Diana Mihov Banatul Catolic - Argintarie

7/27/2019 Diana Mihov Banatul Catolic - Argintarie

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Diana Mihoc Andrsy

Banatul catolic al secolului al XVIII-lea

ilustrat n argintria baroc

18th Century Catholic Banat

Illustrated in Baroque Silverwork

EDITURA MIRTON

Timioara, 2006


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Concept, imagini, prelucrare imagini, tehnoredactare computerizat, copert:AttilaAndrsy


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Banatul catolic al secolului al XVIII-lea ilustrat n argintria baroc

Biserica catolic, zguduit de reformareligioas i de conflictele militare din

timpul rzboiului de treizeci de ani(ncheiat n anul 1648), va ncerca orevenire n for prin Contrareform.n Europa catolic, barocul a devenitexpresia artistic a Contrareformei, unbaroc care a fcut uz de toatemijloacele n efortul su de a obinemaximum de efect. Era de ateptat caarta argintriei, la rndul su, s atingapogeul n acele zone n careContrareforma s-a manifestat cel maiputernic n art: la Roma i n Italiade Sud, Spania, Germania de Sud iprincipatele ereditare ale Austriei(Hernmarck 1977:305-306).Biserica Romei reprezenta nc oinstituie extrem de puternic, fiindsusinut de o vie credin interioar.Catolicii triau cu convingerea fermc Dumnezeu triete i doreau s-Laduc pe pmnt, construindu-I spaii

monumentale, n care oamenii s-Lvenereze i s-I aduc mulumire.Nimic nu era destul de frumos i deminunat pentru aceasta; bucuriaimens i pietatea pmnteasc auncercat s gseasc un mod de

Weakened by Reformation andmilitary conflicts of the Thirty Years

War (ended in 1648), the CatholicChurch would aim to a strong revivalthrough Counter-Reformation.Within Catholic Europe, it was thebaroque to become the artisticexpression of Counter-Reformation,a baroque style that neglected nomeans in its efforts to achievemaximum effect. It was clear that itshould have been in those areaswhere the Counter-Reformationexpressed itself most strongly in thearts as a whole, that silverwork too,achieved its ultimate expression: inRome and Southern Italy, Spain,Southern Germany, and thehereditary principalities of Austria(Hernmarck 1977:305-306).The Church of Rome was still anextremely powerful institution, beingsupported by a fervent inner faith.

Catholics firmly believed that Goddo exist and wanted Him present onearth, building monumental placeswhere people could venerate Himand thank to Him. Nothing wasbeautiful and magnificent enough for


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exprimare adecvat. Totul trebuia sstrluceasc, omul se vedea reflectatntr-o lume ncnttoare i era fericitcu adevrat n credina sa. Aceastcredin era cea care i oferea sprijini putere: Acum vedem o imaginevoalat ntr-o oglind, dar atunci nevom privi fa n fa (1 Cor.13,12).

Ideile i dogmele anunate deConciliul de la Trento1, prin careBiserica Romano-Catolic aprafolosirea imaginilor sacre, vor da unnou impuls i o nou energie arteiContrarefomei, arta i literatura, ntr-o anumit msur, fiind singureledomenii n care era posibil olibertate de exprimare. n acest spirit,Conciliul de la Trento a creat reformecare au deschis interiorulbisericilor ctre o mai bun acustici ctre linii mai bune de perspectiv.Cu o vizibilitate mai mare a altaruluiprincipal i cu o participare maiintim a laicilor la celebrareaMissei

Romana, arta vizual, dar i artaaplicat, se vor dezvolta sprencntarea oamenilor. Misa a devenitmai puin un ritual pentru preoi imai mult unul pentru credincioi,

pentru publicul larg.Astfel, Biserica Catolic i, n specialiezuiii, vor face uz de o form dedevoiune care implica folosirea anenumrate efecte teatrale pentru a-limpresiona i a-l convinge pe

this end; therefore, the immense joyand earthly piety would try for anappropriate way to express.Everything was meant to shine; manfound himself reflected into afascinating world and was happy withhis faith. Moreover, it was the faiththat gave him support and strength:

Now we are seeing a dim reflectionin the mirror; but then we shall beseeing face to face(1 Cor.13, 12).The ideas and dogmas announced bythe Council of Trent1 in which theRoman Catholic Church defended theuse of the sacred images would givea new impulse and energy to Counter-Reformation art. Art and literature, atsome extent, were the only areas inwhich a liberty of expression waspossible. In this spirit, the Council ofTrent created reforms that opened upthe interiors of the churches for betteracoustics and better lines of sight.With the greater visibility of the highaltar and the more intimateparticipation of the laity in thecelebration of the Mass, both visualart and applied art flourished todelight the people. Mass became less

a ritual for the priests themselves andmore one for the faithful, the largerpublic.Consequently, the Catholic Churchand, particularly, the Jesuits, exploiteda form of devotion that called upon


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credincios, efecte care nu puteau fisocotite drept exagerri sau chemrisenzuale, att timp ct ele se fceaun numele Bisericii (Minor 1999:47-48,155). Slujbele iezuiilor erau operede art complete, semnnd cu piesede teatru care se oficiau n jurulsacrificiului divin: transsubstanierea,

transformarea pinii i a vinului ntrupul i sngele lui Iisus.Liturgia baroc era o srbtoarepentru toate simurile credincioilor:muzica de org, mirosul tmiei i allumnrilor umpleau spaiul artisticluminat al bisericii, nsufleit de figuride marmur i stuc, deasupra cruiase deschidea spaiul ceresc, mpodobitcu figurile sfinilor. Punctul culminantal liturghiei, partea sacramental careconine actul eucharistic, l reprezintelevatio ridicarea monstranelor ia potirelor, obiecte n care prezenalui Iisus este real i n ale cror auri pietre preioase se materializeazprezena sa suprareal (Catalog2003:31). Nu este, prin urmare,surprinztor c se cheltuiau sume maripentru decorarea bisericilor i pentrumbogirea tezaurelor acestora, fapt

foarte important pentru artitii imeterii argintari, care vor beneficia,astfel, de numeroase comenzi.Argintria reflect, de fapt, toatetransformrile prin care societateaeuropean a trecut n secolele al XVII-

so many theatrical devices to impressand persuade the worshipper, thatthere hardly could be any criticismof exaggeration or even sensualappeal, as long as these appearedto be in the service of the Church(Minor 1999:47-48,155). The Jesuitcelebrations were absolute works of

art, imitating theatre plays, celebratedaround the divine sacrifice:transubstantiation, the transformationof bread and wine into body andblood of Jesus.Baroque liturgy was a celebration tothe senses of the faithful: organmusic, the smell of incense andcandles that fill the elaborateilluminated space of the Church,adorned with marble and stuccofigures, crowned with the heavenlyspace, decorated with figures ofsaints. The culmination of the liturgy,the sacramental part embracing theEucharist, is represented by elevatio

the act of elevating the monstrancesand chalices, objects that embody thereal presence of Jesus and whose goldand gemstones stand for His surrealpresence (Catalogue 2003:31). It is

not surprising, therefore, the greatamount of money spent fordecorating the churches andenriching their treasures, as well asthe important effect of this fact onartists and silversmiths, who would


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lea i al XVIII-lea, fiind directinfluenat de schimbrile nmentalitate i de noile idealuristilistice. Din punct de vedere artisticaccentul se va pune mai puin pemreie i mai mult pe comoditate.Prin urmare, modificarea idealuluistilistic al perioadei a nceput de la

cutarea efectului, efectele emfaticeale formei i dezlnuirea nemijlocita puterii elemente care reprezintnsi esena barocului matur, care seextinde apoi spre exuberana icreativitatea asimetric a rococo-ului,cnd ntreaga pies devine unornament bizar i fantastic ornamentul rocaille. n sfrit,dezvoltarea stilistic a perioadei vaajunge la negarea decoraiei opulentei ntoarcerea la simplitate i laformele antice, privite ca o eliberarede exagerrile anterioare, o aprarea bunului sim i a utilitii elementede baz ale neoclasicismului.Toate aceste schimbri ideologice icurente cultural-artistice pot fistudiate n Banat, provincia imperiala habsburgilor. Pentru ImperiulHabsburgic epoca studiat se afl sub

incidena schimbrii din punct devedere politic, ideologic, cultural iartistic. Atmosfera de victorie dintimpul domniei lui Carol al VI-lea(1711-1740) se va ncheia odat cumoartea sa i stingerea dinastiei n

consequently get numerous workingopportunities.Actually, silverwork reflected all thetransformations undertaken byEuropean society in the 17th and 18th

centuries, being directly influenced bychanges in mentality and new stylisticideals. From an artistic perspective

there was less emphasis onmagnificence and more onconvenience. Hence, the changing ofstylistic ideals in the period startedwith the seeking for effect, emphaticeffects of form and breathtakingunleashing of power elementsstanding for the very essence of highbaroque, and extended to theexuberance and asymmetricalcreativity of the rococo, when theentire piece became one single bizarreand fantastic ornament the rocaille.Finally, the stylistic development ofthe period would result in rejectionof opulent decoration and return tosimplicity and antique forms, viewedas an escape from earlierexaggeration, a defence of commonsense and utility to exemplify thebasic elements of neo-classicism.

