Precious metals

Instruments for worship and symbols of prestige

Salver (16th century) by Unknown authorMachado de Castro National Museum

This collection consists predominately of sacred silverwork and is a repository for many different Portuguese and foreign artistic styles and tecniques developed over eight centuries. 

Chalice (12th century) by Unknown authorMachado de Castro National Museum

This silver gilt chalice was an offering to the Monastery of São Miguel de Refoios from Dom Gueda Mendes, and is the oldest piece in the precious metalwork collection of the Machado de Castro National Museum.

It is a masterpiece with a profuse decorative scheme, unparalleled in Portugal. The cup features Christand the Apostles, framed by perfectly formed vaulted arches and identified in the inscription above.

On the base we can see the symbols of the Four Evangelists.

Reliquary (14th century) by Unknown authorMachado de Castro National Museum

This exquisit reliquary belonged to the Saint Queen Isabel. Apart from its value as a heraldic symbol, it also conveys a codified vision of arts, in which everything - materials, shapes, and colours - is symbolic.

This reliquary of the Holy Cross combines the excellence of its different materials: coral, silver gilt and enamels.

Reliquary (14th century) by Unknown authorMachado de Castro National Museum

Our Lady and Child is an exceptional item in collections of Portuguese medieval metalwork, where free-standing figurative sculptures are rarely to be found. It belonged to the Saint Queen Isabel.

As 14th century female fashion and jewellery are finely represented, this sculpture also serves as a priceless historical document.

Processional Cross (15th century) by Unknown authorMachado de Castro National Museum

Processional Cross was paid for with the silver which Bishop Fernando Coutinho left in his will to the Cathedral for this purpose. It is the most ostentatious piece from the 15th century of this collection.

It is a good example of the accentuated verticality of this period. The plant decoration presages the excessive naturalistic ornamentation that would find favour during the Manueline period.

Chalice and Paten (16th century) by Unknown authorMachado de Castro National Museum

Late Gothic art united the ogival form, as in the cathedral-like architectural miniatures with Renaissance motifs. The exuberant Manueline gilded silver chalice belonged to the Monastery of St. Clara.

Late Gothic art with Renaissance decoration inspired by Greco-Roman art, as seen in the columns and medallions with busts depicting the Prophets of the Old Testament.

Salver (16th century) by Unknown authorMachado de Castro National Museum

Exuberant, excessive decoration based on nature, with imaginary animals, caravels and mythological figures are typical of the Manueline period, in which style this gilded silver salver was made.

Ewer (16th century) by Unknown authorMachado de Castro National Museum

Gothic in form, the entire surface is decorated with naturalistic and fantastic Renaissance themes. The piece is distinguished by the winged chimera forming the spout and the serpent-shaped handle.

Monstrance D.Jorge Almeida (16th century) by Unknown authorMachado de Castro National Museum

A tower monstrance intended for the processions on the day of Corpus Christi. Its architectural structure is typical of the late Gothic, but incorporates a many embellishments in Renaissance style.

Holy water vessel (16th century) by Unknown authorMachado de Castro National Museum

This silver Mannerist holy water vessel employs the language of the Renaissance but, at the same time, breaks with it in a search for unusual and ambiguous effects.

Chalice, paten and spoon (16th century) by Unknown authorMachado de Castro National Museum

This magnificent solid gold set was given to the Cathedral of Coimbra by the Bishop Dom João Soares, whose coat-of-arms appears on the base of the chalice.

Designed along the lines of the rules of the Renaissance, the chalice displays such decorations of Flemish Mannerist engravings. The paten is decorated with scenes from the life of Christ.

Reliquary Cross (17th century) by Unknown authorMachado de Castro National Museum

This reliquary-cross, held up by a pair of intensely naturalistic crab claws, is associated with an episode in the life of St. Francis Xavier, when he was on a mission in the Malacca Islands.

During a storm at sea, the saint lowered the cross he had with him under the waves, upon which the seas calmed themselves. However, the cross was lost. Some time later, when St. Francis was walking along the beach, a crab gave him back his cross.

Busts of St. Anthony and St. Catherine Busts of St. Anthony and St. Catherine, Unknown author, From the collection of: Machado de Castro National Museum
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These busts are part of the monumental banquette in the church of the College of Jesus, now the Cathedral of Coimbra – formed of six busts of saints, six torch holders and a crucifix, all in silver.

Busts of St. Anthony and St. Catherine, 18th century, From the collection of: Machado de Castro National Museum
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Although the maker is unknown, it's possible that it was designed or conceived by Johann Friedrich Ludwig but the marks engraved on the plinths are of the Lisbon goldsmith António Nunes das Neves.

Monstrance Sacramento (18th century) by Unknown authorMachado de Castro National Museum

This sun monstrance attains great scenographic effect, created by the contrast between the polychrome wood of the angel, the resplendence of the silver and the glittering stones of the host box.

Monstrance XIX (19th century) by Workshop of António Soares de Melo in OportoMachado de Castro National Museum

Monstrance, with elegant structure, still characterized by curvilineal Baroque forms, is enriched by the fine craftsmanship in its coloured gemstones, and in particular the fashioning of the superb aquamarines.

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Now take a walk in the museum! Can you find the objects described in the exhibition?

Credits: Story

Photo: DGPC/ADF - Photographic Documentation Archive

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The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions (listed below) who have supplied the content.
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