Canelobres de Joan Matons segons projecte de l'escultor Joan Roig

Jewellery and silverware Barcelona the XVII, XVIII i XIX

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Joan chandeliers Matons according to project of sculptor Joan Roig
Joan chandeliers Matons according to project of sculptor Joan Roig

Jewellery and silverware Barcelonina the XVII, XVIII i XIX.

State of the Art

M. Àngels Canut

 

Research project led by Joan Ramon Triadó professor in the Department of Art History, UB

presented in the course

Questions of historiography and method. The’ Art català, 1750 – 1808: dependencies, invariants and stylistic problems

within the Doctoral Program history, teoria i crítica de les Arts 2001 -203.

Jewellery and silverware Barcelona the XVII, XVIII i XIX

State of the Art

 

INDEX

– State of the Art

– Conclusions

– general bibliography

– specific bibliography

 

State of the Art

 

*** PUJOL, P., "The Church of the Mercy of Seu d'Urgell", Analecta Sacra Tarraconensia, n. I, Yearbook Library Balmes, 1925, pp. 331-352.

History of Church Headquarters, of 1379 to the 1596.

Extension and rehabilitation.

*** PUJOL I TUBAU, P., The silver urn of Saint Armengol bishop of Urgell, Vol. I, Barcelona, Memories of the Institute of Catalan Studies, 1927, (1edition), pp. 1-29.

Informs us that the first of July 1752, Sign in chapter expressly held, the canons of the agreement the construction of the silver urn that had kept the body of Sant Ermengol replacing a wooden box.

The new box-reliquier was an act of worship, chapter of tribute and gratitude towards his protector d'Urgell. After the donation of each chapter members decided is carrying the urn in which there was some commissioners, it had over 600 pounds.

Canon Francisco Llinás in Barcelona receiver Corporation, gave the order to do a project for the construction of the urn artists Joan and Peter Braver Lleopart.

Llinas accepted the project of Peter Lleopart.

El 19 June 1753 writing is signed with the endorsement of every one of the extras contract.

Lleopart pledged to finish the ballot box in October of the following year and take it personally Headquarters, The contract term is not fulfilled.

When the urn was finished, exhibited in Barcelona where he received a good reception from the public.

The urn was transported to headquarters for Barcelona 8 men accompanied by Lleopart.

El 10 August 1755 between the 12 i la 1 noon came the urn at Headquarters.

The realization of this urn demonstrates the high level of silverware workshops Barcelona eighteenth century.

Gives us a very accurate description of the urn, its setting and location changes that suffered to safeguard it during the French Revolution.

El 1795 was walking through the streets in triumph Headquarters.

*** Minor, J., L’Art Català, Vol. II, Barcelona, Ayma, 1958, (1edition), p. 173.

Discuss the good moment that the jewelry into the eighteenth century, highlighting the monumental commissions polls aimed at exposing the bodies of saints and relics.

He cites polls of Santa Juliana and Santa Semproniana in Mataro, Sant Ermengol in Seu d'Urgell, the Santa Cinta de Tortosa work and Josep Francesc Tramulles; Sant Medir is preserved in Sant Cugat del Vallès conducted by Pere Valls 1768 and St. Bernard Calbó Headquarters in Vic, conducted by John Matons, author also of the great chandeliers Mallorca Cathedral, A project by the sculptor Joan Roig son, works that show the best time of Rococo art in our country and the high technical level of Catalan silverware this century.

He explains that the predominant form in the jewelry is the neoclassical oval, itself, but can also be surrounded by diamonds, Online studs or pearls strung on.

Lists the various causes that motivated the stagnation precious metals, the beautiful situació·Metal from the late eighteenth century, which hindered the adaptation of French fashion and the decay time of crossing the silversmiths' guild, due to co·lapse suffered years of the Napoleonic invasion, hindering its admission rate of new teachers exercises 1807-1814.

 

*** Durliat, M., Art Catalan, Paris-Grenoble, Arthaud, 1963, (823edition), pp. 334-335.

The other most ambitious work of the time, points, is realized by Pere Llopart, urn designed to contain the relics of saint ermengol, the charge 1752 and finished 10 years later. The urn rococo, the fashion of the time, had a very good reception from the locals when Once it was exposed, even the authorities had ordered gave freer than initially hired had commissioned.

*** DALMASES , N., The goldsmith, Barcelona, Col. Get Catalonia, Dopes 2, 1979, (1edition).

At the end of the seventeenth century, there is a renaissance in the jewelry Barcelona, which is historically corresponded with the stage characteristic of Spanish baroque, between 1670 i the 1730.

In this period the polls are performed monumental designed to contain the bodies of saints and relics, in which we can observe a rich and excessive ornamentation, according to the rococo, wrought with a deep technical knowledge of embossed and engraved.

The urn St. Bernard Calbó, was wrought between 1701 i 1728 Joan Matons according to project of sculptor Joan Roig.

The chandeliers Palma Cathedral, were produced between 1703 i 1721 Joan Matons project as Joan Roig. These candlesticks were admired around Barcelona, Majorca received harsh criticism from experts appointed by chapter, to all·citing the lack of skill in ornamentation. Despite the criticisms received have become a Rococo masterpiece of goldsmithing.

Quote other silversmiths Barcelona, as Josep Francesc and Tramulles, between authors 1727 i 1729 the silver urn by the reliquary of Santa Cinta de Tortosa Cathedral. Francisco Martorell, that between 1735 i 1736 work reliquary of St. Bernard Calbó, Today the Priory Church of Reus Pere Llopart, author of the urn of Sant Ermengol La Seu d'Urgell.

Stresses the custody of the Church of Mercy in Vic Manuel Pratdesaba work in co·Vendetti of working with Fabio 1760 and the La Pobla de Claramunt 1774.

Notes the existence of the workshop Montserrat, between the seventeenth and eighteenth centuries last place where some of the most important jewels of the Sanctuary, disappeared during the wars and revolutions of the nineteenth century.

A brief historical survey, economic, social and artistic moment. He writes about the creation of the School of Drawing and engraving 1775 and the impact this had on the art world of the time.

Traders and industrialists organized in the Royal Council of Commerce promoted the establishment 1775 School of Drawing and Printmaking that helped to spread new artistic styles from France and Italy.

Announces that in the second half of the eighteenth century, abarrocada forms gave way to a period dominated by classical forms due to the influence of the discovery of Pompeii and Herculaneum, hence changes would be introduced in Europe in fashion and taste for old things. The changes were disclosed by archaeological surveys last it out and has the support of the Academies, thus spreading rapidly through performances French and Greek and Roman objects Delafosse, Forty Blondel i i a través of the collar·Collections engraved plates that offered a variety of decorative patterns decorators, painters, Sculptors, silversmiths…

El 1774 silversmiths Reus constitutes collective·school itself, had a lot of activity which included Josep and Joan Bautista Ferrando ALBARADO.

The neoclassical repertoire raft aesthetic symmetry, on no hi mancaren canals, drones, bay leaves and ribbons crossed.

The classical elements were predominant, esfinxs, ariets, acanthus leaf motifs mixed with bucolic, wreaths, sheep, adapting them to suit the moment with little care in the proportions.

The fact that everyone was free to combine motifs according to their inspiration led to a total estrangement between the real creator and producer of the adapter or reasons known through engravings. As a result there is an improvement in the execution while there is a repetition of patterns, without having too much care for proportions, resulting in a more eclectic pieces. The silversmith developed a great ability to copy a model and this caused that it lost its originality.

There was a quantitative increase of the production of gold due to the melting of many ornamental objects and the introduction of mechanical work by turns, presses and hammers.

The neoclassic aesthetic taste cabbage. working with the simplification of lines and shapes to the industrialization of products silverware. The industrialization of the jewelry and increased consumer by the wealthy bourgeoisie led to a substitution of metals other traditional appearance acceptable and lower cost.