All these ideological changes andcultural-artistic trends could bestudied in Banat, the Habsburgsimperial province. For the HabsburgEmpire the age is set on the verge ofchange, a political, ideological,


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artistice n Viena i Germania de Sud.Evoluia lor similar este izbitoare,n special, n arta bisericeasc i noperele argintarilor pentru BisericaCatolic (Hernmarck 1977:27). Mvoi axa n principal asupra argintrieivieneze n secolul al XVIII-leadeoarece marea majoritate a

obiectelor de argint analizate suntaduse de la Viena, importate de ctrenalii demnitari ai bisericii catoliceimediat dup cucerirea provinciei dectre armatele imperiale (1716) saureprezint comenzi imperiale pentrudecorarea noilor biserici Romano-Catolice. Sunt menionate, deasemenea, cteva aspecte alecontextului politico-ideologic n careargintria vienez s-a dezvoltat i aconcurat cu centrele din Germania deSud.Argintria avea nevoie de o capital,fiind o art strns legat de bogiamarilor orae comerciale germane.Asemeni tuturor meteugurilor,argintria era un fenomen urban,dezvoltarea sa depinznd de existenaunei clientele nstrite. n Evul Mediutrziu i n perioada Renaterii,

argintarii germani erau de departe ceimai prolifici din Europa. Un factorcrucial pentru toi argintarii erasistemul de breasl, care a exercitato influen ce depea cu multgraniele imperiului. Un alt factor

and compositional models, actuallyrepresentations of the globalizingspirit of the baroque.I would like to begin the analysis ofCatholic ecclesiastic silverwork inBanat with several considerations onthe artistic development in Vienna andSouthern Germany. Their similar

evolution is particularly striking inchurch art and in silversmiths workfor the Catholic Church (Hernmarck1977:27). The main focus of myanalysis is on Viennese silverwork inthe 18th century, as the great majorityof the silverwork objects consideredcame from Vienna, either imported bythe great personalities of the CatholicChurch immediately after the imperialarmy conquered the province (1716),or representing imperial commandsfor adorning the new Roman Catholicchurches. A few aspects of thepolitical-ideological context are alsomentioned, context in which Viennesesilverwork flourished and challengedthe centres in Southern Germany.Silverwork called for capital, beingan art closely associated with thewealth of the great German trading

cities. Like all guild crafts, silverworkwas an urban phenomenon, needinga wealthy clientele to flourish. In theLate Middle Ages and theRenaissance, the German silversmithswere by far the most prolific in


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hotrtor din interiorul sistemului debreasl l-a reprezentat asociaiacalfelor. Calfa itinerant a fost, nprincipal, un fenomen specificgerman, calfelor datorndu-li-semeritul rspndirii miestriei germanei a stilului specific epocii, mulistabilindu-se i devenind meteri n

alt loc dect cel de origine(Hernmarck 1977:19-20).n Austria primele ateliere deargintrie au funcionat n mnstiri,iar primii argintari au fost meteriiitinerani care cltoreau dinmnstire n mnstire. n oraelemari sunt menionai meterii liberi,primul dintre ei fiind atestat laSalzburg, urmnd apoi Innsbruck iViena. Argintarii vienezi sunt amintiiprima dat n anul 1288, n timp ceprima regul de breasl dateaz dinanul 1366 (Reitzner 1952:121;Catalog 2003:14). Primii meterivienezi cunoscui dup nume sunt dinperioada romanic, cnd erau atestaiase argintari (Reitzner 1952:130)2,numrul acestora ajungnd, n 1520,la cteva sute. Meterii argintari aufost un grup social apreciat, ocupnd

o vreme ndelungat primul loc nierarhia breslelor. Aceast poziieprivilegiat se datora, n principal,materialului pe care l prelucrau.Privilegiul acesta era nsoit ns deobligaii foarte stricte, metalul preios

Europe. A crucial factor to allsilversmiths was the guild system,which exerted an influence thatreached far beyond the borders of theempire. Within this guild system wasanother key factor that is the

journeymens association. Theitinerant journeyman was chiefly a

German phenomenon and it wasthanks to these itinerant journeymenthat both German craftsmanship andthe prevailing style were spread, formany journeymen settled down tobecome masters in foreign parts(Hernmarck 1977:19-20).In Austria, the first silver workshopswere in monasteries, while the firstsilversmiths were the itinerantmasters, who were travelling fromone monastery to another. Freemasters were mentioned in the bigcities, the first in Salzburg, then inInnsbruck and Vienna. Viennesesilversmiths were first mentioned in1288, while the first rule of their guildcould be traced back to 1366(Reitzner 1952:121; Catalogue2003:14). The first Viennese mastersknown by name were from the

Romanesque period, when sixsilversmiths were attested (Reitzner1952:130)2. Their number wouldincrease to several hundreds in 1520.Silversmiths were an important socialgroup, holding for a long time the first


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impunnd, n primul rnd,corectitudine desvrit din parteameterului. n afara criteriului estetic,piesele de argintrie se constituiauntr-o important rezerv de capitalpe care proprietarul nu ezita, n cazde nevoie, s o transforme n bani.Prin urmare, argintarii exercitau un

autocontrol foarte riguros pentru actiga ncrederea clientelei, fiindextrem de important ca aceasta s fiesigur c gramajul metalului preiosnu a fost modificat prin prelucrare(Catalog 2003:14). Toat aceastorganizare are la baz motive politicei economice, dar i dorinameterilor argintari de a crea uncentru puternic al breslei lor la Viena,concurena oraelor din Germania deSud fiind puternic.Fr ndoial, concurena cea maimare pentru argintria vienez oreprezentau centrele de argintrie dinBavaria: Mnchen, Augsburg iNrnberg. Chiar dac Mnchen a fostpentru o perioad ndelungat cel maiimportant centru de argintrie dinGermania de Sud, cel mai bun argintdin punct de vedere calitativ din

Europa se fcea la Nrnberg. Iar, dacNrnberg deinea ntietatea n ceeace privete calitatea argintului,Augsburg deinea locul principal nEuropa n ceea ce privete cantitateapieselor de argintrie executate,

place in the hierarchy of the guilds.This privileged position was mainlyheld due to the material they workedwith. Still, the privilege wasaccompanied by very strictobligations; mainly, the preciousmetal demanded absolute correctnessof the silversmith. Besides the

aesthetic criterion, silverwork objectsrepresent an important monetaryreserve; the owner could have theobject transformed in its cash valuewhenever necessary. Hence,silversmiths made use of a veryrigorous self-control for obtaining theclients trust, of a great importancebeing the certainty that gram weightis to be preserved during the technicalprocess (Catalogue 2003:14).Political and economic reasonssupport all this organization, but alsothe silversmiths aspiration to createa strong centre of their guild inVienna, a counterpart to centres inSouthern Germany.There is no doubt that the biggestcompetition to Viennese silverworkwas represented by the Bavariancentres: Munich, Augsburg, and

Nuremberg. Munich was, for a longtime, the most important silverworkcentre in Southern Germany; yet, thebest quality of silver in Europe wasmade in Nuremberg. WhileNuremberg held the first position


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devenind, n secolul al XVII-lea,centrul argintriei din Bavaria(Reitzner 1952:254,259-260,269).Din punct de vedere cultural cele doumari centre din Germania de Sud,Nrnberg i Augsburg, sunt foartediferite. n timp ce Nrnberg a rmasfidel personalitii sale medievale,

Augsburg a acceptat un sistemelaborat de breasl care va devenimodel pentru multe alte orae.Augsburg a devenit, dup Reformareligioas, principalul furnizor deobiecte de argint pentru bisericilecatolice (Hernmarck 1977:23-24). ncele din urm, comanda datmeterilor argintari din Augsburg adevenit o chestiune de prestigiu,oraul devenind prima opiune n artaargintriei, meterii si fiind celebriprin magia cu care prelucrau metalulpreios (Catalog 1990:16; Csfalvay1997:45; Catalog 2003:15). ncnainte de 1650, oraul a devenitprincipalul centru de argintriegerman, poziie meninut i ntritpn la mijlocul secolului al XVIII-lea. Piesele din Ausgsburg, din aceastperioad, prezint o tradiie proprie

de argintrie baroc repouss, tradiiecare se va perpetua n secolul alXVIII-lea i al crei principalreprezentant a fost Johann AndreasThelot. Un curent contrar baroculfrancez a aprut n jurul anului 1700,

concerning the quality of silver,Augsburg was the main centre inEurope in matter of quantity, theamount of objects executed,becoming the centre of silverwork inBavaria in the 17th century (Reitzner1952:254,259-260,269).From a cultural point of view the two

great South German cities,Nuremberg and Augsburg are verydifferent. While Nuremberg clung toits mediaeval personality, Augsburgaccepted an elaborate guild systemwhich was to be the prototype ofmany other cities. After theReformation, it was Augsburg tobecome the principal furnisher ofsilver objects for Catholic churches(Hernmarck 1977:23-24). Finally, theorder given to a craftsman ofAugsburg has become a matter ofprestige, the city becoming the firstoption in silverwork, its mastersbeing famous for the magic they putin transforming the precious metal.(Catalogue 1990:16; Csfalvay1997:45; Catalogue 2003:15). Evenbefore 1650 the city had become theleading German silverwork centre

and, until the mid-18th

century itcontinued to reinforce and maintainits standing. Augsburg pieces fromthis period shows a native traditionof rich repouss baroque silver, atradition which survived into the 18th


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iar interpretarea barocului tardivfrancez realizat la Augsburg vadeveni extrem de popular, pieselede aici fiind exportate n toat Europa(Hernmarck 1977:27).Oraele Bavariei au deinut loculprincipal n preferinelecomanditarilor n secolele al XVI-lea

i al XVII-lea, la nceput Mnchen,apoi Nrnberg i Augsburg. Cu toateacestea, n prima jumtate a secoluluial XVIII-lea, superioritateameterilor germani asupra celorvienezi ncepe s scad ncet, darconstant, remarcndu-se cretereanumrului atelierelor de argintrie ia comenzilor din Viena. Produselevieneze devin tot mai cunoscute,meterii vienezi ctignd teren nfaa celor din Augsburg, Vienaconsolidndu-i definitiv loculprintre centrele de argintrieimportante ale Europei. Meterilorvienezi li se datoreaz, n mare parte,dezvoltarea meseriei, att prinlucrrile lor excepionale, dar i prinnvmntul academic i o buncomercializare. Astfel, n timp ceViena prospera, ctigndu-i locul

ntre centrele de argintrie dinEuropa, Augburg-ul a pierdutlegtura cu curentele moderne. Dacn ceea ce privete meteugul n sine,obiectele din Augsburg erau deaceeai calitate, spre sfritul

century, and of which Johann AndreasThelot is the most importantrepresentative. A contrary trend theFrench baroque emerged around 1700and it was to be Augsburginterpretation of late French baroqueto become enormously popular,Augsburg pieces being exported to all

parts of Europe (Hernmarck1977:27).Bavarian towns represented the firstplace in commissioners preferencesfor the 16th and 17th centuries, at firstMunich, than Nuremberg andAugsburg. However, in the first halfof the 18th century, the superiority ofGerman masters in front of theViennese silversmiths was slowly butconstantly diminished, an increase inthe number of silver workshops andcommands being observed in the caseof Vienna. Viennese objects werebecoming more appreciated and themasters more competitive, Viennaincontestably winning its placeamong the important silverworkcentres in Europe. The advancementof the craft was made possible due tothe Viennese masters, to their highly

skilled works, but also due toacademic learning and goodcommercialization. Therefore, asVienna flourished among the mainEuropean centres, Augsburg lostcontact with modern trends. Even if


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perioadei baroc i n perioada rococoele erau convenionale, lipsite de aceacreativitate i siguran a stilului carele-a fcut celebre (Catalog2003:16,24).Cel mai important meter vienez dela 1700 este Johann BaptistKhnischbauer, n timp ce, perioada

celei de-a doua treimi a secolului alXVIII-lea este dominat de miestrialui Anton Matthias Domanek (1713-1779, meter 1737), membru alAcademiei vieneze. Un alt nume demarc al argintriei vieneze dinsecolul al XVIII-lea este JosephMoser (1715-1801, meter 1746),meter atestat prin numeroase lucrrii n Banat, unde a executat comenzipentru mprteas, pentru ordinuliezuiilor, pentru Timioara nbiserica Sf. Katharina i pentrumnstirea Maria-Radna Arad(Reitzner 1952:163,184; Roos1998:56-57; Catalog 2003:35,44-47,62).Diferitele stiluri care au concurat is-au succedat unul altuia n secolul alXVII-lea au fost eterogene. Fiecaredintre aceste curentele stilistice i

putea trasa originea n primul rnd nGermania. Faptul c Germania adeinut aceast supremaie se datoraproduciei pe scar larg a crilor deornamente pentru argintari. Structurabine stabilit a breslelor de argintrie

the craftsmanship was at the samelevel and the objects made inAugsburg exhibited the same quality,towards the end of the baroque andduring rococo period, they wereconventional, lacking the creativityand certainty of style that made themfamous (Catalogue 2003:16,24).

