Gilt copper and painted enamel depicting Christ, the Virgin and the four fathers of the Church.

Gilt copper and painted enamels. The base is decorated with half length figures of the Pieta, the Virgin and child, and the four fathers of the Church (enamel damaged in places). Gilded leafs surround the figures (one leaf missing). Below is a frieze of dogs and rabbits. The stem is partly covered with ascanthus ornament. An enamel inscription runs around the root of the stem. The shrine itself is six-sided, each angle supported by a baluster column. Below is an enamel inscription. The lid of the monstrance is dome-shaped and decorated with pairs of entwined dolphins (one pair missing). The cross at the top of the object is a later addition.

Soltikoff Collection
Brescia Exhibition RF.2001/602

Historical significance: This monstrance is an example of high quiality Italian enamelling. The design is somewhat unusual in its playful enamelled scenes around the base. The inscriptions, particularly their length and elaboration are also unusual on such an object. The largest inscription cites a verse from the hymn O Salutaris Hostia, which was sung at the adoration of the sacrament, specifically when the monstrance was placed on display. The inscription on this object therefore links directly to its function; the display of the consecrated bread (the eucharist) to the congregation during mass.

The hymn O Salutaris Hostia is part of a longer hymn, Verbum Supernum, which focused on the institution of the Eucharist by Christ at the Last Supper and his crucifixion for the sins of mankind. The Verbum Supernum is thought to have been written by Thomas Aquinas for the Hours of Lauds in the Divine Office of Corpus Christi.

Medieval Treasuries

Churches and Cathedrals owned collections of valuable objects called Treasuries. Medieval Treasuries contained two types of object; functional items used during the liturgy such as chalices and symbolic items to be revered and admired, namely reliquaries. These objects were made from rich materials such as gold, silver, enamel and gems. Such materials were considered to be the best way to honour God. The development of a treasury relied upon gifts. People donated precious objects as a sign of their wealth and status and to ensure remembrance after death. Some churchmen also sought to obtain treasures for their Church stores. Abbot Suger for example worked hard to improve the treasury at St Denis.

Treasuries signified the wealth and power of their Church. Important relics attracted pilgrims, bringing wealth and status to the area. Many church treasures were kept on public display and used in public processions and festivals, which encouraged a sense of community. Other treasuries however were more closely guarded. The Basel Cathedral Treasury was kept locked in cabinets in the sacristy, only to be used on special feast days. This exclusivity only served to increase the objects’ status as important and sacred objects.

Monstrances (from the Latin monstrare meaning to show) were designed in the medieval period. They were used to show the consecrated host on the altar during mass or in procession. This practice developed from the institution of the Feast of Corpus Christi (The Body of Christ) in 1262.

Possibly Venetian

Monstrances (from the Latin monstrare meaning to show) were designed in the medieval period. They were used to show the consecrated host on the altar during mass or in procession. This practice developed from the institution of the Feast of Corpus Christi (The Body of Christ) in 1262. Richly ornamented monstrances like this example would have been kept in the Church treasury. Treasuries were collections of valuable objects used during the liturgy. People donated precious objects to the treasury as a sign of their wealth and status and to ensure remembrance after their death. Some churchmen also sought to obtain treasures for their Church stores. Abbot Suger for example worked hard to improve the treasury at St Denis Cathedral.

287-1864