The following monstrance (also called an "ostensorium") was made in the year 1774, coming by way of a donation made by a generous benefactor, M. Guisseppe Paglia, in his 80th year. We know this because there is a dedicatory inscription found on the monstrance.
This particular ostensorium, used for adoration of the Blessed Sacrament, is made from engraved silver, gilding and embedded precious gemstones. Oftentimes monstrances tend to take on a fairly generic form, with none particularly standing out more or less than any other, but this particular ostensorium is especially ornamental, bearing a striking resemblance to a baroque candlestick in its form.
Of course, the most typical design element found here is the sunburst design, a design that had its beginnings in the fifteenth century or thereabouts. (Prior to this medieval ostensoria took on another shape, being either cylindrical in shape -- such as we still see in the Ambrosian rite -- or having a more spire-like architectural form). Within the sunburst we can find precious stones embedded around the space where the Eucharistic host is placed, as well on on the cross and some of the rays. (One can well imagine how these stones would capture and reflect the light, thus giving a sense of the divine light radiating from the Eucharist itself.) In addition to this, silver cherubs also encircle the host.
The knop (i.e. the bulge on the cylindrical shaft) continues the use of cherubs, while small pieces of blue -- possibly blue lapis lazuli stone, sometimes referred to as "blue gold" -- have also been inserted into the design, giving a nice touch of complimentary colour.
The base of the candlestick is particularly beautiful, following a typical three-footed baroque design. Cherubs and angels here too abound in the design and one will also note the presence of amber stones as well as a highly detailed medallion relief depicting the Resurrection of Christ.
The level of craftsmanship found here is really quite something and it certainly speaks to an age that better understood the relationship between material beauty and spiritual devotion. What's more, it also understood the inherent subtextual message; namely, that the effort and preciosity that is put into an object of sacred art like this is not a reflection of a materialistic worldview, nor is it an end in its own right, it rather communicates the sacrality, belief and devotion one has for the spiritual realities to which these objects are intended to serve and point to.
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