An exceptional hourglass

An exceptional hourglass

Silver gilt, lapis lazuli, powdered amethyst, clear glass, coloured enamel on copper. The twisting bulbs of the hourglass rest on a tall and richly ornamented column shaped plinth. The four faces are decorated with pierced relief appliqués in silver and vermeil over lapis lazuli plaques, the angles with sculptural herms applied over bifurcated scrolls. The four sides of the base with a banderole engraved in Latin capital letters: “XISTVS-V-SACR-CONN-FERDINANDI-I-DE-MEDICIS- ET-CRISTINAE-DE-LORENA-BEN./ SICVT GRANA SILICIS IN HVIVS CLEPSJDRAE/ BINIS VITREIS AMPVLLIS SIVNT MENTES IN VNVM/ ET-CORPORA-CONIVNCTA-VSQVE-DVM-VIVATIS-ET-VLTRA” (Like the grains of sand in the two glass ampules are joined, so let us be joined in soul and body in this life and beyond). The four sides of the plinth applied with large cartouches surrounding oval enamel plaques emblazoned with the coat-of-arms of Pope Sixtus V, the Medici coat-of-arms, that of the Kingdom of France and a plaque inscribed “Rom 1589” beneath rounded arches with shellwork décor. H 83, W 26.5, D 26 cm. H 83, B 26,5, T 26 cm, also includes the original walnut transport case with cast iron clasps and bolt, the interior of which cushioned with (later) red damask, H 61.3, W 32, D 31.5 cm.
Rome, 1589.

This hourglass is not only important from a historical point of view, but is also highly significant as an art historical document, as it is one of the earliest examples of Counter-Reformation motifs in a lavish Baroque design, quasi an incunabulum of the Italian early Baroque. Pope Sixtus V (1521 - 1590) was elected to office in 1585. He was the first pope, who had studied during the Council of Trent, and this event strongly influenced his life and reign. The iconographic program of the hourglass was probably chosen by the Pope himself in honour of the Grand Duke of Tuscany. The quotation engraved upon the plinth invokes the good relations that were to exist not only between Ferdinand I and Christine of Lorraine, but also between the Grand Duke and Pope Sixtus V since, following the assassination of King Henry III of France in 1589, Ferdinand I supported Henry IV of France (a Protestant from Navarre) in his struggle against Spain and the Catholic League. Therefore, Sixtus V chose an object that would symbolically appeal to Ferdinand's loyalty to Rome, express the sentiment of 'vanitas', and at the same time appeal to Ferdinand's interest in natural science.

Despite this, Ferdinando I de' Medici (1549 - 1609) was a man of the church. He was appointed a cardinal in 1562 at the age of 14, without having first been ordained a priest. He became Grand Duke of Tuscany after the death of his elder brother Francesco in 1587. However, he retained his cardinalate until his marriage. At the request of the French queen Catherine (née Caterina Maria Romula de' Medici), he was married per procurationem to her granddaughter Christine de Lorraine (1565 - 1636) at Blois Castle 8 December 1588. Catherine died before the marriage contract was signed. She left Christine, as her principal heir, with an immense fortune as well as a vast treasury of artworks, including the famous Valois tapestries now housed in the Uffizi Gallery in Florence. The French princess first saw her husband, the Italian Grand Duke, upon her arrival in Pisa on 28th April 1589, after which the great wedding festivities began, which lasted several days.

Provenance

Formerly Tammaro de Marinis collection (1878 - 1969).

Literature

Illustrated and described in Rossi, Capolavori di oreficeria: Italiana.Dall´XIaXVIII secolo, Milan 1957, illus. 38, p. 46.