At certain levels is used gold and silver, they appear among the imitations of these metals, from similor, alloy of copper and zinc, Queen metall, based pond, Antimony i bismut, l’or de Manheim, Leblanc and finally metal objects plated copper foils of gold and silver more or less thick.

In the eighteenth century monstrance is performed were the only type of, is surrounded by a virile centelles straight or curly projected from the ends of the glass, mounted on a foot decorated with abundant pebbles, notably the ears of corn and grapes.

Ignasi Julià figure indicates the author of the first draft jewelry neoclassical.

As a jewelry earrings highlights Catalan.

Also refers to the disappearance of the union.

*** VIVID., “Sculptures of the Diocesan Museum of Urgell”, Urgell, n. 2, 1979, pp. 457-480.

Write Baroque sculptural metalwork on the seventeenth and eighteenth centuries.

Synthetically defines the Baroque style where there is a predominance of the decorative elements of the building, the curved line on the line, pathetic and passionate expression on naturalistic.

In Europe there was a metal-rich massive contribution, as gold and silver that influenced the sumptuous ornamentation artistic sculpture and metalwork.

It provides a list of the Diocesan Museum exhibits, X to the XVIII century.

There is a description of each piece presented between them there is the urn of Saint Armengol, page 480. Female date of the order, 1752 i the 1753 Chapter Lleopart when Peter and signed the deed of the contract. The date of completion of the work places 1755, year in which was exhibited in Barcelona and led by the same architect to headquarters where it came 10 August.

Later he was exposed to Barcelona for the Congress of Culture Catalan, the 1977 and exhibitions of La Seu Vella and Sant Pere de Galligans, Girona the 1978.

*** BAYARRI, J.A., “Catalan pending wedding”, 0ro and Time, n. 276, June 1983, pp. 9-12.

Explains earrings that are made in the eighteenth century were very similar to those of the seventeenth century, the difference can be found in size, stones and metal. Amethyst stone or Vic was widely used. Underlines the careful execution of the pieces Catalan unlike the rest of the Peninsula.

The repertoire varies theme at the end of the century, theBaroque bow to give way to the flowers and the butterfly. Athe nineteenth century further changes were introduced, would go towards neoclassicism, excel earrings presented to enter the Guild of Jewellers of the Barcelona Peace Usich 1802.

The new industrialization marked new standards within Jewelry.

 

*** tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition), pp. 190-192.

The silverware at Barcelona will be represented by:

Francesc i Josep Tramulles, between 1727 i 1729 performed for the silver urn shrine of Santa Cinta in Tortosa Cathedral.

Joan Matons carried the urn of St. Bernard Calbó the headquarters of Vic and the monumental chandeliers of Mallorca, Models were made by Joan Roig.

Francisco Martorell carries out the implementation of the reliquary of St. Bernard between Calbó 1735-36, Prior currently in Reus.

Peter Lleopart, qui the 1775 asked the urn of San Ermengol La Seu d'Urgell. He won the project in competition with Joan Brauver. It is a baroque urn, made of silver, aram Daurat i repussat.

On 1 July 1752 Sign in chapter expressly held, the canons of the agreement to build a silver urn to keep the relics of St., which was to replace the previous wooden early seventeenth century. Once was exhibited with great success in Barcelona 15 days in the middle of several ceremonies and celebrations came to La Seu d'Urgell Sunday 10 August 1755.

Rosa M. Subirana Rebull, makes us a description of the urn: The level cap there is the reclining figure of the saint bishop, beautifully sculpted, with miter, crozier and pectoral, barba i ornaments pontificals. Four angels holding the legend Crericis disciplinatis: poor watered herectis rooted heaven caught in 1033 and which tells us that the date is not correct because it is known that documentary died 3 in November 1035. On the side are two angels decorating shields. The front corresponds with Chapter, the genuine image of the Virgen de Urgell, as we began to represent the early seventeenth century. Under the legend Magna Domina Urgelitana. On the opposite side shield in the manner of medallion with inscription the year / 1775 / Petrus Lleopart, fasiebat. Barcinano.

The setting is adorned 12 Embossed copper and gold altarpieces that presented passages from the life of St.. This description can also be found at The Baroque Period, Catalog, Barcelona Pedralbes Royal Palace, 1983, p.142.

The urn of Saint Armengol, along with the urn of St. Bernard Calbó, conducted by John Matons and chandeliers which he made for Mallorca Cathedral are the most important examples of the jewelry at home.

Provides the name of other silversmiths taken from the Archives of Barcelona Protocols, among them:

Lorenzo Carreras Rovira, Apoca signing the 5 i 14 in November 1775.

Josep Darder, mort l’any 1775.

Josep Estella: related to a census date 27 September 1775.

Francisco Gros acknowledging a debt of 11 July 1775.

Francisco Peradalta that rep power of the Vieta Mariano 25 de febrer de 1775.

Jacinto Meadows , mort l’any 1760.

Pere Rius Apoca signing the 23 de desembre de 1775.

Pere Sors, appoints the attorney of his assets’IIIre. Sora and real Monastic Abadesa of Our Lady of the Cistercian order of Valldoncella this city, of 14 February to 2 d'April 1775.

Antoni Ferrer from 16 May 1775.

Quote custody of the church of La Piedad de Vic, Manuel Pratdesaba work with cabbage·operation of the Fabia Vendetti 1760 and the La Pobla de Claramunt 1775, Custody type are usually.

Write about school silversmiths Reus, d”which highlights Josep Joan Bautista Alvarado and Fernando author of several works of Reus and its surroundings.

*** DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

St. Bernard emphasizes the polls Calbó, Sant Ermengol, reliquary of the Holy tape and the chandeliers of Mallorca.

Reproduces the text of his previous book The goldsmith of 1979.

In this new contribution of the author towards the world of jewelry and silverware writes about the urn of Saint Armengol made by Pere Llopart. The construction of which was agreed on 1 July 1752 and it echoes the success he had in Barcelona once completed in 1755, the 10 August of the same year comes to La Seu d'Urgell, which offers a detailed description, and reproduces legends.

Provide information that Josep Maria Madurell, in Plateros works Churches in Girona Barcelona, unveils some of the achievements of the Barcelona silversmiths in Girona area.

He writes about the importance of achieving the silversmiths Reus, including mentions Francisco Ballester, Blai Ballvé Cabestany, Josep Ballvé, Fontanet Josep Bertran, Pau Cantons, Josep Ferrando Moixí, Vincente Orduna, Josep own Gelabert, Xoflé Salvador and Antonio Arandes.

Josep ALBARADO, as Reus, was past master in Barcelona August 11 1769 and was part of a group of silversmiths Reus constituting the Col·College Reus, where he held the positions of mayor 1776 i d'examiner 1777. Its production was important and well regarded by his contemporaries. Exceed the following works, the reliquary bust of Santa Coloma in the parish church of Santa Coloma, reliquary of St. Sebastian and St. John of the Cross, Vilaplana custody and sacred chalice and kept in the Priory Church of Reus.

Juan Bautista Ferrando was also a founding member of Col·College Reus, Among his works include, silver reliquary of St. Joseph Calasanz at the Priory Church of Reus and several chalices and coupons as Montbrió del Camp, Duesaigües, Forest Camp and Canonja.

Jewelry civil Reus followed the same guidelines as those of Col·school Barcelona.

Announced that they were merchants and industrialists organized in the Royal Council of Commerce which promoted the creation of a School of Drawing and Printmaking, through which it is disseminated styles from Italy and France.

*** GOU In VERNET, A., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and History. d Department’ Art history, Management S. Alcolea i Gil, June 1986.

Writes about Barcelona silversmiths, its activities, economic movements, social and religious.

