Sánchez de la Cruz in the Lázaro Galdiano Museum

Martin Sanchez de la Cruz. Source. Lázaro Galdiano Museum, Madrid.
Martin Sanchez de la Cruz. Source. Lázaro Galdiano Museum, Madrid.

The silverware Cordoba has an undeniable substantiation and importance throughout history. Sticking to Modern History, the importance Lion Brand, which was used as the city's distinctive parts, reached almost the entire Iberian space and even Hispano.

Know many authors of these modern centuries they have been used to label numerous city streets. But do we really know who they were? Remember the name of some. In the sixteenth, after the experience of Henry of Arfe, Juan Ruiz succeeded the 'Vandalino', Diego de Alfaro, Pedro Sánchez de Luque. Already in the seventeenth, Sánchez de la Cruz, Bautista Herrera, Pedro de Bares (of French origin) Pedro Sánchez de Luque, Antonio de Alcantara, Juan Cuellar Polaino. And, last, in the eighteenth, Damian Castro, Manuel Repiso, Antonio José de Santacruz and Zaldúa ... The list is very extensive, prologómeno illustrate the importance of this artistic and economic activity remains even today.

The Museo Lázaro Galdiano in Madrid, one of those museums born in the heat of the nineteenth-century bourgeois museum that inspired its creator, home from their wide collection of objects of all kinds this dish offered in this article, work of Martin Sanchez de la Cruz (1586-1632), local representative style called 'Purist'. The abstract sense embodied in the works, forcing the near disappearance of the human figure, developed based decoration inherited formulas arquiutectónicos elements herrerianos.

The above, before crossing the street, look on the label.

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  1. Here we see the mark of the great silversmith Damián de Castro in which we observe the lion city of Cordoba.


    The (scarce) knowledge silverware poseeo, whose study is part of the appendix called Art History (sometimes all too pejorative charge) Decorative Arts, I owe to D. Florencio Garcia Mogollon in one of his doctoral specialized courses made me bypass the geography of Extremadura in search of relics, portapaces, chalices and other religious objects eminently. My limited availability and limited my interest on the subject the following year made me enroll in another course. However, and to see that I am not spiteful, I link then a lovely studio that made it to three existing pieces in Caceres province workshop outputs Damian Castro:

    dialnet.unirioja.es/servlet/fichero_articulo?code = 69148&order = 0

    And, non-excessive tire, Also I link this other, longer than D. Florencio, on silverware Cordoba in Murcia:

    dialnet.unirioja.es/servlet/fichero_articulo?code = 204928&order = 0

  2. Joder Mabuse! I've Dejao ridiculous. Madremía what you know about this!
    It is curious that the lion is the opposite of how it usually represents.
    At any rate, acknowledge that if I had not stuck with my ignorant questions, maybe you had not uploaded these delicious links on the history of silversmithing Cordoba. Every cloud has a silver lining.
    Un fraternal abrazo, friend.

    • None of that, Publican. There are none so ridiculous that conscious ignorance. And none of those who walk by here we have. The issues that we try 'prick’ all the same.

      In my particular case, these imaginary museum pieces force me to rebuild mindset I had almost forgotten. It is a great satisfaction memory dusting names, times, techniques and, at the same time, gain knowledge and new horizons on these topics.

      A hug also patí, Publican.

  3. And has taken me a while looking at my shelves a book of Dionisio Ortiz Juarez about Cordoba's baroque silverware I have not found. The book was part of the gifts (scarce) which resulted in the First Congress of History of Andalusia year 76 and whose proceedings were promised free and we never saw. But the book does not appear. Maybe its lying (o yazga o yaga) in a drawer in the attic.

    Surely it appeared something about lion theme. Anyway if anyone is interested could be located.

  4. For his book 'Silverware Punches of Cordoba’ (1980) is critical. This is the first rigorous study on the silverware Cordoba. Of later date, two most devoted to the subject: Valverde de la Mercedes Oil lamp (1994) and Fernando Moreno Table (2006).

    Anyway if you are curious lion theme, I can ask D. Florencio what you consider appropriate. Even the street greets me.

    • Dr. on 56 I touched the gold and then to the 77 Jewelry. I had a very interesting book, a jeweler Malaga, Marcos Aurelio that was loaned and never returned-, which was among many things, numismatics, gemology, Pearls, contrasts theme-or marks- laboratories for Jewelry Industry. Besides knowing "in situ" the tricks that some, not all obviously- employed to contrast the false parts.

      The contrast or laboratory seal is guaranteed by the law of the material used. Gold has, Once extracted from the earth and refined, 1000 milésimas o 24 carats, but to work it into jewelry, business or legal reasons in each country, is added a copper-silver ratio to decrease the necessary law, in Spain is 18 o carats 750 mil and other countries of 9 o carats 12. When the contrast is fraudulent not because I did not have that law, that normally had, but more material was produced noble who had legally purchased, and how it was controlled in an accounting, could never give birth a kilo. The customer was not fraud but the Treasury. If you had purchased a kilo legally had to leave, more or less a kilo commercially, and if it was to get more had to justify falsely.

      From the Lazarillo de Tormes, and long before, rogue has always existed.

      • A clarification, all crimes mentioned and known to me, occurred over forty years ago, therefore are prescribed. And my "cover" at that time also.

        Just kidding.

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