Gilded, casted, turned, chiseled, fretted and enameled silver.
Inscription: “Hiso este vixil FrANco. De Soria HurtAdo por orden de P° Cortes y de Pablo de Orna Ano de 1685” (This luna was made by FrANco. De Soria HurtAdo commissioned by P° Cortes and de Pablo de Orna Year 1685).
Height: 64 cm
Sun’s diameter: 25.5 cm
Maximum width of the base: 21 cm
Weight: 5000 g
The Apelles Collection - Carlos Alberto Cruz, Chile - England.
Platería del Perú Virreinal (Silver Objects of the Viceregal Peru). 1535-1825, Banco Bilbao Vizcaya/Banco Continental. Madrid-Lima , 1997, no. 15, pp. 108 and 109. The Colonial Andes. Tapestries and Silverwork, 1530-1830. The Metropolitan Museum of Art, New York, 2004, cat. 114.
“Aculturation and Inovation in Peruvian Viceregal Silverwork”. In: Elena Phipps, Johanna Hecht & Cristina Esteras Martin et. al., The Colonial Andes. Tapestries and Silverwork, 1530-1830. The Metropolitan Museum of Art, New York. Yale University Press, New Haven & London, 2004, pp 59-71, & 221, cat. 114.
The sun (same on both sides) presents a molded frame from which fifteen rectilinear rays emerge, joined together by small c-shaped links, and ending in vegetalized knobs; the larger ones have cherub heads superimposed on them and the smaller ones an application of leaves. The stem has the shape of a banister with a truncated coneshaped collar with moldings, a semi-ovoid vase-shaped node, and, finally, a cylindrical pedestal. The base is square with a truncated cone-shaped neck, a plinth with a convex profile and a cruciform ground plan with the chambranle fretted with ovals; it rests over four legs with cherubs’ shapes with a vegetal body doubly scrolled. The embellishments in the stem and base are made up of small casted handles, some with “C” and “S” shape, and others, imitating the icon of a mermaid; all of them are adorned with a string of pearls. Moreover, in the corners of the base, we can find four overlapping palmettes. There are worked motifs applicate with champlevé enamel in ultramarine blue, honey yellow and green, taking the geometrical shapes as rhombus and ovals, the shape of plants (palmettes) and cherub heads (which are only used in the stem’s pedestal) everywhere along the piece. The formal and decorative features of the monstrance adjust perfectly to the type most used by silversmiths in the city of Cuzco during the last three decades of the 17th century, a conclusion that is reaffirmed, also, thanks to the inscription engraved in the inner side of the base and which allows us to classify it with certainty as a work from Cuzco from the year 1685, done by the hands of silversmith Francisco de Soria Hurtado.