Develop organic aspects, Brotherhood of St. Eloi, the union and the school.

Explains the functioning of the union, authority and structure. How is it carried out an examination of the conditions demanded and internship applicants, the projection of the silversmiths' guild in Barcelona and its expansion, as teachers silversmiths guild settled outside the city

About Cole·School offers your organization, economic movement, and operating income. It also deals with social issues, i religious, as the fourth and charity care, activities, Saint Eloi pattern and processions.

says the materials used for professional and technical implications, Law of metals, technical regulations (Metalls in saved), and how they influence the development of the Union works.

Addresses the question of the art of jewelry and silverware civil and religious, making a tour of the different types noting the differences in ornamentation over the years.

Women relationship of the sheets Internships 1600 to the 1852, among which we find Peter Lleopart, the Ignasi Julià, the Villar d'Onofre, among others.

*** AAVV., Thesaurus. Art bishoprics of Catalonia 1000/1800, Barcelona, Thesaurus / studies, Pension Fund Foundation, 1986, (1edition).

Refers to the’Innocent Quinsa tortosí silversmith who carried chalices that became part of the treasure of the cathedral of Tortosa, a gilded silver and enamel painted the 1746 i altre equal the 1748. As another gilded chalice and stained glass from the mid-eighteenth century and another from the same time also made gilded and painted with enamel.

Peter writes about Lleopart, son of a carpenter Lleida, who began his apprenticeship in the Argentinian from Barcelona Francesc Martorell 1 October 1733 once finished was sworn in as the straight 10 August 1740. El 30 de gener de 1744 did his internship and became master. He had several apprentices among them future silversmiths Barcelona Francisco Pinto (3 March 1752) i Joan Roca (2 June 1754).

El 28 in November 1755 Barcelona went and fixed his residence in Lleida. El 21 May 1774 is received in Col·Silversmiths Association of Barcelona 33 free and 12 salaries from Peter's house Lleopart Lleida.

El 20 d'April 1780 his son Joseph alone Lleopart. Lawful Cole·school a place of teacher, Indicator fact that his father had died.

Among the works performed emphasizes the urn of Saint Armengol, finished the 1755, the 10 August of the same year came to La Seu d'Urgell.

The urn was restored on the occasion of his participation in the exhibition The Baroque Period, held in Barcelona 1983.

The news (Eaves, II, 1953 (p.78), that had recently made some votive offerings to the Virgin of Nuria.

El 1775 worked on the restoration of several objects of the church of San Juan de Barcelona. The same year performed by an image of St. Paul's Cathedral Lleida. (p. 301).

*** HIGHLANDER, The. – BARRERA, J., Jewelry, Madrid, Antiquaria, 1987, (1edition).

It highlights the camí cap a simple design jewelry neoclassical, adapting to the Greek and Roman models is reflected in cameos as basic elements of ornamentation.

Points out the role of queen reached the gem-diamond.

*** E. MÜLLER, P., “centuries XVI, XVII and XVIII”, A century of Spanish jewelery and costume jewelery, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), p 27.

Flag expansion of maritime trade towards the New World and Southeast Asian influences evolved along with the reasons of Mannerism inductors creating figurative and zoomorphic medallions are represented in natural forms, turtles or birds, perhaps could be inspired by the objects created by goldsmiths of the New World, although these were more recharged.

In the second half of the eighteenth century there was a predominant taste for large pieces with large stones and extreme, For this reason it is needed larger structures, composed of many elements in a loop.

*** HERRANZ RODRÍGUEZ, C., “popular jewelry”, A century of Spanish jewelery and costume jewelery, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), pp.56-67

Write about the earring Catalan, (herring) known as “jACS” O “Earring nurse”, (J. Antón López Bayarri: “Earrings Wedding Catalanes”, Gold and Time, n. 276, 1983.) estva composed of three bodies articulated and removable, could be up to 15cm. long. The mounting was generally combined with silver and gold and emerald stones, el topaz, Granat, the citri, hyacinth, diamond and amethyst stone or Vic, Catalan stone to excel·excellence. It is also laid imitation stones. The complexity of these pieces work internship fashion pose a long survival in Barcelona, because they have been repeated drawings that appear in the books internships for aspiring teachers silversmiths.

From the study of books, we see the evolution of earrings from a bow with three almonds, button and button almonds, bow and almonds.

The first examples of neoclassical earrings have two tassels on the second body, according to the drawing Peace Usich 1802, from d”up to this date 1844 frequent, but surely into decline.

*** ERRA Zubiri, A., “The urn St. Bernard Calbó, 1700-1828”, Bulletin of the National Museum of Art of Catalonia, 2, 1995, (1edition), pp.63-71.

Announced that the chapter of the cathedral of Vic decided to build the urn of the Saint Bernard Calbó 1701.

Based on the information extracted from the Chapter Archive of Vic and Barcelona Protocols Archive, we provide the following information about the urn.

The urn was commissioned by the silversmith Juan Matons, who performed works by institutions and individuals most silversmiths, his studio was located in the Barcelona Silverware, also had store, which suggests that individuals would assignments.

L'urn, It will be wrought between 1701 i the 1728, It was the last great work of Joan Matons, the realization of which was interrupted 1705 to the 1719 probably because of the War of Succession 1705 to the 1711, the difficulty of the Cathedral Chapter of Vic get the silver is reflected in the halt of deliveries of materials.

In this book attached photographic reproductions and general details, it makes an accurate description of the urn. Historiadas said that representations have been selected from the stories of miracles books and biographies of Saint Bernard Calbó which is preserved in the Chapter Archive of Vic, also explains the iconography.

Keep writing, Joan Bonaventura and Matons Fornaguera who were both signed the plans submitted 1700 Chapter of the Cathedral of Vic on the urn of St. Bernard Calbó

Will be two contracts for work, The first written trace once accepted ACV, 1701/06/12, Cal. 36, St. Bernard Calbó, pot and second after the period of inactivity in the work of the urn AHPB, 1720/09/26, Joan Francesc Fontana, man, 15, fol. 120-122.

This opens the possibility that it had been made by both silversmiths. But the Chapter of the Cathedral of Vic contract the work to Joan Matons, without mentioning any other silversmith, Bonaventura follows that Fornaguera, only signed the plan because of its prestige as a silversmith and professional relationship with John Matons.

You could make changes in the original design.

Once the ballot box, Chapter of the Cathedral of Vic chose two silversmiths, Sampere and Joan Pere Josep Domenech experts certified that the urn had been realized according the original design and considered the work of a superb artistic value.

It provides the techniques used to carry out the work.

El 1702, Chapter commissioned the realization of models who died before Joan Roig 1709, only the central story finished. From here there are eight documentary.

El 1720 hires Joan Costa, qui the 1722 year·Allah contract and Joan Chapter Matons, without contributing anything to work.

Pere Costa had participated before 1725, we know that the Chapter wanted to communicate in 1726 with him but 1726 had already finished work models. It is not known that it was continuing the work of Joan Roig, no hi ha documents.

There is a high level of involvement of various trades in the construction process of the ballot box.

Write about epistolary contacts between Joan and Chapter Matons Vic, as well as tutelage by committee members capitulate.

To calculate the cost of the work of the Argentine took into account two concepts, the Silver pes i the valor of the mans.

The work of the silversmith is measured, according to the value of the currency of Barcelona equivalent to the weight of each of the elements of the work.

*** MARTIN ROS, R.M., Jewels of the Catalan XVIII, XIX i XX, Barcelona, Catalonia's Government. Department of Culture, 1995, pp. 5-9.

The brooches / pendants that are made, is put in the neckline of the dress, or were used as pendants. Hangs on a tape that is placed around the neck, where it was sewn and hung joy, this is in gold, money, emeralds and diamonds, Stones were always embedded on a silver plate.

