Inhabited silences. Masterpieces from the collection.

This itinerary begins with a pair of portraits that offer visitors a warm welcome. The portrait of Soror Catalina de la Concepción is of worthy of a special interest. She was the seventh Countess of Lemos, the founder of the house and the artistic promoter of the collection. Next to her, with the dignity proper to a high-ranking official, is her father, the Duke of Lerma, a key figure in the politics of the Spanish monarchy during the reign of Felipe III.  

This Italian reliquary from the early 17th century features a large sterling silver frame and a central body with a clear classical inspiration and a great pictorial significance.  It combines various marbles and agates with original and varied colours. The scene is dominated by the image of a large ciborium made from a combination of yellow, grey and blue tones, which encloses a central reliquary containing the relics of Saint Anne, decorated with beads and illustrated with a cartouche containing the inscription: «S. ANNA MARIAE MATER». 

Overall, this piece is characterised by its great compositional balance and elegant colour scheme, based on a skilful combination of materials. 

The different episodes of the Passion of Christ will be a recurring theme throughout the visit, as we can see in this work: Crucified Christ and bachelor's thesis by Catalina de la Cerda y Girón. Before us is a set that consists of a reliquary frame, a crucifix and a textile engraved with the bachelor's thesis of Catalina de la Cerda y Girón. She was a Clarisas Nun and the daughter of the ninth Count of Lemos. The six engraved theses were defended in Salamanca in 1655 to obtain a bachelor's degree in Philosophy and Medicine. The silk cloth is framed by an ebony moulding and, above it, is the magnificent crucified Christ made of gilded bronze. It is the work of the Italian sculptor Guglielmo della Porta. This figure is notable for its meticulous detail and perfect anatomical study, which derives from Michelangelo-inspired types that were widespread in the late 16th and early 17th centuries. 

The urn contains the relic of one of the nails from the Crucifixion. It is placed in a small urn held by angels. The base features several oculi designed to hold other relics. This magnificent creation was a gift from the eighth Count of Lemos, Francisco Ruiz de Castro, to his sister-in-law. She was the founder of the monastery: Doña Catalina de la Cerda y Sandoval. The urn is a piece of silversmithing made in Italy, dating from the early 17th century. 

The reliquary is a box built in the 17th century in gilded silver plate, with enamels and a glass lid. The piece contains a small set of two keys that hold the filing from the chains with which Saint Peter was imprisoned. The originals are preserved in the Roman church of San Pietro in Vincoli. Although the piece is tiny, the artist took great care in its creation, paying attention to even the smallest details. 

This bust of Saint Lucía is an elegant example of Neapolitan sculpture. It was built during the viceregal government of the seventh Counts. The artists, Giovan Battista Ortega and Pietro Quadrado, show us a young woman with her hair tied back and dressed elegantly. The sweet girl, with a serene disposition, displays the main iconographic elements associated with tradition. In one hand, we can see the palm, a classic symbol representing immortality and spiritual victory. In the other, she holds a golden plate with her eyes, making direct reference to her harrowing punishment. As is usual in pieces from this series, the half-bust figure stands on a cruciform pedestal, which has a reliquary box for the saint's remains. 

This piece is a reliquary stand made with ebony and gilded bronze, containing a silver replica of one of the most famous sculptures in art history: Michelangelo's Pietà. On this occasion, the Pietà is placed inside a niche of great architectural presence, a scene with a theatrical layout. In the background it is possible to see the cross of martyrdom of the Divine Savior. Crowning the composition is a curious scene painted in oil on lapis lazuli which represents the sacrifice of Isaac, a passage from the Old Testament that foreshadows the sacrifice of Christ evoked in the lower plane.

This piece is a seated sculpture that represents the saint in full length, dressed in a Franciscan habit, seated on a chair with large volutes and with her bare feet resting on a cushion. It is a carved wooden figure, estofada and polychromed, made in a Castilian workshop during the 17th century. The piece shares certain similarities with Santa Teresa by Gregorio Fernández.

