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The tazza is made up of two pieces of chalcedony and four enamelled gold mounts. It displays incised decoration with spray motifs. It originally had two gold handles in the form of dragons or winged serpents enamelled in various colours, which disappeared when the Dauphin’s Treasure was returned to Madrid in 1815 after being removed by French troops during the Peninsular War. Its case testifies to
This footed tray is a presentation salver that forms a pair with O-60 of the Dauphin’s Treasure. Both are made from a single piece of lapis lazuli. It has a round, flat-bottomed bowl, low sides and a short turned stem resting on a small foot. A silver mount runs around the rim. Its profile, simple as it is, points to a work made in Milan, perhaps close to the Miseroni. It bears the hallmark, IR, o
Vessel made up of two pieces of hardstone and three enamelled gold mounts. The larger piece forms the deep boat-shaped bowl, with the front raised, leaves on the rim, and a volute at the rear. A high S-shaped handle curves above the mouth and is connected to the body with a rectangular brooch-like appliqué. The bowl is joined with ring mounts to the short moulded stem, which ends in a flat
This fabulous animal is made of three pieces of rock crystal. The top piece is a horned head with monstrous features resting on a long arched neck similar to that of a swan. It is set into a pear-shaped body with a cuirass-like front worked with scrolls and rows imitating precious stones. It also has short wings emerging from spirals and similar to those of bats. Its flexed and webbed feet are cut
La jarra está compuesta por diferentes piezas labradas en cuarzo hialino y sigue el modelo prototípico acuñado por los talleres de Milán para vasos de uso y representación. Su forma y las asas son similares a varios vasos existentes en las colecciones europeas, adscritas a los talleres de los Miseroni, especialmente el grupo del Kunsthistorisches Museum de Viena. En el inventario de bienes del Del
Oval platter made up of eighteen pieces of heliotrope joined by a gilt bronze frame and a recessed central body with cruciform motif around a central oval. Attached to the structure of the mounting are several overlays of enamelled gold, some now lost, adorned with thirty-seven pearls, of which twenty-five remain today. There is a similar platter at the Musée du Louvre, which suggests that
A vessel composed of two pieces of rock crystal and three enamelled gold mounts. The elongated bowl has a segmental arch profile with eight gadroons separated by concave gadroons and arrises. The base, joined by a ring mount, seems to be a single piece, and has a short stem with a knop and a flat oval foot. The decoration consists of gadroons on the lower part, and garlands, whorls and horns of ab
Goblet comprising four pieces of heliotrope, three adornments and two handles of gilded silver with appliqués of enamelled gold and turquoises. Its body, featuring an oval mouth and cruciform cross-section, is arranged in four large flutes. The goblet is finely carved, to the extent of endowing the stone with translucent qualities. The crown of the lid, the shape of which is evident from th
Vessel made up of three pieces of hardstone and five enamelled gold mounts. The body, with an oval mouth and irregular semicircular profile, undulates across six broad gadroons. So too does the cover, rather smaller and almost flat, surmounted by a turned motif terminating in an acorn. The mount joining the two pieces is formed by a broad band pierced with vegetable spirals and cruciform motifs en
This piece, which belongs to a set of two ewers with basins (O24 to O27), is a jug with a bell-shaped body and deep, hemispherical base, from which a spout with a sloping upper plane emerges. The mount takes the form of a grille, replacing the usual ribs of the lower part with pearl-laden leaves, a moulding in the lower third and uneven vertical strips bearing an S-shaped handle, with a mascaron,
This vessel, described as a “velón” or oil lamp in the 1746 inventory of La Granja de San Ildefonso, is one of the few pieces in the Dauphin’s Treasure in their original state. It is made up of three pieces of citrine quartz and one, the finial, of smoky quartz, linked by five mounts and two gold handles in black enamel. On the egg-shaped body are four protrusions. Inserted on the smaller t
Este modelo de jarra pertenece a un tipo que, con variantes, está presente en casi todas las colecciones históricas, lo que lo convierte en el prototipo de la talla milanesa para vasos de uso y representación. Hace pareja con otra jarra semejante que también forma parte del Tesoro (O90). Ambas pertenecen a una familia de vasos con parecidas soluciones técnicas, obras atribuidas a los talleres mila
Cup with a foot with stepped mouldings, a baluster stem, and a bowl with an oval mouth and a diminished horseshoe arch profile. It is carved with triangular facets and arrises emerging from the base. There is a keeled moulding on the lip, a gadrooned cover, and a gold finial with a turquoise in the form of a flower pot, from which a spray of flowers is missing. Three broad ring mounts decorate the
Vessel consisting of a piece of green nephrite carved in the form of an oil lamp. It repreents a fantastic mask with a wide open mouth, its eyebrows formed by leaves emerging from a double stalk that forms the handle. The round eyes, short nose and long moustaches frame gaping jaws with a rising protuberance visible inside. It rests on a base of silver gilt with friezes of acanthus leaves and gadr
La forma del vaso, compuesto por cinco piezas de cristal de roca, fue diseñada ex profeso para completarse con la guarnición de oro esmaltado. Ambas partes fueron magistralmente labradas, como demuestran la finura de la talla y grabado del cristal con la que fue decorado el cuerpo del vaso, con motivos propios del Renacimiento como festones y ramos frutales. Lo mismo sucede con el mascarón de oro
A boat or “gondola” made up of various crystal pieces joined with mounts. The body is decorated with foliate spirals, ribbons and clusters of fruit, with a reserve on the prow where a candeliere with a termination is engraved. On the stern are two membranous wings from which the decoration emerges, with details like dolphins and two mermaids on the lower part. Rising above this body is the housing
A salver made up of seven pieces of rock crystal held in an oval silver gilt structure. The central piece is oval, with a decoration at the ends of simple vegetable whorls and seeds engraved with a sure hand. All around this is a grooved moulding joined to another larger one by counterposed double C-shaped pieces linked by screws with flower-shaped heads. Fitted between these are the six pieces of
Vessel made up of two pieces of stone and a gold mount. The bowl has an oval mouth and semicircular profile ending in a flat plane from which the neck rises, crowned by a broad flared lip. At each end are two small monolithic handles in the form of dolphins. The lines are very clean, with a delicate sobriety emphasised by thin mouldings. Inserted in the short bell-shaped foot is a delicately chase