Earrings eighteenth century, were dismantled, which allowed combining earring, according to the occasion, either party newspaper, in this case is put all parties. They were composed of a button and hanging, many have lagoon or butterfly with open wings and other forms of almonds. The decor was based on vegetal elements.

The earring or Catalan “earring herring”, Lluis is the eighteenth and nineteenth century. This type of earring was removable and could reach four bodies have removable, button in the first suspension, a second that could have almond-shaped, Hanging other side and a third smaller than it could also have almond-shaped. The materials used were silver, or, emeralds and diamonds. The earrings were made of silver and gold took more relief than those that are made only with gold, only the use of gold results in a very flat jewelry.

In the late eighteenth and early nineteenth centuries, the brooches / pendant is made gold and stones. Kept in top shape loop and could have a cross hanging / or flower of almond shape. In the nineteenth century is made with emeralds, ametistes the granats, then evolved into a small upper bow.

At this very moment is made earrings shaped loop with only gold and stones, unused silver. The form is the same as the eighteenth century, button ring, hanging in a tie or butterfly and the latest almond shaped pendant.

The mixture of the loop earring shaped or butterfly with outspread wings and of”herring”, resulting in a variation of herring in the second pendant is made wider and grabbed butterfly with spread wings.

*** tRIAD, J.R., Genesis, development and vicissitudes in making chandeliers Joan Matons, for the Cathedral of Palma de Mallorca, University of Barcelona, (Congress Malaga 199?), pp.565-570.

Joan worked for Matons chandeliers destined for the cathedral of Palma de Mallorca were produced between 1704 i 1718, had previously been given the date of termination 1721, that is where they remain installed·lats at the Palma de Mallorca.

We provide a biographical approach of the artist, located birthday year 1670 approximately. He did his apprenticeship with Francisco Way, goldsmith and engraver and later should continue with his future father Bonaventura Fornaguera, Ceca worked for Barcelona. His first major work was the Mystery of the Ascension of the Lord, com the Virgin and the Apostles Peter, James and John stand and, the Cathedral of Tarragona, contracted the 21 May 1699. After the urn was St. Bernard Calbó and chandeliers.

The workshop was followed Matons with his sons John the Baptist Matons (1704-1755) and Joseph who mentions in his will as young silversmith.

To carry out the implementation of different chandeliers are written contracts, in which highlights the artistic consciousness of thugs and economic difficulties that this work and the urn of St. Bernard entailed Calbó.

According to documents and notarial A.H.P.B Books resolutions of the Chapter Archive of Palma de Mallorca collected for Josep Ramis.

El 8 de febrer de 1704 is carrying out the contract between Il·Chapter luster and John Matons.

established, measures, the strength of the piece, it should be rotating, also stipulates that the author must pay the money received story concepts and silver work and fix deadlines and payments.

Chapter pay wood models, ferro, bronze and expenses necessary for the execution of the work, as well as the boxes containing the ballot box to move.

As specified in the contract should be written piece that changes Matons enter must be to improve the work and experts elected by the Chapter will make supervision.

The contracts of delivery and economic are not met, for this reason John came in litigation and Chapter Matons, economic litigation does not end until 1731, Chapter pay default interest..

It needs more silver and more money initially hired. By documenting A.H.P.B., reproduces the different allegations and Joan Chapter Matons, in this litigation and contract renewal, accompanying the names of afermances. As the ratio of payments to be carried out.

The candelabra reached the Headquarters 1721 and the thugs were finally liquidated 1731.

He also writes about the difficulties he had in carrying Matons, are transcribed testimonies December Gasset and silversmiths Joan Trias in favor of the work of thugs, which highlight the completion of a rigorous and difficult at the same time, that motivates delay and the cost of the work.

The three main causes of the dispute between established and Chapter were Matons, at first it is said that the chandeliers were different to the initial plan, later recognize some variations and the last al.legació questioned the artistic value of the work.

*** Clap Bracons, J., “The resplendents arts. decoration, ornament and luxury in the Middle Ages“, Art de Catalunya, Arts decoratives, applied industrial, Ars Cataloniae, Vol. 11, Barcelona, L’Isard, 2000, (1edition), pp. 110-111.

Write on the ballot-reliquier entrusted the St. Bernard Calbó 1701, its implementation was interrupted due to the war of succession and is not finished until 1728.

We reported on the urn of Saint Armengol, agreed the 1752, i finished the 1755, year in which was exhibited and admired in Barcelona during the workshop of Peter Lleopart 15 dies, We transcribed two sentences that reflect the acceptance of the ballot box by locals, he recived universal applause, He was also recognized by the canons of the Cathedral, to needs we are infinitely increased the judgment that had made of his work Hermos.

He also writes about the ballot-reliquier Santa Tape a work by Francis and Joseph Tramulles.

Highlights the seven candlesticks made by Joan arms thugs Mallorca Cathedral, masterpiece of Baroque goldsmith, conducted among 1703 i 1721, en col·Working with the sculptor Joan Roig.

Joan Domenge has lined meticulously making process, which begins 1703 the agreement ends and make them much later than initially foreseen, the 1721, with his transfer to Mallorca. However, disputes for the price of this work resulted in a dispute between the canons and silversmith Matons Mallorca, which is closed to 1730. Of great interest for the history of art exhibitions in Barcelona is the news relating to public exhibition in 1718.

“They are three weeks what they are exposed to the public and house Matons to this day is the scale of Jacob, outsiders, nobility and neighbors Barcelona, all goodbye with remarkable admiration and praise work as perfect”.

 

CONCLUSIONS

*** DURAN, F., “The Catalan silverware“, Magazine Files, Libraries and Museums, Any XIX, Vol. XXXIII, July – December 1915, pp. 301-302.

Explains the process of disappearance of the guild of silversmiths.

*** DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915, pp. 79-249.

It has a state of the art.

Called different sources and existing documents.

Appointment books internship and indicates their usefulness while looking for information documentary historical-artistic. It also indicates the author and the year of the last internship.

An analysis of the causes that led to the decline guild.

*** PUJOL, P., “The Church of the Mercy of La Seu d'Urgell”, Analecta Sacra Tarraconensia, n. I, Yearbook Library Balmes, 1925, pp. 331-352.

It is a study about the church.

*** PUJOL I TUBAU, P., The silver urn of Saint Armengol bishop of Urgell, Vol. I, Barcelona, Memories of the Institute of Catalan Studies, 1927, (1edition), pp. 1-29.

Informs us of the reasons that led to the construction of the urn intended to San Ermengol.

As the project took place, his funding.

Mentions the role of curators in the competition to win this project Lleopart.

Indicates the terms under which drafted the contract of conducting the ballot box, as well as the delivery, which is not fulfilled.

Highlights the success achieved in Barcelona urn once finished, which demonstrates the high level of technical workshops Barcelona silversmith of the time.

Describes very carefully the urn, site allocated to it and the subsequent transfer until finally returned to the assigned place.

*** GUDIOL RICART, J., Art Spain, Catalonia, Barcelona, Seix Barral, 1955, (1edition), p. 79.

Woman's birth date and Matons refers to chandeliers September arms Cathedral Mallorca, saying that the project was the Mallorca Joan Roig, as reproduced here… worthy companion of the famous seven-branched candelabra of the same artist carved for the Cathedral of Palma de Mallorca, by Juan Roig project majorquin. That says Joan Roig was not Barcelona and Majorca.

*** Subi wrong, J., “Books passantías”, Goya, n. 52, 1963, pp.224-228.

Female date internship Joan Matons. Write on the vision of a great workshop of gold for the first time 1761.

