Page 144 - Art In The Age Of Exploration (Great Section on Chinese Art Ming Dynasty)
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coat-of-arms  of the  kingdom of Portugal with a  but he was also able to pursue his studies of the  of contempt for the World), underscores the  mis-
           battering ram, an attribute of the infantes, above  humanities,  continuing  the tradition  of culture  fortune that followed him.  He was  eventually
            which appears the  Biblical burning bush, on which  pursued by his father and uncles.  reinstated in the  military  Order  of Avis and
            are depicted the Virgin and Child on the crescent.  After  the battle of Alfarrobeira  (1449),  in  which  served in the campaigns in Africa under Dom
              This reliquary was offered  to the  church of the  Dom Pedro's father  lost his life, the victors pres-  Afonso v, even though  he pronounced himself
            Convent of Avis by Dom Pedro (1429-1466),  sured Dom Afonso v, Dom Pedro's cousin and  opposed to the undertakings  in Morocco  (1460).
            generally called o Condestdvel  ("Supreme Com-  brother-in-law, to strip Dom Pedro of his title of  Three years later, in Ceuta, in view of his great
            mander of the Army")  to distinguish  him  from  Condestdvel  and of his status as Master  of  the  prestige as a knight  and a man of culture,  and  the
            his father,  the  Infante Dom Pedro, son of Dom  Order of Avis, of which he was the  second title-  fact that through  his mother he was a grandson of
            Joao i, the  founder of the  house  of Avis.  The  holder.  All his possessions were confiscated, and  Don Jaime, the  last count of Urgel, he was  offered
            Infante Dom Pedro is known  as o Regente, o das  he was forced into exile. Until  1457  he lived as an  the  crown of Catalonia, which had been vacant
            Sete Partidas  or o de Alfarrobeira.  It was  Dom  unhappy wanderer in Castile and Aragon. His  since 1462.  Dom Pedro was made King of Aragon
            Pedro o Condestdvel who at the  age of  fifteen,  fatalistic motto — PAINE POUR  JOIE  (sorrow  for  and Sicily, Valencia, the  Mallorcas,  Sardinia, and
            according to his contemporary, the historian Rui  joy)  — appears in the  ornamental border around  Corsica, and Count of Barcelona. His reign lasted
            de Pina, when he was the handsomest  youth of  the coat-of-arms on the front  of the  reliquary.  It  only two years, but his interest  in intellectual and
            the  day, was knighted in Coimbra by his uncle  faithfully  expresses his existence —prodigal in  artistic matters is reflected in his accomplish-
            Prince Henry the Navigator.  In his youth Dom  sorrows  and sparing in joys.  The title of one of his  ments : he extensively  remodeled the royal palace
            Pedro served as a soldier, principally in Castile,  books,  Coplas  do menosprego  do Mundo  (Stanzas  of Barcelona, as well as the  church of Giranolers.
                                                                                                  He also instituted the Archive of Catalonia and
                                                                                                  donated to its chapel of Santa Agueda the magnif-
                                                                                                  icent altarpiece by Jaime Huguet  (today in the
                                                                                                  Museo de Historia  de la Ciudad) and endowed  the
                                                                                                  Cathedral  of Huesca with a set  of Flemish tapes-
                                                                                                  tries, on which his motto is inscribed.
                                                                                                    This reliquary is one of the  oldest works of Por-
                                                                                                  tuguese  goldsmiths,  if not the  oldest, to be
                                                                                                  stamped with the  mark of an appraiser of the
                                                                                                  goldsmiths' guild, the  Brotherhood of Saint  Eli-
                                                                                                  gius.  This privilege was granted by the  royal
                                                                                                  patents  of Dom Afonso v of 1457  and  1460,  the
                                                                                                  latter confirming the guild's obligation to mark
                                                                                                  the works produced in the Lisbon workshops.  The
                                                                                                  reliquary  should be compared with that belonging
                                                                                                  to the Museu Alberto  Sampaio Guimaraes, which
                                                                                                  came from  the  old collegiate church of Our  Lady
                                                                                                  of Oliveira  of Guimaraes and is dated 1467.  The
                                                                                                  two works have a similar  shape, though the
                                                                                                  ornamentation of the  Avis reliquary is more in  the
                                                                                                  vernacular.                         J.T.








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                                                                                                  DALMATIC

                                                                                                  first  quarter of  the  i6th  century
                                                                                                  Italian (?)
                                                                                                  silver and  gold  brocaded  beige  silk  embroidered  in
                                                                                                  silk, silver, and gold
                                                                                                  133 x  117 (52% x  46)
                                                                                                  references:  Gois  1566;  Belem  1750-1755;  Correia
                                                                                                  1953; Mayer-Thurman  1975;  Gombrich  1984;
                                                                                                  Wieck  and  Zafran  1989
                                                                                                  Se Patriarchal  de Lisboa

                                                                                                  This dalmatic is complete and is part of a set of
                                                                                                  vestments which, according to tradition,  were
                                                                                                  presented by Dom Manuel i to the  Se (Cathedral)
                                                                                                  of Lisbon immediately  after  he acquired them in

                                                                                             EUROPE  AND  THE  MEDITERRANEAN  WORLD    143
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