| Bibliografía |
ARBETETA, Letizia. La joyería Española: de Felipe II a Alfonso XIII en los Museo Estatales. Madrid: Ministeriode Cultura, 1998. p.163, il. 118; Nº 118 Peto. España, Córdoba (?), primer tercio del siglo XVIII. Oro, diamantes y perla. 20cm. Museo Nacional de Artes Decorativas, números inventario 2.154 y 2.126.
Peto de perfil triangular, con tres cuerpos en forma de flor central de la que surgen ramas en roleos, mezclado con cintas, en labor calada y cincelada, con diamantes tabla y chispa embutidos. En el segundo cuerpo falta motivo origianl y en el tercero se colocó media perla. Dorso con decoración incisa, similar a la de algunos ejemplares marcados en Córdoba. Se presentaba unido a la cruz con botón y palmas nº 2.126, fechable hacia 1727 si nos atenemos al examen de Salvador Varivol en esta fecha (Passanties, nº 881). Un dibujo del códice de Guadalupe representa un ejemplar similar, con esmeralda en el primer cuerpo, que, unido a otro semejante a la cruz citada, se colocaba de ordinario en la imagen titular. Su técnica, arcaizante, puede relacionarse con el examen de Francesch Cardó en 1701 (Passaties, nº 773). Letizia Arbeteta Mira.
Brilliant Europe : jewels from European courts. Scarisbrick, Diana(ed); Vachaudez, Christophe(ed); Walgrave, Jan(ed). Bélgica: ING, 2007. p. 163 y 165; The three segments of this triangular stomacher are joined by pins.The flower at the centre of the largest, upper segment is surrounded by chased and pierced branches and interwoven festoons, set with table-cut diamonds and inlaid with very small diamonds. Branches also spread out from the button in the middle of the central segment, which is itself formed from a rose pattern of diamonds and ends in a bow. In the third, smaller part, leaves, also set with small diamonds, surround a half pearl. The back is engraved with a plant motif, which , as Letizia Arbeteta Mira has shown, strongly resembles a Cordoba mark. On certain occasions, a cross in the form of a bow ending in a button would have been attached to the stomacher by a linking piece in the shape of a palm frond (inv. 2126 ). Like the other segments, the cross and palm are set with very small diamonds and table-cut diamonds. A similar drawing by Salvador Varivol in Barcelona in 1727 and preserved as no.88r in the Passanties (collections of drawings by Spanish jewellers) suggests that the stomacher was made in the same year. A drawing in manuscript from the Monastery of Guadalupe shows a similar stomacher, with an emerald in the upper segment from which one could also hang a cross. The jewel was in fact attached to the statue of Our Lady of Guadalupe. Its old -fashioned design can be linked to a drawing by Francesch Cardo or 1701 (Pasanties no. 773) suggesting that the current example dates from the first third of the eighteenth century. Fernando Martín García
|