The most important Viennesesilversmith around the year 1700 wasJohann Baptist Khnischbauer, whilethe second third of the 18th centurywas being dominated by the skill ofAnton Matthias Domaneck (1713-1779, master 1737), member ofViennese Academy. Another famousname of the Viennese silverwork inthe 18th century was Joseph Moser(1715-1801, master 1746). JosephMoser has also been documented inBanat, completing commands for theEmpress, for the Jesuit order, forTimioara in the parish church SaintKatharine and for the MonasteryMaria-Radna Arad (Reitzner1952:163,184; Roos 1998:56-57;Catalogue 2003:35,44-47,62).The various styles which competedwith and succeeded one another in

the 17th

century were highlyheterogeneous. Nevertheless, everyone of the stylistic trends had itssource above all in Germany. ThatGermany should have been sodominant was due to its large-scale


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germane i exportul fcut deprincipalele orae din Germania, maiales de Augsburg, a fcut ca acestecri de ornamente s se rspndeascn toat Europa.Cea mai important schimbarestilistic care a aprut n timpulperioadei baroc a fost trecerea din

Gemania spre Frana ca i arbitrual stilului (Hernmarck 1977:59,64).Noile modele pariziene ajungeauprima oar n Germania de Sud idoar apoi la Viena. Respingereaculturii i artei franceze de ctrehabsburgi a fcut ca, la nceputulsecolului al XVIII-lea, argintriavienez s fie cu mult n urm fade restul Europei. mprteasa MariaTheresa se va apropia, cu timpul, totmai mult de Frana, ceea ce vapermite cunoaterea i rspndireaesteticii franceze n rndulargintarilor de la curte, pentrunceput, apoi n ntregul imperiu. Prinurmare, arta francez va devenimodelul urmat de Viena n a doua

jumtate a secolului al XVIII-lea(Catalog 2003:22).Wenzel Kaunitz-Rietberg, fost

ambasador la Paris, a ncercat saduc la Viena estetica francez princrearea unei coli de manufactur nanul 1757. Scopul acestei coli eraridicarea nivelului calitativ n breaslaartitilor, rafinarea gusturilor i

output of pattern sheets forsilversmiths. The firm structure ofGerman goldsmiths guilds and theexport business of the major Germancities, above all that of Augsburg,helped to spread these pattern sheetsall over Europe.The most important stylistic change

which occurred during the baroqueperiod was the shift from Germanyto France as the arbiter of style(Hernmarck 1977:59,64). Newmodels from Paris reached SouthernGermany, and, eventually, Vienna.The rejection of French culture andart in the Habsburg Empire resultedin an underdevelopment of Viennesesilverwork at the beginning of the 18th

century, as compared to the rest ofEurope. In time, Empress MariaTheresa would become closer toFrance, allowing French aesthetics tobecome known and spread throughsilversmiths at court, then through thewhole empire. Therefore, French artwould be the leading model to Viennain the second half of the 18th century(Catalogue 2003:22).A former French ambassador, Wenzel

Kaunitz-Rietberg, tried to attractFrench aesthetics in Vienna bycreating a manufacturing school in1757. The aim of this school was toincrease quality level in silversmithsguild, to refine their taste and to


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dezvoltarea aptitudinilor argintarilorvienezi. Crile de ornamente eraucomandate la Paris pentrufamiliarizarea artitilor vienezi cunoile tendine din moda francez.coala de prelucrare a metalelornfiinat de Jakob Schmutzer icondus ulterior de argintarul Anton

Matthias Domaneck, a avut oinfluen major asupra argintarilor.Toate aceste msuri educative vorduce, n final, la impunerea stiluluineoclasic n Imperiul Habsburgic.Neoclasicismul a nsemnat renegareavarietii, a bogiei i a formelorsinuoase reprezentate de baroc, nouasimplitate a stilului ducnd larevenirea argintarilor la mai multfuncionalitate i la ngrdireaspiritului creator. Stilul neoclasic atrebuit s lupte o perioad ndelungatpentru a reui s se impun, ntre timpaprnd multe stiluri de tranziie(Hernmarck 1977:71; Catalog2003:23).Arta prelucrii metalelor preioase vaajunge la apogeu n arta religioas,piesele de argintrie fiind destinate nprimul rnd exprimrii i stimulrii

devoiunii religioase. Obiecteleanalizate aparin coleciei EpiscopieiRomano-Catolice de Timioara.Simbolistica obiectelor sacre sesuprapune destinaiei lor uurnd, nacest fel, nelegerea aspectelor

develop Viennese masters skills.Volumes of ornaments were orderedto Paris for familiarizing the Vienneseartists with the new trends in Frenchstyle. The school of metal processingfounded by Jakob Schmutzer andsubsequently headed by AntonMatthias Domaneck, have had a

major influence on silversmiths.All these educative actions wouldfinally impose the neo-classical stylein the Habsburg Empire.Neoclassicism stands for the negationof variety, of richness and sinuousforms typical for baroque, the newsimplicity of style having made thesilversmiths returning to a greaterfunctionality and restricting theircreative spirit. The neo-classical stylehad to struggle long and hard beforeit triumphed and many transitionalstyles appeared in the period oftransition (Hernmarck 1977:71;Catalogue 2003:23).The art of working with preciousmetals would reach its apogee in thereligious art, silverwork objects beingused, in principal, for expressing andstimulating religious devotion. The

objects analysed belong to thecollection of the Roman CatholicBishopric of Timioara. Thesymbolic meaning of sacred objectsoverlaps with their purposeclarifying, in this way, the dogmatic


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dogmatice i de cult ale actuluisacramental, perceperea relaieicomplexe apropiat dar, n acelaitimp, distant dintre om i divinitate(Catalog 1992b:102).A vrea s ncep analizareaargintriei romano-catolice cu vasasacra: monstrane, relicvare, ciborii,

potire i patene. Simbolistica cultica vaselor sacre a avut un puternicefect conservator ns acest nu lucrunu le va afecta ornamentaia, formafiind mai conservatoare dectornamentul.Monstranele sunt obiectele carenecesit o tratare amnunit, elereprezentnd apogeul creativitiiargintarilor, fiind totodat i obiectelecu cea mai bogat simbolistic.Credina catolic n transsubstanierea dus la aparia monstranei, obiectuln care hostia folosit n timpul Miseieste expus n aa fel nct s fieprivit de toat lumea. Una dintreexpresiile sociale ale Contrareformeia fost organizarea unor procesiunimai elaborate parc ca niciodat.Monstrane de ceremonie bogatdecorate au fost produse pentru

marile procesiuni baroce (Csfalvay1997:51), obiecte n care sacramentulsub forma pinii, a trupului luiChristos este purtat i artatcredincioilor. Obiceiul este introdusn lumea catolic de papa Urban al

and cultic aspects of sacramental act,the perception of complex relation close but still distant between manand divinity (Catalogue 1992b:102).I would like to begin the analysis ofRoman Catholic silverwork with vasasacra: monstrances, reliquaries,ciboria, chalices, and patens. The cult

significance of all sacred vessels hada strongly conservative effect, but thisdid not affect their ornamentation,form being more conservative thanornament.Monstrances are the ones thatdeserve a closer analysis forrepresenting the apogee ofsilversmiths creativity, also being theobjects with the richest symbolicalmeaning. The Catholic belief intransubstantiation gave birth to themonstrance, in which the Host of theMass in placed for all to see. One ofthe social expressions of Counter-Reformation was the organization ofever more elaborate processions.Richly decorated monstrances werecreated for the great baroque parades(Csfalvay 1997:51), objects in whichthe sacrament the bread, the body

of Christ was exhibited andpresented to the faithful. The ritualwas introduced in the Catholic faithby the Pope Urban IV in 1264, whentransubstantiation became a dogma ofthe church (Hernmarck 1977:317;


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IV-lea n anul 1264, cndtranssubstanierea devine dogm abisercii (Hernmarck 1977:317;Catalog 1992b:101; Simion 1997:123). Primele monstrane sunt nsmai timpurii, datnd din secolul alXII-lea, cunoscute sub numele deexpositoria. O alt denumire dat

monstranei este ostensorium, iniialorice recipient n care o relicv sacrera expus vederii publicului. Primeleexemplare erau mari i impuntoare,fiind uneori combinate cu relicvare.Exemplarele mai trzii, din secolul alXVII-lea pn la nceputul secoluluial XIX-lea, aveau dou straturi decristal care nconjurau hostia,susinute de o baz cu picior inconjurate de razele solare, avnduneori deasupra o cruce sau ocoroan, sau fiind mpodobite cufiguri, pietre preioase i perle(Reitzner 1952:138; Mollett1996:217; Newman 2000:214).Opoziia violent a protestanilor fade transsubstaniere a fcut camonstranele s fie puternic detestate,fiind confiscate i distruse fr mil.Practic niciun exemplar dintre

monstranele tipice goticului trziu,aa numitele monstrane turn, nu asupravieuit. Acest tip are o talp iun picior cu nodus, fiind bogat decoratcu detalii arhitecturale. Piciorulsusine partea superioar arhitectural

