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Lot Essay
Following the decree by the Council of Trent (1545-1563), the Eucharist, or Holy Communion, took on heightened importance, as a symbol of piety, faith, and fellowship to the Church. The representation of the Eucharist thus became a common theme in Christian art. Referring to the Last Supper, where Christ instructed his apostles to break bread and share wine in remembrance of him, the Eucharist has come to symbolize the embodiment of Christ, otherwise known as transubstantiation: “Whoever eats my flesh and drinks my blood has eternal life, and I will raise them up at the last day. For my flesh is real food and my blood is real drink. Whoever eats my flesh and drinks my blood remains in me, and I in them. Just as the living Father sent me and I live because of the Father, so the one who feeds on me will live because of me.” (John 6:54-57)
The Spanish monarchy, long supporters of the miraculous and divine meaning behind the Eucharist, were avid supporters of its special devotional status. In fact, housed in the sacristy of the Convento del Real Monasterio de El Escorial is the so-called Sagrada Forma, a special miracle-producing host, said to have been given to Phillip II of Spain. Under the heightened religious fervor of the Counter-Reformation, the Spanish crown promoted the Eucharist, as proof of the king’s divine status. Images endorsing the Eucharist as a sacrament were widely disseminated throughout the Spanish empire. Indeed, this visual reminder of the crown’s superiority and holy favor proved a powerful evangelizing tool throughout the crown’s holdings in the Americas.
Although a popular subject, particularly in South American colonial art, as extant works prove, there were near countless variations on the theme, suggesting both the importance of sacrament, and that it was a great source of artistic inspiration as well. Some works depict the “Defenders of the Eucharist” referring at times to the Spanish monarchy and in other instances to the early Doctors of the Church that argued in support of the sacrament. This Cuzco school example follows much of the basic iconography and compositional arrangement found in other works from the region. Pictured in the center is the gold monstrance, studded with precious stones that houses the consecrated host. Golden rays emanate from the host, denoting it’s sacred status, and angels on either side proffer incense to heighten the ritual of communion. In this version, the Andean painter included Saint Barbara, one of the Fourteen Holy Helpers, and Saint Catherine of Siena, a member of the Dominican order and a Doctor of the Church. Both saints were revered for their ardent devotion to the Lord and defense of the Church against heresy. Typical of the Cuzco school style of painting, the scene is embellished with intricate gold detailing throughout; beautiful floral patterns adorn the mantle and the curtains that frame the scene, and decorate the robes of both saints. This same floral pattern is echoed in the delicate lace cloth on the altar and in the lower register. Here, the artist pulled out all stops to create a scene fit for the Son of God himself.
The Spanish monarchy, long supporters of the miraculous and divine meaning behind the Eucharist, were avid supporters of its special devotional status. In fact, housed in the sacristy of the Convento del Real Monasterio de El Escorial is the so-called Sagrada Forma, a special miracle-producing host, said to have been given to Phillip II of Spain. Under the heightened religious fervor of the Counter-Reformation, the Spanish crown promoted the Eucharist, as proof of the king’s divine status. Images endorsing the Eucharist as a sacrament were widely disseminated throughout the Spanish empire. Indeed, this visual reminder of the crown’s superiority and holy favor proved a powerful evangelizing tool throughout the crown’s holdings in the Americas.
Although a popular subject, particularly in South American colonial art, as extant works prove, there were near countless variations on the theme, suggesting both the importance of sacrament, and that it was a great source of artistic inspiration as well. Some works depict the “Defenders of the Eucharist” referring at times to the Spanish monarchy and in other instances to the early Doctors of the Church that argued in support of the sacrament. This Cuzco school example follows much of the basic iconography and compositional arrangement found in other works from the region. Pictured in the center is the gold monstrance, studded with precious stones that houses the consecrated host. Golden rays emanate from the host, denoting it’s sacred status, and angels on either side proffer incense to heighten the ritual of communion. In this version, the Andean painter included Saint Barbara, one of the Fourteen Holy Helpers, and Saint Catherine of Siena, a member of the Dominican order and a Doctor of the Church. Both saints were revered for their ardent devotion to the Lord and defense of the Church against heresy. Typical of the Cuzco school style of painting, the scene is embellished with intricate gold detailing throughout; beautiful floral patterns adorn the mantle and the curtains that frame the scene, and decorate the robes of both saints. This same floral pattern is echoed in the delicate lace cloth on the altar and in the lower register. Here, the artist pulled out all stops to create a scene fit for the Son of God himself.