*** Minor, J., l’Art Català, Vol. II, Barcelona, Ayma, 1958, (1edition).

Gives an overview of the jewelry of the time, citation without going to the polls and Santa Juliana Santa Semproniana in Mataro, and the urn of Sant Ermengol in Seu d'Urgell which omits the name of the author. The tape of a work by Joseph and St. Francis Tramulles, Measure a work by the San Pedro Valls dated 1768 and St. Bernard Calbó Vic and also chandeliers made by John thugs Mallorca Cathedral project by sculptor Joan Roig, fill.

Write about ways jewelry predominant neoclassical, and the oval loops and on the role that effective 1780 had medallions, cameos, buckles, Santiago crosses and earrings.

Add the data of the inventory made in the death of Peter Aldavert 1793, to record the type of piece that prevailed at the time and the value of the same.

Unlike the authors consulted here, special attention to the inclusion of a new type of fence intended for earrings in your ears pierced lobe, Catalan fence, leaving aside earrings herring.

marks the’ preferably using enamel blue diamond and more size as well as animal figures in the ornate pieces.

Grants to the silversmith Ignasi Julià 1793 the completion of the first project of Empire style followers and Juan Antonio Ramon Bosch and Dossy .

For this study refers to books Internship.

This is a very general work.

*** Durliat, M., Art Catalan, Paris-Grenoble, Arthaud, 1963, (1edition).

A brief mention to the polls Calbó St. Bernard and St. Ermengol and its authors and the expectation that the latter awoke Barcelona and the cost of it.

According to the dates Durliat offered in connection with the urn of Saint Armengol, We understand that this was begun 1752 and its realization lasted ten years, that is, according to this contribution should be completed 1762, date not correspond to reality, since the urn was completed and installed·Seu Lada to the 1755.

Is a contribution of socioeconomic nature than from the artistic and historical point of view.

*** CIRICI PELLICER, A., “Notes Catalan silverware and jewelery”, One Hundred Years of Catalan Jewellery and Goldsmith, Barcelona, Col·College of Architects of Catalonia and the Balearic Islands, Culture Committee, 1966, p. 6

Speaks of Mallorcan candlestick Headquarters, conducted jointly by Joan and Matons Mallorca Joan Roig, …like the chandelier Majorcan Joan Roig and Barcelona Joan Matons performed by Seu Majorca, page 6 catalog.

Here Cirici writes in the book as Gudiol: Art Spain, Catalonia, of 1955, p. 79, Joan Roig was Mallorca.

Alluding to the polls Calbó Bernat and San Ermengol and its authors, but it gives us dates, nor silver on the image of the Virgen de la Cinta wrought by the silversmith Francesc Via .

A jewelry devotes only two lines to speak the dominant type.

By studying the book draws Julia and Internships introduced neoclassicism jewelry, giving us the date 1793 in which Julia becomes master.

It is a very synthetic jewelry and silverware Now.

*** MADURELL I MARIMON, J., “The silver urn of Saint Bernard of Bald Head Vich”, Ausa, n. 6, 1968-1971, pp. 25-33.

Write on the order, recruitment, and the cost financing and payment deadlines and several incidents in carrying the urn of St. Bernard Calbó and transporting it to Vic, giving the state final accounts.

*** DURAN I Sanpere, A., “The silversmith John Matons”, Barcelona and its History, Vol. III. The art of the culture, Barcelona, Curial, 1975, (1edition), pp. 398-403.

Talk of the projects presented in the examinations Internship.

Write the process of realization of the urn of St. Bernard Calbó, specifies that l'sculptor Joan Roig was Barcelona.

Write about the book he used to document Joan Matons also represent the Holy Life.

It also indicates the date on which it was installed·urn installed in Vic and transferred the remains of St..

It is also to pray that there were economic differences, the process of realization and recognition that I receive once the work.

Alluding to the realization of the chandeliers of Palma de Mallorca, difficulties in its implementation, I pray also makes the impoverishment of the artist who brings his own capital (Inventory confirms highlighted by Santiago Alcolea, was a time when economic difficulties had Matons).

Refers to the notebook that appeared in defense of the work Dodsworth and naive notice as art has made.

*** Minor, J., “History of Catalan jewelry. From its beginnings to Modernism”, Barticle, n.36, V any, from September to October 1977,

pp. 14.

Write on the stylistic canons prevailing Baroque and Neoclassicism, gives us a new data, near Viladrau that existed twenty concise exercising their profession, to highlight the importance of this area.

Comment incorporating new materials jewelry had not been consulted and the authors also expands aesthetic and thematic repertoire, camp utensils and musical instruments.

*** ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s. XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition), pp.257-271.

Reconstrueix the family of silversmiths Barcelona mid-seventeenth century to mid-eighteenth century from marriage, wills and inventories and charms consulted the Notarial Archives of Barcelona Protocols.

Provides an overview of the personal and family of silversmiths, the relationship between them, their belongings and their inheritances.

We know who were the ones workshop or shop, know the value of their belongings, of his drawings, reflecting the lack of technical books.

We know its production and specialization, as well as the taste prevailing at the time.

When mentioning inventory Joan thugs 12 July 1735 writes that does not match the real value given, because they are too simple, the category of professional silversmith, perhaps you can relate to the information you provide Josep Madurell and Marimon in Article “The silver urn of Saint Bernard of Bald Head Vich”, published in Ausa, n. 6 of 1968-1971, pages 25 a 33 on fa noted that checking the last of the notes file dated 3 March 1731 we know that the silversmith John the Baptist and Matons Fornaguera, of 39 year old, stated, according to his father John Matons, a 12 in November 1728, Felix held Sayol, Attorney Vic, debitori was signed on behalf of the Chapter of the Cathedral of Vic, of 816 free and 3 sous Barcelona, agrees to pay that amount within 2 years immediately following. It has also, according to the chapter of Vic, had deliberated again 450 Free Joan Matons, in reward and remuneration of their work in this factory silver urn, that descomptades of them 816 free and 3 under, It turns out that the amount of liquid money to meet, remain deduced from 366 free and 3 under. (AHPB. Josep Francesc Fontana, man. 27years 1732, f.58).

The aforementioned Chapter judicially proceeded against his father, effect of requiring much debt and Juan Bautista Matons, to suspend the continuation of trial, notwithstanding its obligations by his father, en el precitat DEBITOR, constitute principal debtor to pay this amount commited, together with his father, it within 6 years, in other words that is, 63 pounds, 10 as i 6 money to pay each, starting the first day to meet 3 March 1733, and so consecutively to the total cancellation·Debt Policy.

*** DALMASES, N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

In the seventeenth century there is a rebirth of the jewelry Barcelona, involves the drafting of major polls, highlighting its excessive ornamentation is shown on the technical mastery of embossed and engraved their authors.

Put conducting polls among big 1670 i 1730, We must take into account that St. Ermengol is after these dates. As this event only indicates the ballot again in the author nor give any further reference.

Stresses the urn of St. Bernard Calbó chandeliers and Mallorca Cathedral, Joan Matons made according to project of sculptor Joan Roig, as well as their acceptance and admiration for part of Barcelona's public and criticism by experts appointed by the chapter in Mallorca.

Quote other important silversmiths as Barcelona and Josep Francesc Tramulles, Francisco Martorell and other silversmiths belonging to the cabbage·College Reus.

Refers to the importance of the workshop in Montserrat in the seventeenth and eighteenth centuries.

Comment wider than the other authors neoclassical repertoire. Speaking of eclecticism and parts of’ incorporation of new materials.

Enter the subject of mechanization and industrialization jewelry, resulting in high quality pieces, which is not always kept the right proportions.

He also writes about the decline guild.

Highlights the eighteenth century monstrance type of sun, which provides a description.

*** VIVID., “Sculptures of the Diocesan Museum of Urgell”, Urgell, n. 2, 1979, pp. 457-480.

Write the content of the museum, offers tabs for each work.