Catalogue 1992b:101; Simion1997:123). The first monstrances aremore antique, coming from the 12th

century, known as expositoria.Another name given to themonstrance is ostensorium,originally being any receptacle inwhich a sacred relic was exposed to

pubic view. Early examples werelarge and imposing, and weresometimes combined withreliquaries. Later objects, in the 17th

to early 19th centuries, display twolayers of crystal which enclose theHost, supported by a stemmed baseand surrounded by solar rays,sometimes surmounted by a cross ora crown, and sometimes decoratedwith figures, gemstones, and pearls(Reitzner 1952:138; Mollett,1996:217; Newman 2000:214).The Protestant religions fierceopposition to transubstantiation mademonstrances objects of particularhate, being ruthless confiscated anddestroyed. Practically, none of thetypical late gothic monstrance, the so-called tower monstrance waspreserved. It has a foot and a stem

with a node, decorated with a wealthof architectural details. The stemsupports the strongly architecturalupper section which embraces thecentre of the monstrance, containingthe piece of bread, the crescent-shape


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care adpostete centrul monstraneiincluznd lunula n form de secer.Uneori, n locul ornamentelor goticede tip arhitectural, lcaul hostieiavea forma unui edicul o micconstrucie hexagonal saupatrulater cu geamuri caracteristicearhitecturii gotice trzii sau

renascentiste, care i va da ntregiiconstrucii nfiarea unei lanterne,de unde i numele de monstran nform de lantern (Hernmarck1977:317-318).n sfrit, monstrana soarelui a fosttipul cel mai des ntlnit ncepnd cusecolul al XVII-lea. n modul cel maisimplu, forma sa poate fi descris caun disc circular susinut de un piciorcu talp. Un geam circular este plasatn mijlocul discului pentru a adpostihostia, nconjurnd-o cu sticl.Cteodat discul este ncercuit deraze de soare.Ideile i dogmele anunate nConciliul de la Trent s-au materializatn monstrana baroc, care ajunge sfie supradimensionat, atingnduneori nimi de peste doi metri(Reitzner 1952:55). n centrul acestor

dogme se gsete ideea despreprezena real a lui Iisus n hostie imiracolul transsubstanierii n timpulliturghiei. Prin urmare, monstrana adevenit punctul culminant alEucharistiei n cultul romano-catolic,

lunula. Sometimes, instead ofproviding the section containing theHost with gothic ornaments of anarchitectural type, the container wasmade as an aedicula a littlehexagonal of four-sided building witharchitecturally conceived windows inlate gothic or renaissance style, giving

the whole composition theappearance of a lantern, the lantern-shaped monstrance(Hernmarck1977:317-318).Finally, it was the sun monstranceto become the commonest type fromthe 17thcentury onwards. Most simplyits form can be described as a circulardisc supported on a footed stem. Acircular window is being placed in themiddle of the disc, where the Host ispreserved between panes of glass atthe front and the back. Sometimes thedisc is surrounded by rays of sun.The ideas and dogmas announced bythe Council of Trent expressedthemselves into the baroquemonstrance, which tended to beoversized, with a height of over twometres (Reitzner 1952:55). The ideaof the very presence of Jesus in the

Host and the miracle oftransubstantiation during the liturgyis a central part of the dogma. It is notsurprising, therefore, that themonstrance has become the mostsignificant element of the Eucharist


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simbolul victoriei pentru BisericaCatolic, care triumfa, prin aceasta,detandu-se de biserica protestant.Monstrana trebuia s aminteasc detaina prezenei fizice a lui Iisus, razeleaurii ale soarelui care pleac de lahostie fiind semnul palpabil alprezenei reale a lui Iisus i, n acelai

timp, a supranaturalului. Monstranaera nsi ntruchiparea psalmului Insole posuit tabernaculum suum

(Ps.19,6).Contrareforma avea o adevratpredispoziie spre efecte puternice,prin urmare monstranei cel maisacru obiect al Misei, trebuia s i sedea o form ct mai ieit din comun.Exista o tendin general de decorarea monstranei cu emailuri pictate,pietre preioase i o bogie de efecteformale, toate cu intenia de aaccentua miracolul transsubstanierii.Cele mai splendide piese au fostcreate n acele pri ale Europei n careContrareforma a avut cel mai mareimpact: Italia, Spania, Portugalia,Germania de Sud i Austria(Hernmarck 1977:319-320).Simbolistica monstranei este extrem

de complex, reprezentrile figurativei inscripiile de pe suprafaa sa dereprezentare propagnd interpretareaescatologic a ideii de baz acatolicismului: moartea lui Iisus isacrificiul Fiului lui Dumnezeu

in the Roman Catholic faith, thesymbol of victory for the CatholicChurch, triumphant and severingfrom the Protestant Church. Themonstrance has had to commemoratethe mystery of Jesus physicalpresence, the golden rays of sunoriginating from the Host being the

tangible sign of His real presenceand, in the same time, of thesupernatural. The monstrance hasbeen the very embodiment of thepsalm In sole posuit tabernaculumsuum (Ps.19,6).The Counter-Reformation wasstrongly disposed towards powerfuleffects, therefore the monstrance the most sacred vessel in the Mass,was to be given as striking a form aspossible. There was a general tendto endow the monstrances with arange of enamelwork colours,precious stones and a wealth offormal effects, all intended to stressthe miracle of transubstantiation. Themost magnificent pieces were madein those parts of Europe where theCounter-Reformation made itsgreatest impact: Italy, Spain,

Portugal, Southern Germany andAustria (Hernmarck 1977:319-320).The symbolism of the monstrance isextremely complex, figuralrepresentations and inscriptions on itsdisplaying surface propagate the


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semnific triumful asupra rului isalvarea pentru omenire. Coroana deraze reprezint, n spaiul austriac isud-german, coninutul ceresc alliturghiei, care se mbin cu liturghiapmnteasc n timpul celebrriislujbei, deschizndu-se n felul acestaRaiul. Sfnta Treime poate fi uor

recunoscut n prezena luiDumnezeu-Tatl pe tron, nconjuratde ngeri, Iisus n forma hostieisfinite, lunula lucrat de obicei naur pur n form de secer ncastratntr-o fereastr transparent, iSfntul Duh porumbelul carecoboar pe pmnt (Hernmarck1977:321; Catalog 2003:17).Sacrificiul divin este indicat de cruce,de mielul de pe carte, de cele aptepecei, precum i de simbolurileeucharistice: ciorchinii de struguri ispicele de gru. Maria, ca mam aomenirii, o nou Ev imaculat,intermediar ntre credincioi idivinitate, apare n completareasimbolisticii, alturi de ngerii carezboar printre nori, nconjurndhostia panis angelorum.Credina n Iisus reprezentat n

hostie a nviat dorina credincioilorde a vedea monstrana. Astfel,elevatio, ridicarea monstraneireprezint punctul cel mai importantal prii sacramentale a liturghiei.Dorina credincioilor de a se ruga i

eschatological interpretation of thebasic idea of Catholicism: Jesus deathand Son of Gods sacrifice signifytriumph over evil and salvation formankind. As concerning Austria andSouthern Germany, the crown of raysstands for the celestial part of theliturgy that combines with the earthly

sacrament during the celebration ofthe Mass, opening, in this way, theHeaven. The Holy Trinity could beeasily identified in the presence of theHoly Father on the throne, surroundedby angels, Jesus as the consecratedHost, the lunula usually made ofpure gold represented in the formof a sickle embedded in a transparentglass, and the Holy Spirit the dovedescending on earth (Hernmarck1977:321; Catalogue 2003:17). Thedivine sacrifice is indicated by thecross, the lamb on the book, the sevenseals, and the symbols of Eucharist:bunches of grape and sheaves ofwheat. Mary, as the mother ofmankind, a new immaculate Eve,standing between the faithful and thedivinity, completes the symbolism,along with the floating angels in the

middle of the clouds, surrounding theHost panis angelorum.Faith in Jesus embodied in the Host

reanimated the wish for actuallyseeing the monstrance. Therefore,elevatio, rising of monstrance,


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n afara slujbei propriu-zisecorespunde creterii de aciunieucharistice n care monstrana eraartat credincioilor, piesa preioasfiind tot timpul n centrul evlaviei ial rugciunilor, culminnd curugciunea de patruzeci de ore dinVinerea Mare cnd monstrana este

aezat deasupra sfntului mormnt(Catalog 2003:19).Schema compoziional amonstranei baroc vieneze pleac dela proiectul de altar a lui MatthiasSteinl. Iisus apare prezentat n centrulunuipyx(Mollett 1996:269; Newman2000:253-254)3 nconjurat de nori iraze. Formele arhitectonice determinrama expositorium-ului, careadpostete hostia ca pe untabernacol. Vaze ornamentale ipilatri susinui de un piedestal devolute mpodobesc construciaminiatural ncoronat de o semi-cupol sau de un baldachin. Aceastschem compoziional va rmnefr concuren n Viena pn lasfritul secolului al XVIII-lea,aparnd n diferite variante i la Graz,Praga, Budapesta, chiar i Mnchen.

Arhetipul pare s fi fost o monstranexecutat de argintarii vienezi JohannCaspar Holbein i Johann AugustinStadler n anul 1722 pentrumnstirea Herzogenburg, creatorulcompoziiei fiind probabil Matthias

represents the highest part ofsacramental part of the liturgy. Thefaithful yearn for praying, besides thesacrament, coincides with thegrowing number of Eucharisticactivities where the monstrance wasexhibited to the faithful. The preciousobject has been standing in the centre

of devoutness and prayers,culminating with the forty-hourprayer in the Holy Friday, processionduring which the monstrance isplaced above the holy shrine(Catalogue 2003:19).The organizational scheme ofViennese baroque monstranceoriginated in the altar project madeby Matthias Steinl. Jesus is shown inthe centre of apyx(Mollett 1996:269; Newman 2000:253-254)3,surrounded by clouds and rays.Architectural forms determine theframework of the expositorium, inwhich the Host is being protected, asa tabernacle. Ornamental vases andpilasters supported by a volutepedestal decorate the miniaturecreation surmounted by a half-domeor a canopy. This compositional

scheme would have no competitionin Vienna to the end of the 18 th

century, being present in differentvariants in Graz, Prague, Budapest,and even Munich. It seems that itsarchetype was a monstrance made by


