Name of Object:

Monstrance of the Bemposta

Also known as:

Monstrance of the Chapel of the Palace of Bemposta or Palace of the Queen

Location:

Lisbon, Lisbon, Portugal

Holding Museum:

National Museum of Ancient Art

Original Owner:

King Pedro III (1717–1786)

Current Owner:

Museu Nacional da Arte Antiga

Date of Object:

1740–1780

Artist(s) / Craftsperson(s):

Attributed to João Frederico Ludwig or Ludovice, a goldsmith and architect at the Convent of Mafra; most recently attributed to Adão Gottlieb Pollet (Ludovice:1673(?), Honhardt, Germany or Danzig, Poland-1785, Lisbon)

Museum Inventory Number:

1 OUR

Material(s) / Technique(s):

Gilded engraved and chased silver; gold, diamonds, rubies, emeralds, sapphires, amethysts, topazes, chrysoberyls, garnets and neutral quartz

Dimensions:

H: 97cm; l 33 cm

Workshop / Movement:

International Baroque

Provenance:

Chapel of the Palace of Bemposta

Type of object:

Metalwork

Period of activity:

1701–1752 or 1775–85

Place of production:

Lisbon

Description:

This magnificent monstrance in gilded silver and gold with a triangular base, sits on three volutes ornamented with floral motifs, ribbons and cartouches. On the three inferior angles of the base there are cherubs and three figures that symbolise Faith, Hope and Charity. On the top corners there are three full-bodied angels conveying Eucharistic motifs, while six cherubs and seraphs, overlap, ascending along the stem.
On the three faces of the base oval bas-reliefs represent themes from the Eucharist: The Supper at Emmaus and the giant bunch of grapes, Fruit from the Promised Land and Christ at Calvary.
The monstrance' sunburst is encircled by clouds. It has a radiant splendor with irregular rays, covered with precious stones. The monstrance's surface is entirely adorned with precious stones, some of them large and of excellent quality, creating a spectacular decorative and chromatic effect.
The theatrical splendor of the Baroque is well illustrated through the use of jewels and quality chiselling, admirably assembled in a dazzling combination of metal and gemstones.
It is likely the monstrance was commissioned by King Pedro III, husband of Queen Maria I. In Pedro III's Will of 1786 he foresees that his son, the future King João VI, should have the country house in Queluz, and urges him to care for the divine cult traditionally associated with the Bemposta Chapel, where he wished the precious monstrance to be kept.
Attribution of this piece is controversial. Traditionally, researchers attributed it to J. F. Ludovice, the goldsmith and architect of the Convent of Mafra. Their theories were based on an existing drawing of the monstrance at the Museum, which also came from the Bemposta Palace.

A majestic monstrance in gilded silver with precious stones that creates a spectacular chromatic effect. The theatrical splendor of the Baroque is well illustrated through the use of jewels and quality chiselling, admirably assembled in a dazzling combination of metals and gemstones.

How date and origin were established:

Vassalo e Silva (2000) proposed that Adão Gottlieb Pollet both designed and made the monstrance. This is based on a specific analysis of the application of the gemstones. Although initially the monstrance was dated to 1740–1750 the date is now thought to be later, 1775–1780.

How Object was obtained:

Given over to Museu National de Arte Antiga by the National Academy of Fine Arts in 1876

Selected bibliography:

Couto, J., Gonçalves, A. M., OUTO, J., A Ourivesaria em Portugal, Lisbon, 1960.
Smith, R., The Art of Portugal: 1500–1800, London, 1960.
Teixeira, J. M., Triomphe du Baroque, Brussels, 1991.
Orey, L., Cinco Séculos de Joalharia no Museu de Arte Antiga, London–Lisbon, 1995.
Vassallo e Silva, N., "As Custódias Jóias de Setecentos", Oceanos, No. 43, 2000.

Additional Copyright Information:

Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.

Citation of this web page:

Leonor d’Orey "Monstrance of the Bemposta" in "Discover Baroque Art", Museum With No Frontiers, 2025.
https://baroqueart.museumwnf.org/database_item.php?id=object;BAR;pt;Mus11_A;34;en

Prepared by: Leonor D’Orey Leonor d’Orey

SURNAME: D’Orey
NAME: Leonor

AFFILIATION: National Museum of Ancient Art, Lisbon

TITLE: Curator of Gold and Silver Artefacts and Jewellery

CV:
Leonor D’Orey is a graduate in German Philology. Working at the National Museum of Ancient Art as a Curator in charge of the Gold and Silver artefacts and Jewellery collections since 1980, she has curated several exhibitions and published numerous books on these topics.
Translation by: Lili Cavalheiro, Cristina CorreiaCristina Correia

SURNAME: Correia
NAME: Cristina

AFFILIATION: Eça de Queirós Public High School, Lisbon and MWNF

TITLE: Senior Teacher, Local Co-ordinator and Vice-President of MWNF

CV:
Cristina Correia is a History graduate and, since 1985, a Senior Teacher of History at the Eça de Queirós Public High School, Lisbon where she also lectures in Portuguese Language and Culture for non-native speakers. From 1987 to 1998 she was involved with youth affairs, primary prevention and the Camões Institute. She is Vice-President and Local Co-ordinator (Portugal) for MWNF.
Translation copyedited by: Mandi GomezMandi Gomez

Amanda Gomez is a freelance copy-editor and proofreader working in London. She studied Art History and Literature at Essex University (1986–89) and received her MA (Area Studies Africa: Art, Literature, African Thought) from SOAS in 1990. She worked as an editorial assistant for the independent publisher Bellew Publishing (1991–94) and studied at Bookhouse and the London College of Printing on day release. She was publications officer at the Museum of London until 2000 and then took a role at Art Books International, where she worked on projects for independent publishers and arts institutions that included MWNF’s English-language editions of the books series Islamic Art in the Mediterranean. She was part of the editorial team for further MWNF iterations: Discover Islamic Art in the Mediterranean Virtual Museum and the illustrated volume Discover Islamic Art in the Mediterranean.

True to its ethos of connecting people through the arts, MWNF has provided Amanda with valuable opportunities for discovery and learning, increased her editorial experience, and connected her with publishers and institutions all over the world. More recently, the projects she has worked on include MWNF’s Sharing History Virtual Museum and Exhibition series, Vitra Design Museum’s Victor Papanek and Objects of Desire, and Haus der Kulturen der Welt’s online publication 2 or 3 Tigers and its volume Race, Nation, Class.

MWNF Working Number: PT 37