47 - Neapolitan School; early 18th century.

Neapolitan School; early 18th century. “Holy Pope.” Silver. Shows signs of restoration. It bears hallmarks on the base. The base is from a later period. Measurements: 50 x 21 x 14 cm; 9 x 18 cm (base diameter). Of remarkable technical quality and great ornamental richness, this silver sculpture is an interesting example of small-scale religious representation, in which the nobility of the material is combined with a pronounced naturalistic sensibility and a careful rendering of facial features. The figure, possibly modeled over a wooden core, depicts a high-ranking ecclesiastical dignitary, identifiable as a pope or bishop, clad in liturgical vestments and wearing a miter. In one hand he holds a three-barred pontifical cross, an attribute of the highest ecclesiastical dignity and a symbol of spiritual authority, while in the other he holds a book, presumably the Bible, as an allusion to doctrine and the transmission of the faith. Particularly noteworthy is the rendering of the face, with its serene expression and extraordinary naturalism, framed by slightly curly hair. The meticulousness with which the facial features and details of the clothing are rendered, together with the contrast between the silver surfaces and the figure’s volumes, highlight the artisan’s skill and his ability to imbue the representation with presence and personality. Due to its conception and formal treatment, the piece is particularly interesting within the tradition of 18th-century Neapolitan religious sculpture and silverwork. From a stylistic perspective, the work can be situated within the Neapolitan artistic milieu of the 18th century, one of the most prominent traditions of Italian Baroque sculpture. During this period, Naples produced an extraordinarily rich body of religious images crafted from polychrome wood, terracotta, silver, and other materials, characterized by a pursuit of convincing naturalism and a special attention to the details of clothing, facial expressions, and tactile qualities. The combination of fine materials and wooden interior structures allowed sculptors and goldsmiths to achieve results of great visual richness, especially in images intended for worship and private devotion. In this context, this piece stands out for its integration of the Baroque sculptural tradition with the refinement characteristic of religious goldsmithing. Its historical significance must also be understood within the context of the profound renewal of religious imagery driven by the Counter-Reformation. Following the Protestant Reformation, the Catholic Church reaffirmed the value of sacred images during the Council of Trent, particularly in its 25th session, held in 1563. The corresponding decree confirmed the legitimacy of their veneration, establishing that the honor paid to the images was directed toward the holy figures they represented, and emphasized the need to avoid representations that were indecent or contrary to doctrine. These provisions had a profound impact on the development of Catholic art in the 17th and 18th centuries, fostering the proliferation of images of saints, popes, and other religious figures intended for both large ecclesiastical spaces and settings of private devotion. Religious sculpture thus became a privileged means of transmitting doctrine and exalting the spiritual authority of the Church—a context within which this work must be situated. It has been restored.