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Steinl, monstrana devenind astfel, oreflexie miniatural a arhitecturiireale (Catalog 2003:19).Unul dintre cele mai mari proiectebisericeti din perioada domnieiMariei Theresa a fost construirea idecorarea Catedralei Romano-Catolice din Timioara, construcie

demarat nc n timpul mpratuluiCarol al VI-lea, n anul 1736. Pe la

jumtatea secolului al XVIII-lea,mprteasa a dat ordin artitilor icomercianilor de art din Viena snceap decorarea bisericii. Comandapentru argintria din biseric a fostpreluat de argintarul vienez JosephMoser. Argintria a fost predat nanul 1754, valornd n total suma de2.506 florini i fiind compus din: olamp de argint pentru altarulprincipal, ase potire de argint aurit,o monstran de argint aurit, omonstran pentru moatele Sf.Gheorghe, dou ciborii de argintaurit, un recipient de argint pentruulei sfinit, o cruce pacifical deargint aurit, o cruce capitular deargint, un vas de argint pentru tmie,dou cnie de altar i patru candele

de sacrificiu (Catalog 2003:44).Monstrana executat de Moserpentru Domul din Timioara senscrie n schema compoziional amonstranelor vieneze, putnd ficonsiderat o lucrare extrem de

the Viennese silversmiths JohannCaspar Holbein and Johann AugustinStadler for the monastery ofHerzogenburg, in the year 1722. Theauthor of the project might have beenMatthias Steinl, the monstrancebecoming, in this way, a miniaturereflection of the real architecture

(Catalogue 2003:19).One of the greater religious projectsof Maria Theresas reign representedthe erection and decoration of theRoman Catholic Cathedral ofTimioara. The construction hadbegun in 1736, during Carol VIsreign. Starting with the middle of the18thcentury, the Empress commandedthe adornment of the new church tothe Viennese artists and art dealers.The order for the churchs silverworkwas given to the Viennese silversmithJoseph Moser. The silverwork wasdelivered in 1754, and it worth a totalsum of 2.506 florins, being made of:a silver lamp for the high altar, sixsilver-gilt chalices, a silver-giltmonstrance, a monstrance for SaintGeorges relics, two silver-gilt ciboria,a silver receptacle for holy oil, a silver-

gilt pacifical cross, a silver capitularycross, a silver vase for incense, twoaltar cruets, and four sacrifice votivelights (Catalogue 2003:44).The monstrance created by Moser forthe Cathedral of Timioara could be


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important n opera lui Moser, eareprezentnd punctul de plecare alunui grup de monstrane realizate ndecurs de treizeci de ani. Formele debaz ale acestor piese erau mai bogatesau mai simple, n funcie de cerinelei de posibilitile financiare alecomanditarului, structura rmnea

ns aceeai, trecnd de schimbrilestilistice din baroc spre clasicism.Stylos-ul se ridic deasupra suprafeeide reprezentare, volutele lateralecaracterizate de for, linii sinuoasei o cupol mic formeaz pyx-ul, ncentrul cruia se afl hostia.Compoziia este ntotdeaunadesvrit prin reprezentarea luiDumnezeu-Tatl care troneaz n vrfmpreun cu Sfntul Duh porumbelul, iar n prile lateralengenuncheaz doi ngeri ntr-orugciune etern. O coroan de razefoarte strns nchide expositorium-ul (Catalog 2003:44).Monstrana din Timioara din anul1754 (cat.1) se nscrie n aceastschem compoziional. Talpa ovalformat din patru lobi marcai devolute puternic reliefate i nodusul n

form de vas susin expositorium-ul,ncadrat de dou volute puternice, pecare se sprijin cei doi ngeri. Lcaulhostiei este nconjurat de pietre albei roii, lunula fiind ncastrat cuaceleai pietre. Compoziia este

ranked among the compositionalscheme of Viennese monstrances. Itcould be considered an extremelyimportant work in Mosers creation,standing at the origin of a group ofmonstrances realized in a thirty-yearperiod. The basic forms of thoseobjects were either richer or simpler,

according to the commissionersdemands and financial possibilities,yet the structure remained the same,surpassing the stylistic changes frombaroque to classicism. The stylussurmounts the displaying surface; thelateral volutes are characterized byforce, while sinuous lines and a smallcupola are forming the pyx, wherethe Host is being enclosed. Thecomposition is always beingcompleted by the representation ofthe Holy Father who dominates thetop of the object, accompanied by theHoly Spirit the dove, while twoangles kneel laterally in an eternalprayer. A very tight crown of rayscloses the expositorium (Catalogue2003:44).The monstrance of Timioara, madein the year 1754 (cat.1), can be ranked

among this compositional scheme.The oval quatre-foiled food made ofstrong volutes and the vase-shapednode support the expositorium,framed by two strong volutes, wherethe two angels are resting on. Both


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ncununat de Dumnezeu-Tatl,reprezentat ntr-o atitudine plin demicare i dramatism, aezat pe unnor nvolburat, cu sceptrul n mnastng, sprijinindu-se pe globulpmntesc i binecuvntnd cudreapta, sub aceast reprezentareapare Sfntul Duh n form de

porumbel, nconjurat de raze.Aceast schem compoziional estemult simplificat de Moser peparcursul secolului, decoraiile fiindreduse tot mai mult, meterul argintarrenunnd, n cele din urm, la figuri,nlocuindu-le cu ornamenteclasiciste: coloane, vase ornamentale,ghirlande.Astfel, n anul 1783 l regsim peJoseph Moser lucrnd pentruTimioara, de aceast dat pentrubiserica parohial Sfnta Katharina.Monstrana pe care o execut cuaceast ocazie (cat.2) transcendeschema compoziional urmatvreme de treizeci de ani, operarezultat aparinnd n totalitatestilului clasicist. Talpa oval a pieseieste reliefat de patru baze de coloanei decorat cu ghirlande,

expositorium-ul este prezentat caspaiu arhitectonic, susinut lateral dedou coloane, care nlocuiescvolutele anterioare, lateral fiindplasate dou vase ornamentale cuflori, n locul celor doi ngeri. Pyx-ul

the Host and the lunula are set withwhite and red stones. The creation isdominated by the Holy Father,displayed in a dramatic attitude, on awhirling cloud, with the sceptre in Hisleft hand, resting on an orb, andblessing with His right hand. TheHoly Spirit in the form of a dove is

place beneath, encircled by rays.This is the compositional scheme tobe much simplified by Moser alongthe century, the decorations beingprogressively reduced, the silversmitheventually renouncing to the use offigures, replacing them with classicalornaments: columns, ornamentalvases, and wreaths.Therefore, in the year 1783, JosephMoser once again worked forTimioara, namely for the parishchurch Saint Katharine. Themonstrance he created this time(cat.2) has transcended thecompositional scheme followed forthirty years, the resulting piece beingentirely a neo-classic creation. Theoval foot of the object is outlined byfour column bases and decorated withwreaths; the expositorium is being

presented as architectural space,supported, laterally, by two columnsthat replace the previous volutes. Twoornamental flower vases are placedon both sides, taking the place of theprevious angels. The pyx is oval-


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este de form oval, ncadrat de pietrealbe avnd deasupra o ghirland deflori ncastrat cu pietre roii, n centrueste plasat o piatr galben, iar lunulaeste decorat cu pietre roii i albe.Locul lui Dumnezeu-Tatl n apex lva lua o cruce simpl.Este interesant de urmrit evoluia

stilistic a acestui meter vienez de lamonstrana baroc din anul 1754 la ceaclasicist din anul 1783, fiind extremde clare toate schimbrile nmentalitatea i ideologia perioadei,precum i evoluia gustuluicomanditarilor n conformitate cuaceste schimbri.Urmtoarea monstran pe caredoresc s o prezint (cat.3) ar putea fiatribuit prin analogie aceluiaimeter argintar, Joseph Moser. Dinpcate, piesa nu prezint mrci deidentificare, lipsind att marca deprob, ct i cea de meter. Existdou explicaii posibile n acest caz,obiectul poate fi opera unui argintaral coroanei sau poate fi vorba de unobiect vechi modificat la dorinaproprietarului. Argintarii imperialireprezentau un grup elitist de meteri

care, dup ce i terminau uceniciaconform regulilor breslei, nu maiconcurau pentru titlul de meteri, ciintrau direct n serviciul coroanei.Acest statut i absolvea de controlulbreslei. Meterii imperiali erau aceia

shaped, set with white stones,crowned by a flower coronal set withred stones, with a yellow stone in themiddle. The lunula is decorated withred and white stones. The HolyFather in the apex is replaced by aplain cross.The stylistic evolution of this master

is worth mentioning, for it could betraced from the baroque monstranceof the year 1754 to the classicist oneof the year 1783. All the changes inthe ideology of the period, as well asthe evolution in commissionerstastes according to these changes, areextremely visible.The next monstrance I would like toexamine (cat.3) might be ascribed,according to an analogy, to the samesilversmith, Joseph Moser.Unfortunately, the object does notdisplay identification marks, both thehallmark and the master mark beingomitted. Two explanations mightexist in this case; the piece could havebeen executed by an imperialsilversmith, or could be an ancientobject modified according to itsowners desire. Imperial silversmiths

represented an exclusive group ofmasters. After their apprenticeship,made according to the guilds rules,they did not enter the guild asmasters, but directly work for theimperial crown. This status made


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care puteau executa obiecte marcatedoar cu marc de meter, ns doaratunci cnd lucrau pentru Curteaimperial. Atunci cnd meteriiimperiali lucrau pentru persoaneprivate, obiectele trebuiau marcate ide ctre breasl sau ora. Atunci cndun obiect vechi era modificat se

renuna la controlul breslei i,implicit, la aplicarea mrcii de probpe pies, dac nu era adugat materialsau dac nu avea loc un schimb deproprietari (Reitzner 1952:108;Catalog 2003:15).Din pcate, nici una dintre explicaiinu pare potrivit n cazul nostru,Moser lucrnd pentru mprteas,dar obinnd titlul de meter la 21iunie 1746, iar monstrana n cauzsemnnd pn la identificare cu cearealizat de Moser pentru Timioaran anul 1783. Este posibil ca orestaurare a piesei s duc landeprtarea mrcilor, sau poate fivorba despre un alt meter sau chiardespre un strer, un meteugar careproducea piese de argintrie fr s-i ncheie ucenicia i fr s obintitlul de meter (Zllner 1997:350;

Catalog 2003:15)4

, care copiazmonstrana lui Moser, executnd opies aproape identic. Singuradiferen o reprezint pietrele caredecoreaz lunula, n acest caz fiindvorba de pietre verzi, iar ghirlanda

them free of the guilds control.Imperial masters were the ones whocould execute objects punched onlywith the master mark, exclusivelywhen they work for the imperialcrown. In the situation of objectsmade for private commissioners, thepieces had to be punched with the

guild or the city mark. When anancient object was modified, theguilds control was no longerconsidered necessary. Therefore, anew hallmark was not to be punched,in the unique situation the gramweight and the owner remained thesame (Reitzner 1952:108; Catalogue2003:15).Regrettably, none of the two situationspreviously mentioned could seemappropriate in this particular case.Moser worked for the empress, buthe was also appointed master on 21st