A sheet corresponding to the urn of Saint Armengol, are expressed, the date of the order, the signing of the deed of the contract and the completion of the work and the relationship of the exhibitions in which he participated urn.

*** BAYARRI, J.A., “Catalan pending wedding”, 0ro and Time, n. 276, June 1983, pp. 9-12.

It is a brief study on the evolution of the seventeenth century earrings s. XIX, without delving too much into the subject, a reflection of a technical nature on embedded stones.

*** tRIAD, J.R., History of Catalan Art, Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

Write about the relics of Santa Cinta de Tortosa and Vic Sant Bernat Calbó.

Comment the works by Joan Matons, St. Bernard Calbó urn chandeliers and monumental collective Mallorca·Working with Joan Roig.

It has a deeper study on the urn of Saint Armengol from competition between Peter and John Lleopart Brauver, the commission until his exposure and good reputation in Barcelona before being transferred to La Seu d'Urgell. Accompanied by a detailed description of the urn to the care of Rosa M. Subirana from Catalog The Baroque Period, Barcelona, Royal Palace of Pedralbes, 1983, p. 142.

We provide a list of name silversmiths Barcelona, except the File Protocols city.

To refer to the custody of type sun, draws on the contribution of Nuria Dalmases.

Refers to the school of silversmiths Reus.

*** DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

This book is a compilation and expansion of the book written by Nuria Dalmases year 1979 The goldsmith.

If in speaking here of deeper Col·School silversmiths Reus, facilitates the localization of several works throughout the territory of Tarragona.

He also writes about Silversmiths in Barcelona Girona area from the contribution of Joseph M. Madurell i Marimón a Plateros works in Girona churches barcelones.

Says the creation of the Free School of Drawing and Printmaking

In this book refers to the urn of St. Bernard Calbó and chandeliers destined to Mallorca Cathedral and performed by Joan Matons unlike the book The goldsmith, here the work done by Pere Llopart, the urn of Saint Armengol is treated with more depth.

*** GOU In VERNET, A., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and History. d Department’ Art history. Management S. Alcolea i Gil, June 1986.

It is an extensive study which addresses cross all topics related to jewelry and silverware, from organic aspect to the social and religious.

There is a part dedicated to the study of materials.

Analyzes the stylistic evolution of different pieces of jewelry, Rings, earrings… accompanied by schematic drawings where indicated evolutionary differences. Does the same with the civil and religious silverware.

Devotes a significant part in the internship listings years 1600-1852, in which are some reproductions of different designs.

It studies the functioning of the union, cole·Association and the Brotherhood of St. Eloi.

*** AAVV., Thesaurus. The Art of Catalonia bishoprics 1000/1800, Barcelona, Thesaurus / studies, Pension Fund Foundation, 1986, (1edition).

Presents the figure of Argentine tortosí Innocent Quinsa, works performed and subsequently became part of the treasure of the cathedral of Tortosa.

Write on the urn of Saint Armengol, presenting us a comprehensive set of the same.

A brief biography of Peter Lleopart. Highlighting the figure of two apprentices took that later would silversmiths in Barcelona, Francis and Joan Roca Pinto.

Through referrals Rafols, J., F. Biographical Dictionary of Artists de Catalunya, Vol. I-II, Barcelona, Milla, 1953 We quote other achievements of this author.

It provides the following literature related to the ballot box:

AAVV., The Church of the mercy of La Seu d'Urgell, Analecta Sacra Tarraconensia, I, 1925, pp. 331-352. This article does not leave any reference to the ballot box .

MARKED, B., “The silver urn of Saint Armengol”, Church of Urgell, n. 84, 1979, pp. 13-15.

PUJOL I TUBAU, P., The silver urn of Saint Armengol bishop of Urgell, Memories of the Institute of Catalan Studies, vol. I, Barcelona, 1927, pp.1-29.

SHARP,. “Sculptures of the Diocesan Museum of Urgell,” Urgellia II, 1979, pp.457-480.

*** HIGHLANDER, The. I BARRERA.J., Jewelry, Madrid, Antiquaria, 1987, (1edition).

It is a book-dictionary of terms related to jewelry. Notes the role that then reached the diamond.

*** E. MÜLLER, P., ” XV, XVII and XVIII”, A century of Spanish jewelery and costume jewelery, 1890-1990, Palma de Mallorca, Govern Balear. Ministry of Culture, Education and Sports, 1991, (1ªedició), 27.

He writes about the importance of maritime trade to the New World and Southeast Asia in the repertoire of formal’ age.

Notes taste and dominated by the larger stones and consequently also jewels.

*** HERRANZ RODRÍGUEZ, C., “popular jewelry”, A century of Spanish jewelery and costume jewelery, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), pp.56-67

Discusses the earring and the Catalan artistic evolution by observing the drawings bassada books Internships.

*** ERRA Zubiri, A., “The urn St. Bernard Calbó, 1700-1828”, Bulletin National Museum of Art of Catalonia, 2, 1995,

pp.63-71.

The author wrote this article based on documents found in the Chapter Archive of Vic and the Historical Archives of Barcelona Protocols.

El 1701 is when the Cathedral Chapter of Vic decided that the construction of the ballot box is carried out Joan Matons.

This refers to the location of the workshop Silversmith Matons street in Barcelona and also lets us know that he had a shop.

We specify the years in which the work was interrupted, of 1705 to the 1719, notes as probable causes of the War Succession and the difficulty of Chapter Vic for silver.

Without offering a good reproduction of details’ work.

Refers to the performances presented the urn historiadas, commenting Matons should know that miracles books and biographies of Saint Bernard Calbó, to do this urn.

This suggests the possibility that he had been ordered to Bonaventura and John Matons Fornaguera, since both signed two plans submitted in 1700 Chapter of the Cathedral of Vic, although hired Chapter J. Thugs without mentioning any other silversmith, For this reason, it is possible Bonaventura Fornaguera only signs the plan due to its prestige as a silversmith and his professional relationship with J. bullies.

Female names of the two silversmiths who certifies that the work was done according to the original drawing recognizing him great artistic value, Pere Joan and Josep Domenech Sampere.

Lists authors of models, Joan Roig, writes that at the time of his death 1709, only history had been central, then quotes Joan Costa, who apparently made no contribution and later Peter Costa, There are eight documentary that does not allow us to find out who was the continuation of the work begun by Joan Roig.

Mentions the cooperation of different offices for conducting the ballot box, i the seu tutelatge.

Finish Article, discussing how to calculate the cost of works.

*** MARTIN ROS, R.M., Jewels of the Catalan XVIII, XIX i XX, Barcelona, Catalonia's Government, Department of Culture, 1995.

This catalog is written on hanging, but basically are the subject earrings, developments in the course of these centuries, the materials used and the incorporation of different stones, as each moment.

Comment various types of earrings, the herring or butterfly-shaped and the shape of bow, as well as a taste for stones larger and consequently also jewels.

*** tRIAD, J.R., Genesis, development and vicissitudes in making chandeliers Joan Matons, for the Cathedral of Palma de Mallorca, University of Barcelona, (Congress Malaga 199?), pp.565-570.

We made a biographical approach on the figure of the Barcelona silversmith John Matons, cites some of the most important works carried out by him.

The contribution is documented based on the documents from A.H.P.B., reproduces the various contracts were established to carry out the work, Where are obvious technical difficulties and economic discussions between the Chapter and the artist.

Economic difficulties here includes Triadó, as its contribution in Madurell, consistent with the strangeness of Santiago Alcolea when done The study on the inventory of Matons and discuss your belongings do not agree with the work and the artist category.

This is mentioned three criticisms that were the cause of the reasons for disagreement between the Chapter and Matons, Unlike the initial plan, some variations and the questioning of the artistic value of the work. Duran and the Sanpere 1973 in Jewels and jewelers, says the criticism of experts appointed by the Chapter aimed at lowering the cost of the work to·Nuria and later claiming lack of artistic talent in Dalmases Goldsmith's book of 1979, highlights criticism by the experts of the Chapter by the lack of artistic value and skill of the author, without reflecting type economic reasons.

