Custody; Viceroyalty work, Peru, XVIII century.

Monstrance; Viceroyalty work, Peru, XVIII century.
Bronze and silver. Silver plated bronze.
Measurements. 73 x 32 x 18 cm.
Weight: 2.499 gr.

This is an object intended for the exposition of the Blessed Sacrament, whose formal configuration and ornamental program respond both to the European models spread after the Council of Trent and to the stylistic particularities developed in the American workshops.

The typology of the sun monstrance, which became widespread in the Christian world in the 16th century and reached a special peak in the 17th and 18th centuries, replaces the architectural scheme of the Gothic-inspired temple monstrance with a radial structure. In this model, the traditional upper architecture is replaced by a circular radiance that frames the virile, that is, the glazed capsule destined to contain the consecrated host. This transformation is not merely formal, but responds to an iconographic and theological change: the radiance symbolically alludes to Christ as the "Sun of Justice" and emphasizes the luminous and glorious dimension of the Eucharist.

In the analyzed piece, a structure composed of base, shaft and upper body can be observed. The base, with a circular profile and stepped development, guarantees the stability of the whole and is ornamented with embossed vegetal motifs, possibly stylized leaves arranged in a continuous frieze. The shaft, articulated by means of knots and moldings, acts as a compositional and visual axis, establishing an ascending transition towards the central core. This vertical organization responds to a hierarchical conception typical of baroque sacred art, where the physical elevation of the object reinforces its spiritual meaning. The most outstanding element is the radial frame that surrounds the virile. In its original configuration, this type of monstrance combined straight beams with others of undulating or flamboyant profile. In the 18th century, however, there was an evolution towards more dynamic and decorative solutions, in keeping with the late Baroque language. In this example, straight staggered rays alternate with sinuous ones composed of curled acanthus leaves, whose volumetry and movement generate a vibrant effect of light and shadow. The incorporation of phytomorphic elements transforms the glow into an organic structure, intensifying the expressiveness and theatrical character of the piece.