June 1746. More than that, themonstrance analysed closelyresembles the piece created by Moserfor Timioara, in the year 1783. It islikely that a restoration of the piecemight remove the marks, or the objectcould be executed by another master,

or even astrer a craftsman whomade silver objects without finishinghis apprenticeship and withoutobtaining his qualification as master(Zllner 1997:350; Catalogue2003:15)4 who copied Mosers


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de flori i pietre roii care ncoroneazlunula are n centru o piatr mov.Totui, pare puin probabil ca unstrers fi ajuns la un asemenea gradde stpnire a meteugului, nct spoat realiza piesa n discuie. Maimult dect att, Reitzner nu lmenioneaz pe Moser printre

meterii imperiali din secolul alXVIII-lea (Reitzner 1952:184)5.Lund n considerare toate acestea,consider c piesa i poate fi atribuitlui Joseph Moser, prin analogie cumostrana din anul 1783.Nici urmtoarea monstran (cat.4) nuprezint mrci de identificare, stilulbaroc al piesei indicnd dreptperioad de execuie prima jumtatea secolului al XVIII-lea. Compoziiaeste mai simpl, iar reprezentrilefigurative lipsesc n totalitate. Talpaoval din patru lobi i nodusul nform de vas sunt decorate cu motivede scoic i volute, iar expositorium-ul este marcat de o structur de volutei pietre de diferite culori carenconjoar pyx-ul de form oval. Ocruce i un clopot stilizat sunt plasatepe axa longitudinal a piesei, n apex.

Ultima monstran din prezentareamea este total diferit ca schemcompoziional, fiind vorba despre opies care provine din Augsburg(cat.5). n contrast cu rama puternicconstruit i ntotdeauna clar

monstrance, executing an almostidentical object. The only visibledifference of the two pieces is givenby the stones decorating the lunula in this case green stones, while theflower coronal displays a mauve one.Still, there seems hardly possible thatastrercould have possessed such a

mastery to create this monstrance.More than that, Moser is notmentioned by Reitzner among theimperial masters in the 18th century(Reitzner 1952:184)5. Considering allthe above, I do believe that the objectcould be ascribed, due to the analogymade with the monstrance of 1783,to Joseph Moser.The next monstrance (cat.4) is to beanother piece with no identificationmarks. Nevertheless, the baroquestyle of the object points toestablishing its date of execution inthe first half of the 18th century. Thecomposition is simpler this time,while figurative representations aretotally missing. The oval quatre-foiled foot and the vase-shaped nodeare decorated with shells and volutes,the expositorium being framed by a

structure made of volutes anddifferent stones, enclosing the oval-shaped pyx. A cross and an outlinedbell are being placed along thelongitudinal axe.


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structurat a monstranelor din Viena,zona de imagine a monstranelor dinAugsburg este nestructurat,reprezentnd o ncrengtur de liniicurbe, n care sunt plasate simbolurieucharistice, figuri i raze (Catalog2003:19). Este i cazul acestei lucrri,a crei schem compoziional

complex are n centru lcaul hostiein form de inim, coninnd ninterior lunula nedecorat i fiindncadrat de Fecioara Maria i Sf. IoanEvanghelistul. Pe axul longitudinalal piesei, dedesubtul pyx-ului, estereprezentat un nger innd n mnvoalul cu chipul lui Iisus, n timp cedeasupra apar redate o coroan,Dumnezeu-Tatl, iar n apex o crucecu reprezentarea Sfntului Duh,porumbelul nconjurat de raze.Expositorium-ul este ncadrat de obordur de motive fitomorfe i pietrei de o coroan de raze ondulate.Meterul care a executat-o esteLudwig Schneider, nscut n Bachernn 1640/1650, activ n perioada 1685-1729, marca de prob de pe piesfiind Augsburg 1696-1705(Rosenberg 1922: 159,160; Reitzner

1952:265; Catalog 2005:319). MarcRosenberg consider c meteruluiargintar din Ausgburg i pot fiatribuite aproximativ 80 piese.Relicvarul este numele dat oricruialtar sau cutie portabil destinat

The last monstrance in mypresentation follows an entirelydifferent compositional scheme,coming from Augsburg (cat.5). Incontrast with the forceful andconstantly structured frame in the caseof Viennese monstrances, thedisplaying surface of Augsburg pieces

is not structured, representing acombination of curved lines, whereEucharistic symbols, figures and raysare being placed (Catalogue 2003:19).This is also the case with this object;its complex compositional schemeprotects the Host tabernacle resembling a heart with anundecorated lunula, bounded by theVirgin and Saint John the Evangelist.An angel holding a veil with Jesusfigure is depicted under the pxy, alongthe longitudinal axe, while in theupper part a crown and the figure ofthe Holy Father are being represented.The Holy Spirit on a cross, wrappedin rays of sun, adorns the wholestructure. The expositorium isbordered by vegetal motifs, stones,and a crown of waving rays. Thesilversmith has been identified as

Ludwig Schneider, master born inBachern c.1640/1650, in activityduring the period 1685-1729, theAugsburg hallmark being 1696-1705(Rosenberg 1922:159,160; Reitzner1952:265; Catalogue 2005:319).


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pstrrii relicvelor religioase.Importana relicvelor n cultul catolica reprezentat un imbold pentruinventivitatea oamenilor de a creaobiecte potrivite pentru a le pstra.Prin urmare, relicvarul apare fie ca vasindependent, fie integrat unei crucisau monstrane. Relicvarele destinate

pstrrii unor relicve foarte preioase,cum ar fi oasele unui sfnt, eraudecorate i ornamentate fastuos cupietre preioase, tipurile mai puinpreioase fiind realizate din argint sauargint aurit. Cteodat, relicvareleerau realizate sub foma prii corpuluiomenesc a crei relicv o conineau:cap, picior, deget. Relicvarele pot fipurtate n jurul gtului, caz n care senumesc encolpium sauphylacteriumsau pot fi folosite pentru procesiuni,numindu-se feretrum (Hernmarck1977:346; Catalog 1992b:102;Mollett 1996:277; Newman2000:261).Cele dou relicvare din coleciaepiscopiei de Timioara sunt piesesplendide, primul dintre ele fiind o altlucrare a lui Joseph Moser pentruCatedrala Romano-Catolic.

Relicvarul Sfntului Gheorghe(cat.6), patronul catedralei, a fostrealizat n anul 1754 (fcnd parte dincomanda imperial pentru sfinireaDomului Romano-Catolic), icorespunde, n mare parte,

Approximately 80 pieces have beenascribed to this silversmith by MarcRosenberg.Reliquary is the name given to everyaltar or portable box for keeping ordisplaying religious relics. Theimportance of relics to the Catholicfaith has been a drive to human

inventiveness in devising suitablevessels for preserving them.Therefore, a reliquary can be eitheran independent vase, or integrated ina cross or monstrance. No group ofliturgical plate can vary so widely inform or quality. Some of them,especially those made to contain animportant relic, such as the bones ofa saint, were often highly decoratedand ornamented with gemstones, butless pretentious types were made ofsilver of silver gilt. Sometimes,reliquaries were made in the form ofthe part of the human body that wassaid to be the enclosed relic: head,arm, foot, or finger. They could beworn round the neck, case in whichthey are called encolpium or

phylacterium, or they could becarried procesionally, being named

feretrum (Hernmarck 1977:346;Catalogue 1992b:102; Mollett1996:277; Newman 2000:261).The two reliquaries in the collectionof Timioara Bishopric are exquisitepieces. The first of them is another


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monstranei realizat cu aceeaiocazie. Nodusul este diferit,relicvarul prezentnd un nodus de unstil mai vechi, n form de par.Imaginea red simbolistica catedraleidin Timioara protectoare acredinei. n acest caz, relicvaruldevine un simbol al victoriei bisericii

ecclesia triumphas, iar SfntulGheorghe miles christianus, celcare conduce spre victorie. Relicvarulseamn cu un tropaion, armelealctuind suprafaa de reprezentare:n prile laterale sunt redate drapele,lnci, sbii, pumnale, scuturi,compoziia este ncununat de uncoif, aezat ca o coroan, iar dedesubteste ntins balaurul. Pyx-ul estenconjurat de frunze de palmier i deo coroan de dafin (Catalog2003:46).Cel de-al doilea relicvar vine din totdin Austria, de acest dat de la Graz,meterul argintar fiind probabilJohann Mach Hagner in Bruck, activn perioada 1780-1806. Marca deprob din Graz dateaz piesa nultimul sfert al secolului al XVIII-lea(Reitzner 1952:245,248). Relicvarul

meterului Hagner din Graz (cat.7)are form de monstran, talpa,nodusul i suprafaa de reprezentarefiind bogat decorate cu elementerocaille, volute i trandafiri. Cmpulcentral al expositorium-ului conine

work of Joseph Moser for the RomanCatholic Cathedral. The reliquary ofSaint George (cat.6), the patron saintof the cathedral, was realized in theyear 1754 (being part of the imperialcommand for the sanctification of theRoman Catholic Dome) andcorresponds, mostly, to the

monstrance made for that occasion.Still, the node is different, thereliquary displaying a more ancient,pear-shaped node. The image exhibitsthe symbology of Timioara cathedral

guardian of the faith. In this case,the reliquary becomes a symbol forthe victory of the church ecclesiatriumphas, while Saint George standsfor miles christianus, the one wholeads to victory. The reliquary isrepresented as atropaion, where thearms illustrate the displaying surface:banners, spears, swords, daggers, andshields frame the composition. Ahelmet adorns the scene, while thedragon lies beneath. The pyx isencircled by palm leaves and a laurelwreath (Catalogue 2003:46).The second reliquary was also madein Austria, namely in Graz, the

silversmith probably being JohannMach Hagner in Bruck, in activityfrom 1780 to 1806. Graz hallmarkindicates the last quarter of the 18th

century as the period of execution(Reitzner 1952:245,248). The


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cinci casete cu relicve dispuse nform de cruce: medalionul centralconine un fragment din Sfnta Cruce,medalionul din stnga o relicv aSfntului Iosif de Calazanza, cel dindreapta a Sfntul Hieronimus, celde sus a Sfntului Gheorghe, iar celde jos a mprtesei Elena.

