An Italian gilt-bronze lantern, Roman circa 1750-70

the inverted bell shaped corona cast with scrolls and acanthus above six ribbed lambrequins, three of which suspend ribbon-tied berried laurel and acanthus leaf flowerhead trails supported by a winged cherub on scrolled brackets flanked by scrolls supporting a vasi-form receptacle applied with stylised scallopshells with a foliate finial, the serpentine reservoir in two sections, the upper part with scrolled corbels interposed by a scrolled boss flanked by leaves centred by the arms of Christ and the arms of St. Francis amongst clouds representing a Franciscan order surmounted by two seraphim heads amongst clouds, the lower section with three female masks with scallopshell headdress flanking floral arches with a globular finial, the whole on a stippled ground

In overall good original condition. The detail to the casting is exceptional. There is some very minor rubbing to the gilding as visible from the catalogue photograph especially to the putti and some minor surface dirt in places which can easily be cleaned off according to taste. One lambrequin has a restored break which has been resoldered. There are some very minor casting cracks, pitting and dents and small holes which are hardly noticeable and are commensurate with age and normal usage. The central suspended vase has some dents and has a crack and a small hole which is partly hidden by the scrolled support and is of a slightly more reddish colour than the rest. In the lower section, there is a small crack in the gilt-bronze behind one of the female heads. The reverse of the seraphim are incised with the number 112 on two of them that could be an inventory mark. Evidence that there were probably garlands formerly attached to the scrolls on the lower section as on the identical lantern illustrated in fig. 1.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Alvar González-Palacios, Il Tempio del Gusto, Le arti decorative in Italia fra classicism e barocco Roma e il Regno delle Due Sicile, Vol. II, Milan, 1984, p. 123, fig. 264, p. 140, figs. 313, 314.
Alvar González-Palacios, Arredi e Ornamenti alla Corte di Roma, 1560-1795, Milan, 2004, p. 325.Richard P. Wunder, Extravagant Drawings of the Eighteenth Century, New York,1962, fig. 64.
Artemis Group, Valadier, Three Generations of Roman Goldsmiths, An Exhibition of Drawings and Works of Art, 15^th May to 12^th June 1991, with an introduction by Alvar González-Palacios, p. 84, no. 47.
Eleanor Thompson, `Lamps from Luigi of Rome,' from Wardour Castle Chapel, Apollo, May 1991, pp. 323-326.

This extremely rare and beautifully cast and chased liturgical lantern is identical to another lantern (albeit with garlands) which has been studied by Alvar González-Palacios, Una lampada tra Giardini e Valadier, op. cit., p.161, figs. 313, 314, reproduced here in fig. 1. The author discusses the same lantern in a note of 2005 (Porro, Asta, n. 21, 2005) and he refers to ‘Disegni Diversi…’ published in Rome by Giovanni Giardini (1646-1721) in 1714 and then again in 1750. There is in fact a succession of lanterns designed by Giardini which, although heavier in design, are quite close stylistically to this example, one of which no. 39, is reproduced here in fig. 2.

There is a design illustrated by Wunder op. cit., no. 64, circa 1775, reproduced here in fig. 3, (Pinacoteca, Faenza) depicting a sanctuary lantern which is somewhat comparable to this lantern: the oil lamp is found in the central section where the angels are suspended from the chains, the ‘upturned bell section’ is semi upright, the ball shaped finial at the base looks very similar to a decorative pompom used in lace-making. There is also a presentation drawing signed by Luigi Valadier for a chandelier, one of a set, (Pinacoteca, Faenza), illustrated by A.G.P. op. cit., p. 123, fig. 264, also in the catalogue of the exhibition op. cit., p. 84, no. 47, reproduced here in fig. 4, which depicts cherubim and angels sounding the Last Judgement trumpets, conceived in a similar spirit to the offered lantern.

Alvar González-Palacios, in his note in the Porro catalogue in 2005 (see ante), compares that lantern to the work of the Roman bronzista, founder and goldsmith Giuseppe Gagliardi (1697-1749), who executed two torchères for the Chapel of San Joao Baptistry in Lison. Some of his drawings are in the Kunstbibliothek in Berlin, which present incontrovertible stylistic similarities with the offered lantern. Alvar González-Palacios describes the lantern offered by Porro as a milestone in the 18th century art of bronze-making in Rome and also hints at  the sculptor Filippo Della Valle  (1698-1768) as a possible maker for the putti. In fact we know that at this time sculptors and bronzisti worked together alongside each other on commissions.

This lantern's  function as a `Sanctuary lamp' imbues it with a symbolic significance over and above that of lanterns or chandeliers destined to be part of the lighting of a secular building. The lantern signifies the presence of God in the church and principally burns for five days and nights before the tabernacle which holds the items for the Eucharist and this type of lantern is always found before the altar in the middle of the choir stalls. The middle reserve which is supported by three scrolled volutes contains vegetable oil which burns continuously. The larger reserve below it is decorated with a coat of arms belonging to a Franciscan order: the branded arms of Christ and the arms of Saint Francis meet at the base of the cross.