This piece is a statue of the Immaculate Conception from the first half of the 17th century by the brilliant artist Gregorio Fernández. It is a polychrome wood sculpture that follows an iconographic style developed by the artist, reminiscent of a model with clear connections to the Immaculate Conception in Astorga Cathedral. The sculpture represents the Immaculate Conception wearing a crown, with a serene expression, in a prayerful pose with her hands folded over her chest. In terms of clothing, she wears a bell-shaped sky-blue cloak with gold details and a white tunic with schematic floral motifs. At her feet, she steps on a dragon, and at the back there is a thin crescent moon. The image is completed with a halo decorated with stars and cherubs surrounding the entire piece. The ensemble rests on an elaborate polychrome wooden base. 

In this room we can find some of the best pieces that the museum holds. This Recumbent Christ is one of the most notable pieces and it was made by the famous Sarrian sculptor Gregorio Fernandez. The ensemble was created at the peak of the artist’s creativity and it stands out for the great sensibility with which the author is able to capture the drama of the Passion of Christ. At the beginning, the piece was a commission made in 1610 by the Duke of Lerma for his daughter, Doña Catalina de la Cerda y Sandoval, the founder of this monastery in Monforte.  

The Christ sculpture is remarkably realistic, thanks to the meticulous attention paid to every detail. The eyes are half-opened and made of glass. The mouth gives a glimpse of the teeth made of ivory and gives the impression of being frozen at the instant of exhaling the last breath. The fingernails and toenails are false and they are made of bovine horn. The hair, well cared for, shows strands dyed a more intense blonde than the rest. The loincloth has marked angular folds and it is made of glued fabric. In addition, the body was carved separately from the shroud, which allows more anatomical definition.

Another important element of the ensemble is the urn that contains the effigy, which has a powerful architectural structure with elegant polychromy. This offers an extraordinary frame to observe the beauty of the Divine Savior.  

The piece before us is one of the most significant in the museum’s collection. It is a casket made of rock crystal, with a gilded ebony frame and bronze appliques. In the central section there are elements of clear architectural inspiration, thanks to the inclusion of groups of columns with spiral shafts, crafted from rock crystal and finished with Corinthian bronze capitals. This beautiful casket was intended to house the Blessed Sacrament in the Holy Thursday monument. For its protection, custom-made chest was designed, made of chestnut wood and lined with canvas on the inside, which can be seen at the bottom of the display case. 

This piece is directly related to the gift of peace in the Eucharist. Its function was to collect the sign of peace manifested by the faithful osculation the object. This tradition originated in the late Middle Ages and emerged as a measure designed to promote decorum and limit physical contact among those attending.  

The pax is a piece shaped in the form of a plate that resembles the appearance of a miniature altar or altarpiece with a central image, often incorporating elements of clear architectural inspiration. That is the case of this magnificent piece, crafted in gilded silver in the late 16th century. This pax is thought to have originated in a workshop on the Italian peninsula.  

The piece we see transmits a strong Baroque influence. In this pax, the anonymous artist is able to create an intriguing setting through a thoughtful arrangement of elements with a certain architectural inspiration and a clever use of chiaroscuro. At the center, a relief image of the Assumption is carried upwards by angels, revealing an extraordinary balance between dynamism and restraint. The inclusion of various bands of enamel, decorated in delicate shades of blue, contributes to creating a visual harmony between the different parts of the ensemble.  

This monstrance stands out for its unique appearance. It is a piece crafted by a Castilian workshop in the 17th century and it was made of gilded bronze and decorated with glass and enamel elements. Subsequently, it was embellished with various small jewels like pearls, gemstones and rock and coral crystal. They were arranged in a perfect alternation of pearly and reddish tones.  Said elements originally came from a dress, which may have belonged to Doña Catalina de la Cerda y Sandoval. The final result is a dazzling piece, of great beauty and originality, combining rich ornamentation with symbolic and devotional significance. 