Compoziia este nconjurat de ocoroan de raze i ncununat de ocruce.Tot din categoriavasa sacra face partei ciboriul, vasul n care se pstreazhostia consacrat pentru Eucharist.Datorit credinei catolice ntranssubstaniere, ciboriul era unobiect liturgic important pentrudesfurarea Misei, avnd o formcorespunztoare. Ciboriul este unobiect de forma unui potir cu capac.n secolul al XV-lea avea o talp, cacea a potirului, care susinea fie o cupca a potirelor (ciboriu) sau o casetrectangular (pyx). Capacul estencoronat uneori de o cruce, care poatefi aezat pe o sfer. Ciboriul estefolosit doar n interiorul bisericii, fiindastfel diferit de pyx, mai mic cadimensiuni i purtat n exteriorul

lcaului de cult de ctre preot, atuncicnd viziteaz bolnavii. Dup secolulal XV-lea popularitatea monstranelorelaborate a fcut ca ciboriile s devindestul de rare, ele nu au ncetat nss fie create pentru a fi folosite n

reliquary created by master Hagnerof Graz (cat.7) resembles amonstrance, the foot, the node, andthe displaying surface being richlydecorated with rocaille elements,volutes, and roses. The central partof the expositorium displays five reliccaskets representing a cross: the

central medallion encases a fragmentof the Holy Cross, the left onecontains a relic of Saint Joseph ofCalazanza, the right one of SaintHieronymus, the superior one ofSaint George, and the inferior one of Empress Helen. The compositionis framed by a crown of rays andsurmounted by a cross.Another object in the vasa sacracategory is represented by theciborium, a vessel in which theconsecrated Host for Eucharist isbeing preserved. Because of theCatholic belief in transubstantiation,the ciborium was an importantliturgical object in the Mass, and wastherefore given an appearance tomatch this importance. The ciboriumis a chalice-shaped vessel with atightly fitting cover. In the 15th

century it usually had a foot, like thatof a chalice that may support either achalice-like bowl (a ciborium) or arectangular casket (a pyx). The coveris sometimes surmounted by a cross,occasionally resting upon an orb. It


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scopuri liturgice de ctre BisericaCatolic (Hernmarck 1977:316;Catalog 1992b:101; Mollett 1996:73;Newman 2000:75).Primul dintre cele trei ciborii (cat.8)pe care doresc s le prezint poate fidatat (conform inscripiei de pe talp)n anul 1715. Obiectul nu prezint

mrci, atribuirea lui i locul deprovenien neputnd fi stabilite cucertitudine. Talpa ciboriului estesextlobat, decorat cu treimedalioane de form oval pe careapar redate instrumentele Patimilori voalul cu chipul lui Iisus,nconjurate de ornamente fitomorfe.Nodusul n form de vas e decoratcu trei medalioane, iar cupa are undecor fitomorf traforat.Urmtoarele dou piese au fostexecutate la Viena, n prima jumtatea secolului al XVIII-lea, aparinndn totalitate stilului baroc. Ciboriulmeterului argintar cu iniialele LGsau LC este marcat cu marca de probViena 172? (cat.9). Decorul pieseiconst din volute puternice isimbolurile eucharistice: spice degru i ciorchini de struguri,

ornamentaie care se repet pe talpaobiectului, pe nodusul n form defleuron, pe cupa i pe capacul pieseicu crucea ordinului de Malta n vrf.Al doilea ciboriu (cat.10) este marcatcu marca de prob Viena 1734 i a

is for use only in a church, asdistinguished from a pyx, which issmaller and may be taken out by thepriest when visiting the sick. After the15 th century the popularity ofelaborate monstrances reducedciboria to relative rarity, but they havenever ceased to be made for liturgical

purposes in the Catholic Church(Hernmarck 1977:316; Catalogue1992b:101; Mollett 1996:73;Newman 2000:75).The first of the three ciboria (cat.8) Iwould like to analyse could be dated(according to the inscription engravedon the rim of the foot) in 1715. Noidentification marks were punched onthe object; therefore, its master andplace of origin cannot be certainlyestablished. The six-foiled foot isornamented with three oval shapedmedallions, depicting the instrumentsof the Passion, and the veil with Jesusfigure, framed by vegetal decorations.Three medallions decorate the vase-shaped node, while the bowl exhibitsa fretted vegetal ornamentation.The following two pieces were madein Vienna, in the first half of the 18th

century, totally belonging to thebaroque style. The ciborium createdby the silversmith LG or LC waspunched with Vienna hallmark for172? (cat.9). The piece is decoratedwith strong volutes, the symbols of


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fost realizat de meterul argintarJohann Joseph Ignati Reymann, nactivitate ncepnd cu anul 1725,retras nainte de 1748 (Reitzner1952:171). Decoraia piesei constdin vaze ornamentale de flori cubordur de scoici i volute, flancatede capete de ngeri pe talpa

ciboriului, i de reele de flori pecupa acestuia.Doresc s nchei prezentareaobiectelor de altar care trebuieconsacrate cu o alt pies ncrcatde simboluri, potirul. Potirul ocupo poziie central ntre obiecteleecleziastice, fiind tratat cu cea maimare veneraie n Biserica Cretin.Punctul culminant al liturghieiromano-catolice,Missa Romana, estereprezentat de elevatio, ridicareamonstranelor i a potirelor, obiecten care prezena lui Iisus este real in ale cror aur i pietre preioase sematerializeaz prezena sa suprareal.Potirul este o cup din metal preioscu funcie liturgic, n el turnndu-sevinul pentru mprtanie care, ntimpul liturghiei, se transsubstaniazn sngele lui Iisus. Simbolistica lui

include reprezentarea paharului cu vinfolosit de Iisus Hristos la Cina cea detain, pahar al crui coninut a fost datucenicilor Si. Conform unei alteconcepii, potirul poate simboliza ivasul n care Sf. Ioan Evanghelistul

Eucharist: sheaves of wheat andbunches of grape. The sameornamentation is displayed on thefoot, the fleuron-shaped node, thebowl, and the cover with the Maltesecross on the top. The second ciborium(cat.10) was punched with Viennahallmark for 1734 and was made by

the silversmith Johann Joseph IgnatiReymann, active from the year 1725,retired before 1748 (Reitzner1952:171). Floral ornamental vaseswith a frame of shells and volutes,bordered by angel heads on the foot,and by floral nets on the bowl,decorate the object.The presentation of the consecratedaltarpieces ends with another object,rich in symbols, that is the chalice.The chalice occupies a centralposition among ecclesiastical vessels,being regarded with greaterveneration than any other piece usedin the Christian Church.Elevatio, thehighest part of Roman Catholicliturgy,Missa Romana, is representedby the act of rising the monstrancesand chalices, objects where Jesuspresence is real, while his

supernatural presence is embodied inthe gold and gemstones that adornthem. The chalice is a bowl ofprecious metal of liturgical role: it isin the chalice that wine for theEucharist is being poured, and,


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ar fi strns sngele scurs din trupullui Iisus, fiind, de altfel, i un atributal Sf. Ioan Evanghelistul potirul iarpele care apare din el. Potirele potfi de mai multe tipuri, ministeriales

care servesc la mprirea vinului,offertorii folosite de diaconi pentrua pstra vinul oferit de credincioi,

majores i minores difereniate nfuncie de mrime (Catalog1992b:101;Mollett 1996:66; Simion1990:120).

Venerarea profund a potirului a avutun impact conservator major asupraformei sale. Dup secolul al XII-leadevine obligatoriu ca potirele s fierealizate din metal preios. Forma debaz a potirului a fost stabilit cu mult

nainte de mijlocul secolului al XV-lea: o cup rotunjit la baz, susinutde un picior cu talp i un nodus. nsecolul al XIV-lea talpa erahexagonal cu margini dantelate,baza fiind asemntoare unei stele nase coluri, tip care va supravieui,i n secolul al XV-lea. n aceastperioad va deveni extrem derspndit un tip de potir a cruicaracteristic principal este talpa

decorat cu ase limbi rectangulare,avnd o seciune sextlobat. Potirelegotice trzii sunt foarte variate n ceeace privete gradul de elaborare icaracterul decoraiei, de la piesenedecorate la cele gravate, elaborat

during the liturgy, transubstantiatedinto Christs blood. Its symbolicalmeaning is rich; the chalice mightstand for the cup of wine used byChrist for the Last Supper, its essencebeing given to His disciples.According to another interpretation,the chalice could signify the vessel in

which Saint John the Evangelistwould have collected Christs drippedblood, the object actually being amark of Saint John the Evangelist: thechalice with the snake in it. Chalicescould be of different types,ministeriales serving for thedistribution of wine, offertorii usedby the deacons for preserving the wineoffered by the faithful, majores, andminores according to their size(Catalogue 1992b:101; Mollett1996:66; Simion 1997:120).The profound veneration of thechalice has had a most conservativeimpact on its form. Starting with the12th century it has been required forchalices to be made only of preciousmetals. Long before the mid-15th

century the basic form of the chalicehad already been established: a bowl

rounded at the bottom, the cupsupported on a footed stem, and thenode. In the 14th century the foot washexagonal with scalloped sides, theground plan resembling a hexagonalstar, type that survived into the 15th


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ciocnite, deseori n combinaie cuemail. Forma gotic a potirelor se vapstra n timpul Renaterii,ornamentaia fiind cea care indicstilul perioadei (Hernmarck 1977:306-307).

Nodusul primelor potire a fost doar osfer turtit de la nceputul secoluluial XV-lea, aspectul modificat al tlpiiva afecta piciorul i nodusul n egalmsur. De obicei, nodusul hexagonalimplica i un picior hexagonal,deseori acesta afecta i ornamentaianodusului. Decorarea acestuia cu aseornamente proeminente n relief a fostdeosebit de rspndit, fiecare dintreacestea avnd cte o literinscripionat (I.H.E.S.U.S). Acest tip

va supravieui pe tot parcursulsecolului, uneori modificat aproapecomplet (Hernmarck 1977:308).

Cupa potirului a trecut la rndul suprin mari modificri n decursultimpului. Astfel, cupa larg,semicircular a potirului romanic afost urmat de tipul gotic, mai nalt imai suplu, cu o tendin puternic spreconul invers. Odat cu Renaterea,

forma se va apropia din nou desemicerc, cu laturi drepte i bazrotunjit. Cu toate c religia nu a simitnevoia de schimbare, aceasta a fostforat de impulsurile stilistice.Renaterea a nsemnat ntoarcerea lao talp circular i un picior turnat

century as well. In this period of time,a type of chalice whose maincharacteristic is a foot adorned withsix rectangular tongues, giving it ahexafoil section, became extremelywidespread. Late gothic chalices varywidely in the elaboration andcharacter of their decoration, from

undecorated pieces to engraved ones,richly chased, often combined withenamel. The gothic form of thechalices was preserved during theRenaissance, the ornamentationshowing the style of the period(Hernmarck 1977:306-307).