*** Clap Bracons, J., “The resplendents arts. decoration, ornament and luxury in the Middle Ages“, Art de Catalunya, Arts decoratives, applied industrial, Ars Cataloniae, Vol. 11, Barcelona, L’Isard, 2000, (1edition), pp. 110-111.

Using the term for the reliquary of polls large machines. Explains why the ballot was commissioned by St. Bernard Calbó, his canonization and the construction of a new chapel dedicated to worship in the cathedral of Vic. We made a quick description of the urn, which says that the back is open in order to venerate the body of St..

Also a brief description of the urn of Saint Armengol and echoes the success they achieved in Barcelona when he was exposed.

Writes about chandeliers Mallorca Cathedral. Joan Domenge emphasized the contributions of this work and discuss the great excitement and admiration for the audience Barcelona.

Provide the date of the presentation of these chandeliers, the 1718, no date has been provided by the authors consulted in this work.

Also when writing about this exhibition, reflects the interest and significance of this and subsequent art exhibition held in Barcelona.

 

GENERAL REFERENCES

AAVV., ” The Church of the mercy of La Seu d'Urgell”, Analecta Sacra Tarrraconensia, n. I, 1925, pp. 331-352.

AAVV., “The high art in the region of Urgell”, Annals and Bulletin of Museums Art of Barcelona, 1946, p. 154-155

AAVV., The Baroque Period, Barcelona, Royal Palace of Pedralbes, 1983, p.142.

AAVV., Thesaurus, Art bishoprics of Catalonia 1000/1800, Barcelona, Thesaurus / studies. Pension Fund Foundation, 1986, (1edition).

ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s. XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition), pp.257-271.

ALCOLEA, S., “The nineteenth century goldsmith Barcelona”, D'Art, n. 6 i 7, May .Not this time make any contribution.

BAYARRI, J.A., “Catalan pending wedding”, 0ro and Time, n. 276, June 1983, pp. 9-12

Clap Bracons, J., “The resplandents arts. decoration, ornament and luxury in the Middle Ages“, Art de Catalunya, Arts decoratives, applied industrial, Ars Cataloniae, Vol. 11, Barcelona, L’Isard, 2000, (1edition), pp. 110-111.

CIRICI PELLICER, A., “Notes Catalan silverware and jewelery”, Hundred years Jewelry and Goldsmith Catalan, Barcelona, College of Architects of Catalonia and the Balearic Islands, Commission for Culture, 1966, p. 6.

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN, F., “The Catalan silverware“, Magazine files, libraries and museums, Any XIX, Vol. XXXIII, July- December 1915, pp. 301-302.

DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915, pp. 79-249.

DURAN I Sanpere, A., “The silversmith John Matons”, Barcelona and its History, Vol. III. The art of the culture, Barcelona, Curial, 1975, (1edition), pp. 398-403.

Durliat, M., Art Catalan, Paris-Grenoble, Arthaud, 1963, (823 edition), pp. 334-335,

MÜLLER, P., “centuries XVI, XVII and XVIII”, A century of jewelry and jewelry Spanish, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), p.27.

ERRA Zubiri, A., “The urn St. Bernard Calbó, 1700-1828”, newsletter Museu Nacional d’Art de Catalunya, 2, 1995, pp.63-71.

Fontbona, F., History of’ Art Català, Vol. WE, From Neoclassicism to restoration, 1808-1888, Barcelona, editions 62, 1983, (1edition).

GOU In VERNET, Assumpta., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and History. d Department’ Art history. Management S. Alcolea i Gil, June 1986.

GUDIOL RICART, J., Art Spain, Catalonia, Barcelona, Seix Barral, 1955, (1edition), p. 79.

HERRANZ RODRIGUEZ, C., “popular jewelry”, A century of jewelry and jewelry isESPAÑOLA, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), pp.56-67.

MADURELL I MARIMON, J., “The silver urn of Saint Bernard of Bald Head Vich”, Ausa, n. 6, 1968-1971, pp. 25-33.

Minor, J., L’Art Català, Vol. II, Barcelona, Ayma, 1958, (1edition), p. 173.

Minor, J., “History of Catalan jewelry. From its beginnings to Modernism”, Batik, n.36, V any, from September to October 1977, pp. 14.

MARKED, B., “The silver urn of Saint Armengol”, Church of Urgell, n. 84, 1979, pp. 13-15.

MARTIN ROS, R.M., Jewels of the Catalan XVIII, XIX i XX, Barcelona's, Catalonia's Government. Department of Culture, 1995.

HIGHLANDER, The. – BARRERA, J., Jewelry, Madrid, Antiquaria, 1987.

PUJOL, P.,” The Church of the Mercy of La Seu d'Urgell,” Analecta Sacra Tarraconensia, n. I, Yearbook Library Balmes, 1925, pp. 331-352.

PUJOL I TUBAU, P., The silver urn of Saint Armengol bishop of Urgell, Vol. I, Barcelona Memories of the Institute of Catalan Studies, 1927, pp. 1-29.

RÀFOLS, J., Biographical Dictionary of Artists of Catalonia, Vol. I-II. Barcelona, Millà, 1953, (1edition).

Subi wrong, J., “Books passantías”, Goya, n. 52, 1963, p.224.

tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

tRIAD, J.R., Genesis, visicitudes development and the realization of Joan chandeliers Matons, for the Cathedral of Palma de Mallorca, University of Barcelona, (Congress Malaga 199?), pp.565-570.

SHARP, “Sculptures of the Diocesan Museum of Urgell”, Urgell, n. 2, 1979, 457-480.

 

 

BIBLIOGRAPHY SPECIFICALLY

Urn St. Bernard Calbó

Clap Bracons, J., “The resplandents arts. decoration, ornament and luxury in the Middle Ages“, Art de Catalunya, Arts decoratives, applied industrial, Ars Cataloniae, Vol. 11, Barcelona, L’Isard, 2000, (1edition), pp. 110-111.

CIRICI PELLICER, A., “Notes Catalan silverware and jewelery”, Hundred years Jewelry and Goldsmith Catalan, Barcelona, College of Architects of Catalonia and the Balearic Islands, Commission for Culture, 1966, p. 6

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN I Sanpere, A., “The silversmith John Matons”, Barcelona and its History, Vol. III. The art of the culture, Barcelona, Curial, 1975, (1edition), pp. 398-403.

Durliat, M., Art Catalan, Paris-Grenoble, Arthaud, 1963, (823edition), pp. 334-335.

ERRA Zubiri, A., “The urn St. Bernard Calbó, 1700-1828”, Newsletter MNational Art Museum of Catalonia use, 2, 1995, pp.63-71.

GUDIOL RICART, J., Art Spain, Catalonia, Barcelona, Seix Barral, 1955, (1edition), p. 79.

MADURELL I MARIMON, J., “The silver urn of Saint Bernard of Bald Head Vich”, Ausa, n. 6, 1968-1971, pp. 25-33.

tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

tRIAD, J.R., Genesis, visicitudes development and the realization of Joan chandeliers Matons, for the Cathedral of Palma de Mallorca, University of Barcelona, (Congress Malaga 199?), 565-570.

The chandeliers of Mallorca

Clap Bracons, J., “The resplandents arts. decoration, ornament and luxury in the Middle Ages“, Art de Catalunya, Arts decoratives, applied industrial, Ars Cataloniae, Vol. 11, Barcelona, L’Isard, 2000, (1edition), pp. 110-111.

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN I Sanpere, A., “The silversmith John Matons”, Barcelona and its History, Vol. III. The art of the culture, Barcelona, Curial, 1975, (1edition), pp. 398-403.

