]], Infante Peter's wife, making him King ''[[jure uxoris]]'' — and suggesting the commission was a [[votive offering]] as thanksgiving for having prevailed over the [[Sebastião José de Carvalho e Melo, 1st Marquis of Pombal|Marquis of Pombal]]'s schemes to hand the crown instead to [[José, Prince of Brazil|Joseph, Prince of Brazil]].<ref name="SplendorCustódia"/><ref name="SplendorInvenit">Liquid error: wrong number of arguments (given 1, expected 2)</ref>
==Description==
[[File:Lisboa-Museu Nacional de Arte Antiga-Pé da Custódia da Bemposta-20140917.jpg|thumb|left|Detail of the Monstrance's supporting base, showing the figures of Faith, Hope and Charity]]
A [[monstrance]] functions as a vessel to present the consecrated [[Host (liturgy)|host]] to the faithful, as part of the liturgical ritual of [[Eucharistic adoration]] by the faithful.
A typical monstrance in form, the highly ornate Bemposta Monstrance comprises a sunburst framing the circular frame for the wafer (which has a curved holder set with stones that holds it up to view, its shape echoing the crescent moon that is usually depicted at the foot of Virgin Mary when evoking the [[Immaculate Conception]]) supported on a undulating stem that stands upon an intricately sculpted supporting base. The base is set with figures symbolising the three [[theological virtues]] (Faith, Hope and Charity) below angels with the symbols of the [[Eucharist]], flanking narrative medallions showing scenes from the [[Passion of Jesus|Passion]] cycle.<ref>Liquid error: wrong number of arguments (given 1, expected 2)</ref>
It is made of [[Silver-gilt|gilt silver]], and set with numerous stones: [[diamond]]s, [[ruby|rubies]], [[emerald]]s, [[sapphire]]s, [[amethyst]]s, [[chrysoberyl]]s, [[topaz]] (colourless, Imperial, and pink).<ref>Liquid error: wrong number of arguments (given 1, expected 2)</ref>
==References==
[[Category:Artworks in metal]]
[[Category:Baroque]]
[[Category:Baroque sculpture]]
[[Category:Eucharistic objects]]
[[Category:Gold objects]]
[[Category:Gold sculptures]]
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