Castilian Portapaz, 1525-1550.

Castilian Portapaz, 1525-1550.
"Crying over the dead Christ".
Cast and chiseled copper.
Published in "Silver and bronzes in the Bordonaro collection", Volume II, by Cesar Gonzalez Zamora. Ref.24.7, card nº 166.
Measurements: 12 x 8 x 3,5 cm.

Castilian portapaz of the first half of the XVI century, belonging to the Renaissance liturgical goldsmithery, conceived as a small architectural altarpiece destined to the rite of the kissing of the peace. Its compact format and its careful composition place it among the most common models of diffusion in the Castilian ecclesiastical sphere of the period.

The central scene represents the Weeping over the dead Christ, one of the most moving episodes of the Passion. The body of Christ, arranged diagonally and supported by the Virgin, is accompanied by mourning figures -probably Saint John and a holy woman-, which reinforce the dramatic content of the composition. The figures are arranged under an architectural structure framed by lateral columns, which confers order and solemnity to the whole.

The relief presents a firm and narrative modeling, with marked folds and compact volumes, characteristic of the Castilian workshops of the early Renaissance. The expressiveness of the gestures, contained but effective, responds to an iconography destined to devotional meditation, appropriate to its liturgical use and to the physical closeness with the faithful.

The upper top, with a curved profile and decorated with vegetal motifs, crowns the composition and reinforces its character of symbolic architecture. The lower plinth incorporates schematic ornamental and heraldic elements, functionally integrated into the structure.

The technique of cast and later chiseled copper allows a clear definition of the figures and details, while the current patina evidences the passage of time and continued use, bringing authenticity to the whole.

The publication in a reference work such as the Bordonaro collection reinforces the historical and collector interest of the piece. Overall, it is a significant example of the serial production of 16th century Castilian cope-holders, especially attractive to collectors of sacred art, historical goldsmiths and Renaissance liturgical objects.