This is one of the most notable sets of textile pieces in the collection. A trio is a group of three related pieces of clothing that share the same decorative pattern. In Christian liturgy, the set is composed of three main elements intended to clothe the priest, the deacon and the subdeacon during specific sacred functions, most notably during the celebration of Mass. In this case, the set includes a chasuble and a cope for the priest and two dalmatics, for the deacon and the subdeacon. In addition to these garments, the set is completed by a matching frontale and a second cope.  

The term “Naples trio” is the traditional name used by the community of the Clarisas Convent of Monforte. It is possible that the origin of the term is related to the appearance of the fabric itself, which clearly resembles other pieces produced in Italy. However, the design and style of embroidery show striking parallels with other contemporary models created in the Spanish-speaking field.  

In this case, the fabric is a red and gold silk brocade that features motifs of pomegranates with a slight oriental influence. However, the type of embroidery, known as “Roman-style”, is executed using a “paved” pattern (a series of alternating small squares) and finished with corded trimmings. This technique matches that used in workshops in Seville, Toledo, Madrid and Valladolid during the first third of the 17th century. This allows us to trace the garments’ origins to Italy and attribute the final manufacturing process to a workshop on the Iberian Peninsula.  

This Italian work, by an unknown artist, shows Our Lady of the People, following a model inspired by the Byzantine icon kept in Santa Maria Maggiore in Rome and known as the Salus Populi Romani. Despite the differences between the two pieces, the image follows a similar iconographic approach, presenting a Virgin in a blue cloak, holding the Child in her arms and a cloth in her left hand. However, some modifications can be observed compared to the Roman model, as certain elements such as the consular ring or the neutral background have been omitted. All this is combined with the fact that the figures are made to look more natural, with a consequent loss of stiffness. The broken halo at the top also allows the viewer’s gaze to focus on the serene face of the Virgin and on the presence of the Christ Child, who is turned slightly and in a blessing pose. 

Within this collection, it is well worth pausing to admire two beautiful oil paintings on copper dedicated to the theme of the Holy Family. Of particular interest is The Holy Family with Saint Anne and the Young Saint John. It represents a lively family scene, filled with characters and illuminated from the side. At the centre of the composition, the Virgin, seated and forming a strong diagonal line, holds the Child in the presence of Saint Joseph and the Young Saint John. The latter appears accompanied by a lamb, which refers to iconographic models of the Agnus Dei, thus foreshadowing Christ’s future martyrdom. This is a work of clear Mannerist inspiration, notable for its meticulous attention to light and masterful handling of colour, an aspect clearly evident in the extraordinary rendering of the flesh tones and the richness of the fabrics. 

This piece is an oil painting on panel from the 16th century. It represents the founder of the Order of Clarisas in a harmonious scene of great beauty, dominated by a peaceful environment of silence and seclusion. The artist was able to transmit a sense of profound contemplation through a well-considered composition and an elegant choice of colours. The imagen follows the traditional iconography associated with the Saint of Assisi. She is presented with the habit of the order, her staff and the monstrance, showing the Blessed Sacrament, alluding to the events that took place at the convent of San Damiano in 1230. Without a doubt, this is one of the most beautiful pieces in the collection.  

This piece serves as the perfect conclusion to this artistic journey because of its great symbolic and artistic significance Its seemingly simple appearance reveals a mask that conceals a powerful symbolic meaning, particularly for two reasons. From an iconographic perspective, the scene presents, with great economy of resources, one of the central themes of the Christian faith: the vision of the Apocalypse. Thus, we observe a scene dominated by a lamb resting comfortably on a volume bearing seven seals. Furthermore, the presence of the orderly garden, as well as the vibrant colours of the vegetation, harmonise with the naturalistic vitality that characterises the profound Franciscan spiritual sensibility.  

However, the most important aspect, and the reason why this piece can be considered an epilogue in its own right, is that it serves as a clear example of technical hybridization and of the artistic talent of the Clarisas mothers of the Immaculate Conception. Like no others, the nuns have been able to combine the pure intellectual creation with a refined technique thar can defy the established categories used to study this type of pieces.