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Custódias barrocas de Lisboa. Identificação de tipologias, soluções compositivas e decorativas
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Abstract(s)
A presente dissertação de mestrado dedica-se ao tema da ourivesaria barroca executada em Lisboa durante o século XVIII através do levantamento e análise de um objeto representativo deste período estilístico: a custódia. A finalidade desta investigação, além da contribuição para o estudo da ourivesaria nacional, procura identificar as tipologias, soluções compositivas e decorativas do estilo barroco adotadas pelos ourives das oficinas de Lisboa na execução deste objeto litúrgico. Para esse fim é realizado um inventário das custódias produzidas durante Setecentos e que atualmente se encontram nas igrejas e museus da cidade de Lisboa.
A custódia, objeto litúrgico que surge no século XIII no seguimento da instituição da festa de Corpus Christi em 1264, adquire uma importância significativa no período da Contrarreforma, como meio de combate das teorias protestantes contrárias ao culto eucarístico. No século XVII, com o barroco estabelecido em contexto italiano, a Igreja Católica faz uso da monumentalidade e exuberância decorativa deste estilo para contrariar a sobriedade do protestantismo, causando alterações significativas na composição e ornamentação das custódias.
Durante o reinado de D. João V, influenciados pela presença de obras de arte italianas encomendadas pelo monarca no contexto dos principais empreendimentos joaninos, e da circulação de gravuras de artistas italianos, o barroco de matriz italiana é plenamente introduzido nas oficinas dos ourives de Lisboa, manifestando-se na execução das custódias. Todavia, com exceção daquelas que reproduzem modelos italianos, as caraterísticas desta tipologia de objeto executadas pelos ourives de Lisboa, oscilaram entre a monumentalidade e a profusão decorativa resultante da assimilação da influência italiana, e a sobriedade e austeridade representativos de uma adaptação ao gosto nacional.
Este estilo artístico mantém-se durante o reinado de D. José I, que no contexto religioso, manteve a sua preferência pelo barroco até ao advento do neoclassicismo. Este fenómeno foi motivado pelo gosto mais conservador dos encomendadores, maioritariamente eclesiásticos, e pela necessidade de executar alfaias litúrgicas para substituir aquelas destruídas durante o terramoto de 1755.
This master's dissertation is dedicated to the theme of Baroque silver in Lisbon during the 18th century by surveying and analysing an object representative of this stylistic period: the monstrance. The aim of this research, in addition to contributing to the study of Portuguese silversmithery, is to identify typologies, composition and decorative solutions of the Baroque style adopted by Lisbon silversmiths’ workshops in the making of this liturgical object. To achieve this goal an inventory of monstrances made during the 18th century and that can currently be found in churches and museums in the city of Lisbon was undertaken. The monstrance, a liturgical object created in the 13th century following the institution of the feast of Corpus Christi in 1264, acquired significant importance during the Counter-Reformation period as a means of combating Protestant theories contrary to Eucharistic worship. In the 17th century, with the Italian Baroque, the Catholic Church made use of the monumentality and decorative exuberance of this style to counteract the sobriety of Protestantism, causing significant changes in the composition and ornamentation of monstrances. During the reign of King João V, influenced by the presence of Italian works of art commissioned by the monarch in the context of the main Johannine endeavours, and the circulation of engravings, the Italian Baroque was fully introduced into the workshops of the Lisbon silversmiths. However, except for those monstrances reproducing Italian models, the characteristics of this type of object made by Lisbon goldsmiths oscillated between the monumentality and decorative profusion resulting from the assimilation of Italian influence, and the sobriety and austerity representative of an adaptation to national taste. This artistic style continued during the reign of King José I, who in the religious context maintained his preference for Baroque until the advent of Neoclassicism. This phenomenon was motivated by the more conservative taste of the commissioners, mostly ecclesiastical, and the need to produce liturgical implements to replace those destroyed during the 1755 earthquake.
This master's dissertation is dedicated to the theme of Baroque silver in Lisbon during the 18th century by surveying and analysing an object representative of this stylistic period: the monstrance. The aim of this research, in addition to contributing to the study of Portuguese silversmithery, is to identify typologies, composition and decorative solutions of the Baroque style adopted by Lisbon silversmiths’ workshops in the making of this liturgical object. To achieve this goal an inventory of monstrances made during the 18th century and that can currently be found in churches and museums in the city of Lisbon was undertaken. The monstrance, a liturgical object created in the 13th century following the institution of the feast of Corpus Christi in 1264, acquired significant importance during the Counter-Reformation period as a means of combating Protestant theories contrary to Eucharistic worship. In the 17th century, with the Italian Baroque, the Catholic Church made use of the monumentality and decorative exuberance of this style to counteract the sobriety of Protestantism, causing significant changes in the composition and ornamentation of monstrances. During the reign of King João V, influenced by the presence of Italian works of art commissioned by the monarch in the context of the main Johannine endeavours, and the circulation of engravings, the Italian Baroque was fully introduced into the workshops of the Lisbon silversmiths. However, except for those monstrances reproducing Italian models, the characteristics of this type of object made by Lisbon goldsmiths oscillated between the monumentality and decorative profusion resulting from the assimilation of Italian influence, and the sobriety and austerity representative of an adaptation to national taste. This artistic style continued during the reign of King José I, who in the religious context maintained his preference for Baroque until the advent of Neoclassicism. This phenomenon was motivated by the more conservative taste of the commissioners, mostly ecclesiastical, and the need to produce liturgical implements to replace those destroyed during the 1755 earthquake.