A baixela de prata da Casa Veyrat, constituída hoje por duzentas e sessenta e uma peças, terá sido trazida de Itália por D. Maria Pia quando veio para Portugal para casar com o rei D. Luís I, em 1862. Este serviço, “conhecido pelo nome de prata do casamento”, conservou-se no Palácio da Ajuda e faz hoje parte do seu acervo. Destino diferente teve o centro de mesa deste conjunto, entregue pela própria soberana ao Banco de Portugal no início do séc. XX, como garantia de empréstimos bancários que contraiu. Em Julho de 1912, já em plena República, foi vendido no célebre leilão das Jóias e Pratas que pertenceram à falecida rainha D. Maria Pia. O seu paradeiro permaneceu desconhecido até Dezembro de 2014, altura em que reapareceu no mercado de antiquariato e arte e foi adquirido pela Direcção-Geral do Património Cultural para reintegrar o acervo do Palácio Nacional da Ajuda.
he casket of Queen Maria Pia of Savoy, belonging to the collection of the Palácio Nacional da Ajuda, contains a set of thirty-three pieces of gold jewellery in the archaeological style created by the Castellani workshop in Rome. his family of jewellers, fascinated by the ancient techniques of gold working, restored but also reproduced several antique pieces, giving rise to the emergence of the so-called 'archaeological jewellery', very popular in the 19 th century, using characteristic techniques of antique jewellery such as granulation, iligree, micro-mosaic and engraving of stones in intaglio. he main purpose of this paper is to present the results of the analyses of the base metals used in the manufacture of the jewellery and also to identify the production techniques, such as mounting, joining and decoration, used by the Castellani workshop in making the jewellery for the casket of Queen Maria Pia of Savoy. For this purpose, portable equipment of examination and analysis was brought to the museum. he results obtained in situ show the use of standard wires and granules, as well as of three diferent base alloys. One element of a hairpin pair which appears to have originated from a diferent production is discussed. Résumé : Le cofret ofert à la Reine Maria Pia de Savoie, appartenant aux collections du Palácio Nacional da Ajuda, contient trente trois pièces d'orfèvrerie en or fabriquées par les ateliers Castellani. L'attrait de cette famille d'orfèvres pour les techniques de l'orfèvrerie antique les a amenés à restaurer mais aussi à reproduire plusieurs pièces anciennes faisant émerger au XIX e siècle le style archéologique. Pour fabriquer leurs bijoux, les Castellani ont utilisé diférentes techniques caractéristiques de la décoration des pièces d'orfèvrerie ancienne, dont la granulation, le iligrane, la gravure de gemmes en entaille et la mosaïque sont des exemples. Dans cette étude nous présentons les résultats analytiques obtenus pour la composition des alliages utilisés dans la fabrication des pièces du cofret de la Reine Maria Pia ainsi que la description des techniques de production des objets-montage, assemblage, décoration-utilisées par les Castellani. À cette in, des équipements portables d'examen et analyse ont été transportés au musée pour efectuer une étude in situ. Les résultats obtenus montrent l'utilisation de ils et granules de forme homogène et de trois alliages d'or. Un élément d'une paire d'épingles à cheveux, dont la production semble être diférente, est discuté.
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