The node of the early chalices hadbeen a flattened sphere but by thebeginning of the 15th century, the

changed appearance of the foot hadalso affected the stem and node.Usually the hexagonal node logicallyimplied a hexagonal stem, and oftenthis also affected the ornamentationof the node. The decoration of thenode with six prominent bosses wasparticularly popular, each usuallybeing inscribed with a letter(I.H.E.S.U.S), type that surviveddown the century, although often

modified almost out of recognition(Hernmarck 1977:308).

The bowl of the chalice alsounderwent great modification in thecourse of time. Therefore, the wide,hemispherical bowl of Romanesque


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unde nodusul nu este dect un detaliu.Ornamentul orizontal i vertical a dusla mprirea suprafeei n cmpuri,fiecare dintre ele cu un detaliudecorativ, de obicei oval, plasat ncentru: o piatr montat sau unmedalion de email (Hernmarck1977:309).

n rile n care Contrareforma a avutcel mai mare impact potirele aucunoscut o varietate de formesomptuoase n a doua jumtate asecolului al XVII-lea i n secolul alXVIII-lea. Diferena dintre acestepotire i cele din rile protestanteeste izbitoare. Folosirea opulent afigurilor simbolice sau biblice dectre potirele catolice contrasteaz cu

simplitatea absolut a cupei demprtanie a protestanilor. Potirelei-au pstrat forma de baz: talp,picior cu nodus i cup, ns picioruli nodusul sunt tratate cu o asemeneaimaginaie nct forma tradiional sepstreaz doar ntr-o mic msur.Talpa este decorat cu figuri turnatei ornamente splendide, n timp cepartea inferioar a cupei estenconjurat de puternice ornamente

n relief. Alegerea motivelor are o maimare ncrctur simbolic saualegoric dect n cazul potireloranterioare (Hernmarck 1977:311).

chalice was followed by the gothictype, taller and more slender, stronglyinclined towards the inverted cone.With the Renaissance, the shape againbecame closer to the hemisphere, withstraight sides and a rounded bottom.Although religion had seen no needfor change, stylistic impulses brought

it about. The Renaissance meant areturn to a circular foot and a mouldedstem in which the node is no morethan a detail. Horizontal and verticalornament led to a distribution of thesurface into fields, with a decorativedetail, usually oval, in the centre ofeach: an inset stone or an enamelmedallion (Hernmarck 1977:309).

It was in those countries where the

Counter-Reformation made itsgreatest impact that chalices assumeda variety of lavish forms in the secondhalf of the 17th and in the 18th century.The difference between these chalicesand those made in Protestant countriesis striking. The opulent use of figures,either symbolic or biblical of Catholicchalices, contrasts with thecompletely plain communion cup ofthe Protestants. The chalices retained

their basic form: foot, stem with node,and bowl, but the stem and its nodeare treated so imaginatively that littleremains of the traditional form. Thefoot is used for cast figures andsplendid ornamentation, while the


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Potirele baroce prezint, n general, ocup cilindric de dimensiuni mici,nodus n form de ou sau de vas,pentru potirele de ceremonie fiindpreferat o decoraie abundent dinpietre preioase i emailuri pictate sauo combinaie a acestora. n ceea ceprivete aspectele tehnice de execuie,

talpa, piciorul i nodusul sunt, ngeneral, prelucrate prin ciocnire(Reitzner 1952:138; Csfalvay1997:47).

n zona Germaniei de Sud i a Austrieis-a dezvoltat, n timpul baroculuitrziu i a perioadei rococo, o art cuputernice trsturi proprii care i-agsit expresia n multe compoziiiremarcabile de potire, n principal

piesele executate la Augsburg.Medalioanele de email montate eraucaracteristica Augsburg-ului,exploatate din plin n cazul potirelorntr-o combinaie de efectestrlucitoare ca form i culoare.Perioada rococo a folosit i mai multmedalioanele de email i pietrelepreioase, ornamentaia sa asimetricfiind exploatat pe deplin n decoraian relief (Hernmarck 1977:311-312).

Potirul este, de obicei, nsoit depaten, o mic farfurie de metalpreios folosit pentru a acoperipotirul i a pstra bucele din hostiedup ce aceasta a fost rupt de ctre

lower section of the bowl issurrounded by powerful reliefornamentation. The choice ofmotives is very much more symbolicor allegorical than was the case ofearlier chalices (Hernmarck1977:311).

Baroque chalices generally displaya small cylindrical bowl, egg- orvase-shaped node, a rich decorationof precious stones and enamelpaintings, or a combination of thetwo, being preferred for ceremonialpieces. As regarding the technicalaspects, the foot, the stem and thenode are generally chased (Reitzner1952:138; Csfalvay 1997:47).

During the late baroque and rococoperiods the South German Austrianregion developed a highlycharacteristic art of its own whichfound expression in manyremarkable chalice compositions,mainly Augsburg pieces. Insetenamel medallions were Augsburgspeciality, fully exploited in thechalices, with a combination ofbrilliant effects in both form and

colour. The rococo period made evengreater use of enamel medallions andprecious stones, its asymmetricalornamentation being totally exploitedin relief decoration. (Hernmarck1977:311-312).


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preot. Patena simbolizeaz, datoritformei sale circulare, divinitateadesvrit, fr nceput i frsfrit, reprezentnd totodat iimaginea Patimilor Mntuitorului.Forma acestui obiect n toatsimplitatea lui natural a fostconservat extraordinar de-a lungul

secolelor, patenele fiind puindecorate, de obicei avnd gravatMielul Pascal sau literele IHS(Hernmarck 1977:313; Catalog1992b:101; Mollett 1996:245;Newman 2000:235).

n colecia Episcopiei Romano-Catolice de Timioara se afl unnumr de apte potire, trei dintre elefiind realizate la Viena. Probabil cea

mai veche pies din colecie i, frndoial una dintre cele maivaloroase, este potirul lucrat nfiligran cu medalioane de email pictat(cat.11), marcat cu marca de probViena 1699 i realizat de unul dintremeterii vienezi activi n aceastperioad, avnd iniialele FW: FrantzWscherer, documentat ntre anii1674-1706 sau Friedrich Wirth(Wrth) n activitate ntre 1697-1728

(Reitzner 1952:157,160). Ne aflmfr ndoial n faa unui potir deceremonie, talpa sextlobat, nodusuli cupa fiind bogat decorate cufiligran n form de vi-de-vie iciorchini de struguri. Pe talpa piesei

The chalice is generally accompaniedby apaten, a small plate of preciousmetal, used to cover over the chalice,and to hold the pieces of the Host afterit has been broken by the priest.Because of its circular form, the patensymbolizes the perfect divinity,having no origin and no completion,

also standing for the image of thePassion of the Christ. The form of thisobject in all its natural simplicity wasretained with extraordinaryconservatism down the centuries, thepatens being lightly decorated,usually with an engraved PaschalLamb or the letters IHS (Hernmarck1977:313; Catalogue 1992b:101;Mollett 1996:245; Newman2000:235).

Romano Catholic Bishopric ofTimioara exhibits seven chalices,three of them being realized inVienna. The most antique piece in thecollection and, undoubtedly, one ofthe most valuable, is the filigreechalice with painted enamelmedallions (cat.11). The chalice waspunched with Vienna mark for 1699,its author being one of the Viennese

masters of the period identified by theinitials FW: Frantz Wscherer,documented in the period 1674-1706or Friedrich Wirth (Wrth), activeduring the period 1697-1728(Reitzner 1952:157,160). Clearly, we


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i pe cupa sa apar cte trei medalioanede email pictat, nconjurate de pietreroii i albastre, reprezentnd scenedin Patimile lui Iisus.

Urmtoarea pies vine tot de la Viena,fiind probabil executat de JohannGeorg Baptist Letie, activ ntre 1730-1776 (Reitzner 1952:172) i marcatcu marca Viena 1731 (cat.12). Atttalpa sextlobat a potirului, ct i cupasa, sunt decorate cu medalioane deemail pictat rednd scene din Patimii putti n zbor plasai alternativ. Unadintre scenele de pe talp reprezintstema episcopului de Cenad, Adalbertvon Falkenstein (Catalog 1992a:75),unul dintre putti ine n mn un potir,iar altul voalul cu chipul lui Iisus. Putti

care despart scenele de pe cupapotirului in n mn o cruce i opungu. Decorul este completat devolute i motive fitomorfe.

Acelai meter vienez Johann GeorgBaptist Letie semneaz i urmtorulpotir, marcat cu marca vienez dinanul 1754 (cat.13). Dacmedalioanele de email lipsesc deaceast dat, decoraia este mai

abundent, fiind format din voluteputernice, scoici i simbolurieucharistice: spice de gru i ciorchinide struguri, ornamente prezente petalpa sextlobat a potirului, pe nodusulmarcat de volute care i dau micare

speak of a ceremonial chalice; its six-foiled foot, its node and bowl beingrichly decorated with filigree ofgrapevine and bunches of grape. Threepainted enamel medallions, set withred and blue stones, are displayed onboth the foot and the bowl of theobject, depicting scenes of the Passion

of Christ.The next chalice was also made inVienna, probably a creation of JohannGeorg Baptist Letie, in activity from1730 to 1776 (Reitzner 1952:172),punched with Vienna mark for 1731(cat.12). The six-foiled foot and thebowl are decorated with paintedenamel medallions, alternating scenesof the Passion and flying putti. One of

the scenes reproduced on the footcontains the coat of arms of Adalbertvon Falkenstein, bishop of Cenad(Catalogue 1992a:75). Of the twoputti, one is carrying a chalice, theother one the veil with Jesus face. Asconcerning the bowl, the putti arebearing a cross and a little bag. Thedecoration is completed by volutes andvegetal motifs.

The same Viennese silversmith JohannGeorg Baptist Letie is the author ofanother chalice, punched with Viennamark for 1754 (cat.13). Even if theenamel medallions are missing thistime, the ornamentation is even richer,


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Diana Mihoc Andrsy

i pe cupa potirului. Putem compara,nc o dat, evoluia stilului unuimeter argintar care se supune attdorinei i posibilitilor financiareale comanditarului, ct ischimbrilor din moda epocii.

n continuarea analizei mele, voiprezenta un potir franciscan (cat.14),comandat iniial pentru mnstireafrancisca

Documents

Diana Mihov Banatul Catolic - Argintarie