GUDIOL RICART, J., Art Spain, Catalonia, Barcelona, Seix Barral, 1955, (1edition), p. 79.

tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

tRIAD, J.R., Genesis, visicitudes development and the realization of Joan chandeliers Matons, for the Cathedral of Palma de Mallorca, University of Barcelona, (Congress Malaga 199?), pp. 565-570.

 

Church of La Seu d'Urgell

PUJOL, P., “The Church of the Mercy of La Seu d'Urgell, Analecta Sacra Tarraconensia, n. I, Yearbook Library Balmes, 1925, pp. 331-352.

Urn of Saint Ermengol

AAVV., The Baroque Period, Barcelona, Royal Palace of Pedralbes, 1983, p. 142.

AAVV., Thesaurus. Art bishoprics of Catalonia 1000/1800, Barcelona, Thesaurus / studies, Pension Fund Foundation, 1986, (1edition).

Clap Bracons, J., “The resplandents arts. decoration, ornament and luxury in the Middle Ages“, Art de Catalunya, Arts decoratives, applied industrial, Ars Cataloniae, Vol. 11, Barcelona, L’Isard, 2000, (1edition), pp. 110-111.

CIRICI PELLICER, A., “Notes Catalan silverware and jewelery”, Hundred years Jewelry and Goldsmith Catalan, Barcelona, College of Architects of Catalonia and the Balearic Islands, Commission for Culture, 1966, p. 6

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN I Sanpere, A., “The silversmith John Matons”, Barcelona and its History, Vol. III. The art of the culture, Barcelona, Curial, 1975, (1edition), pp. 398-403.

Durliat, M., Art Catalan, Paris-Grenoble, Arthaud, 1963, pp. 334-335, (823edition).

PUJOL I TUBAU, P., The silver urn of Saint Armengol bishop of Urgell, Vol. I, Barcelona, Memories of the Institute of Catalan Studies, 1927, (1edition), pp.1-29.

tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

SHARP,. “Sculptures of the Diocesan Museum of Urgell”, Urgell, n. 2, 1979, 457-480.

 

goldsmith

ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s. XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition), pp.257-271.

GOU In VERNET, Assumpta., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and History. d Department’ Art history. Management S. Alcolea i Gil, June 1986

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915, pp. 79-249.

Minor, J., L’Art Català, Vol. II, Barcelona, Ayma, 1958, (1edition), p. 173.

tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

tRIAD, J.R., Genesis, visicitudes development and the realization of Joan chandeliers Matons, for the Cathedral of Palma de Mallorca, University of Barcelona, (Congress Malaga 199?).

 

Jewellery

ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s.XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition), pp.257-271.

BAYARRI, J.A., “Catalan pending wedding”, 0ro and Time, n. 276, June 1983, pp. 9-12

CIRICI PELLICER, A., “Notes Catalan silverware and jewelery”, Hundred years Jewelry and Goldsmith Catalan, Barcelona, College of Architects of Catalonia and the Balearic Islands, Commission for Culture, 1966, p. 6

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915, pp. 79-249.

MÜLLER, P., “centuries XVI, XVII and XVIII”, A century of jewelry and jewelry Spanish, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), p.27.

HERRANZ RODRIGUEZ, C., “popular jewelry”, A century of jewelry and jewelry Spanish, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), pp.56-67

GOU In VERNET, Assumpta., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and History. d Department’ Art history. Management S. Alcolea i Gil, June 1986

Minor, J., L’Art Català, Vol. II, Barcelona, Ayma, 1958, (1edition), p. 173.

Minor, J., “History of Catalan jewelry. From its beginnings to Modernism”, Batik, n. 36, V any, from September to October 1977,

pp. 14.

MARTIN ROS, R.M., Jewels of the Catalan XVIII, XIX i XX, Barcelona, Catalonia's Government. Department of Culture, 1995.

HIGHLANDER, The. – BARRERA, J., Jewelry, Madrid, Antiquaria, 1987, (1edition).

Historical Evolution of jewelery and silverware

ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s. XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition), pp.257-271.

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915, pp. 79-249.

DURAN I Sanpere, A., “The silversmith John Matons”, Barcelona and its History, Vol. III. The art of the culture, Barcelona, Curial, 1975, (1edition), pp. 398-403.

MÜLLER, P., “centuries XVI, XVII and XVIII”, A century of jewelry and jewelry Spanish, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), p 27.

HERRANZ RODRIGUEZ, C., “popular jewelry”, A century of jewelry and jewelry Spanish, 1890-1990, Palma de Mallorca, Govern Balear, Ministry of Culture, Education and Sports, 1991, (1edition), pp. 56-67.

materials used

ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s. XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition), pp.257-271.

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

GOU In VERNET, Assumpta., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and Història.Departament’ Art history. Management S. Alcolea i Gil, June 1986

 

Silversmiths Guild

ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s.XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition).,pp.257-271.

DURAN, F., “The Catalan silverware“, Magazine files, libraries and museums, Any XIX, Vol. XXXIII, July- December 1915, pp. 301-302.

DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915. pp. 79-249.

GOU In VERNET, Assumpta., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and History. d Department’ Art history. Management S. Alcolea i Gil, June 1986.

Books Internship

CIRICI PELLICER, A., “Notes Catalan silverware and jewelery”, Hundred years Jewelry and Goldsmith Catalan, Barcelona, College of Architects of Catalonia and the Balearic Islands, Commission for Culture, 1966, p. 6

DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915, pp. 79-249.

DURAN I Sanpere, A., “The silversmith John Matons”, Barcelona and its History, Vol. III. The art of the culture, Barcelona, Curial, 1975, (1edition), pp. 398-403.

GOU In VERNET, Assumpta., Jewellery and silverware Barcelona, 1600-1850, University of Barcelona, Doctoral thesis, Faculty of Geography and History. d Department’ Art history. Management S. Alcolea i Gil, June 1986.

Minor, J., L’Art Català, Vol. II, Barcelona, Ayma, 1958, (1edition), p. 173.

Subi wrong, J., “Books passantías”, Goya, n. 52, 1963, p.224.

College of silversmiths Reus

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

other silversmiths

AAVV., Thesaurus. Art bishoprics of Catalonia 1000/1800, Barcelona, Thesaurus / studies. Pension Fund Foundation, 1986, (1edition).

ALCOLEA GIL, S., “On “Barcelona argenters the centuries XVII i s. XVIII””, Historical Studies and Documents of the Archives of Protocols, Vol. WE, Barcelona, Miscellaneous in honor of J.M. Madurell i Marimon, Notarial College of Barcelona, 1978, (1edition), .pp.257-271.

Clap Bracons, J., “The rsplandents arts. decoration, ornament and luxury in the Middle Ages“, Art de Catalunya, Arts decoratives, applied industrial, Ars Cataloniae, Vol. 11, Barcelona, L’Isard, 2000, (1edition), pp. 110-111.

DALMASES , N., The goldsmith, Col. Get Catalonia, Barcelona, Dopes, 1979, (1edition).

DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

DURAN I CAÑAMERAS, F., “The Catalan silverware”, Magazine Files, Libraries and Museums, Madrid, Vol. XXXIII, July – December 1915. pp. 79-249.

Minor, J., L’Art Català, Vol. II, Barcelona, Ayma, 1958, (1edition), p. 173.

tRIAD, J.R., History of Catalan Art. Vol. V. The Baroque era, s. XVII-XVIII, Barcelona, editions 62, 1984, (1edition).

M. Àngels Canut

Art historian

Images taken by Ramon Manent of DALMASES, N. – GIRALT-MIRACLE, D., Silversmiths and jewelers Catalonia, Barcelona, Destination, 1985, (1edition).

Images Claudia Aymamí