German, Augsburg,1705, by Johannes Zeckl. Silver and gilded silver, set with three stones. The lunula, orb and cross are later replacements.

Monstrance, the central window surrounded by a sunburst, six winged cherub heads and above them a dove, symbol of the Holy Spirit, in another sunburst. On the left and right, two angels support a baldachin above which is an openwork crown surmounted by an orb and cross. Below the window, the scene of the Last Supper adapted to the context. Two groups of six Apostles are at either end of the table; all gaze reverently towards the central window except for Judas Iscariot, in the foreground (proper left), who holds a bag of 30 pieces of silver (his payment for betraying Jesus) and faces away from the window. The arrangement of the apostles means that Jesus would preside over the table in the form of the consecrated host. The scene is framed on the left and right by a cornucopia from which ears of wheat and vines laden with grapes emerge. Below the Last Supper scene, the Lamb of God holding the flag of the Resurrection sits on a book with seven seals (Revelation 5.1 and 5.7). On the back of the monstrance, swirls of cloud above the window, below a panel defined by C-scrolls, the monogram 'IHS' on a silver plaque chased to resemble a fringed cloth with tassels.
The stem cast as the allegorical figures of Faith (with a cross and Bible), Hope (holding an anchor) and Charity (holding a flaming heart), the three theological virtues.
The oval foot shaped as a gently-curved quatrefoil and set with four embossed silver plaques. Clockwise from the front, these represent:
(1) the Crucifixion
(2) The Adoration of the Magi
(3) [back of monstrance]: conflation of three different events from the Book of Exodus: Moses (identified by the rays, or 'horns', radiating from his head) holds a rod which he had used to bring water from a rock (Exodus 17, 5-6) and instructs the Israelites to gather manna (Exodus 16, 33). Above, a pillar of cloud which represents the Lord guiding the Israelites into exile from Egypt (Exodus 13.21)
(4) the king of Salem and high priest Melchizedek brings bread and wine to Abraham (Genesis 14, 18-19).

Given by Dr W.L. Hildburgh FSA

Johannes Zeckl, whose mark appears on the back of the monstrance, was born in Woykowitz, in the Moravian-Silesian region which is now in the Czech Republic. He initially trained as a goldsmith in Vienna under Johann Veibyl. Later he moved to Augsburg where he continued his apprenticeship and married the widow of the goldsmith Franz Ignaz Stadler in 1691. From 1703 onwards he was elected assay master of the Ausburg assay office on numerous occasions; in 1709 he was elected master of the Ausburg goldsmiths' guild. He died in Augsburg on 26 October 1728. The most well-known example of his work to survive today is the imposing monstrance he made in 1708 for the Patrician Church of Maria de Victoria, Ingolstadt. The window for the host on this piece is framed by dramatic scenes that represent the Christian naval victory over Turkish forces at the 1571 battle of Lepanto.
Dr Walter Leo Hildburgh, an important patron of the Museum, deposited the monstrance on loan to the Museum in November 1922. A note from an art dealer which identifies the maker, Johannes Zeckl, is printed with the name of the auction house which sold the piece, the Kölner Kunst und Auktions-Haus, Cologne (Hildburgh File 1922-23, Part 3). Hildburgh then gave the monstrance to the Museum in December 1951, together with other examples of Northern European church plate, as a New Year's gift for 1952. In his letter of thanks of 7th January, Charles Oman, Keeper of Metalwork, describes the monstrance as 'splendid' and observes that it 'must be about as fine an example of its species, as is to be found outside a German church'. (V&A Nominal File, MA 1/ 41954, part 13).

This object would have been used in a Catholic church. The function of a monstrance is to display the Sacred Host - the bread which, when consecrated by a Catholic priest during the service of Mass, miraculously transforms into the body of Christ. The Host would have been placed inside the window in the crescent-shaped holder called a 'lunula'. This example may have been placed on the altar as a focus for worship during the service of Benediction, or held up during church processions for all the congregation to see.

This monstrance is elaborately decorated with imagery associated with Christ and the Eucharist, the mystical moment of transformation during the Mass. The plaque beneath the window shows the Last Supper, in which Christ shared bread and wine with his disciples, saying ‘This is my body and blood’. The apostles are seated around the table but Christ himself is absent, to be replaced by the Host when the monstrance was in use. The imperial crown at the top represents God the Father. The cornucopias, the horns on either side containing grape vines and ears of corn, symbolise the wine and bread of the Eucharist, the blood and body of Christ.

Johann Zeckel was one of the leading goldsmiths in Augsburg in the early 18th century, a renowned centre for goldsmiths work. He specialised in making church vessels and is known to have made several other monstrances.

M.3-1952