Eighteenth-century jewelry in Navarre, as in the rest of Spain, will experience a major boom, partly linked to the economic recovery that our country experienced throughout this century. Likewise, the development of this art was influenced by the taste for luxury and ostentation that characterized this period, which not only led to an increase in the number of types used in the adornment of staff, both female and male, but also facilitated the exuberant adornment of various sacred images, and therefore, the creation of rich ecclesiastical trousseaus. As happened with the rest of the arts, the dynastic change that occurred at the beginning of the century, with the arrival of the Bourbons after the death without heir of Charles II, the last of the Habsburgs, influenced the development of this medium, both in relation to the design of the pieces and in relation to the materials used or the carving of the stones used. The beginning of these transformations can already be seen at the end of the 17th century, when the French influences emanating from the court of Louis XIV spread throughout Europe, our country being no stranger to them, which was increased with the change of dynasty, when the new models spread directly through the court. For this reason, and again as happened in other artistic manifestations, there was a duality between the new models of international taste, more refined, and the Spanish vernacular jewelry, with models that imitated pieces from previous centuries.

However, despite the flourishing in the use of jewelry that was experienced throughout the eighteenth century, the issue of pieces of this era that has reached our days is not very numerous, partly because many of them were dismantled due to the chrematistic value of the materials with which they were made, and partly because with those same materials new works were made more in line with fashion. Most of the works preserved today are kept mainly in religious institutions, which is not strange given the close link between society and religion in the Spanish Monarchy of the Ancient Regime, which led to the donation of all subject of jewelry to the images of devotion. Thanks to this, the church was forming important sets of jewelry, just remember the virgins of Pilar de Zaragoza, Gracia de Carmona or Guadalupe de Extremadura or, and in Navarra, those of the Sagrario, Camino and Maravillas, all three in Pamplona. However, these trousseaus have been greatly diminished up to the present day, partly due to the looting and seizures that occurred during the wars and confiscations of the 19th century, but also due to the sale of the churches themselves to cover other expenses with the proceeds. Thus, with the jewels given to the Virgen del Camino de Pamplona, and saving the pieces necessary for the ornamentation of the image, public raffles were organized to defray the costs of construction and decoration of the Chapel. Not to mention the auction held with part of the jewels of Nuestra Señora del Pilar de Zaragoza in 1870 to, with the proceeds of their sale, defray the architectural completion of the temple. Some of these pieces, now lost, can be recognized in paintings of the period, such as the innumerable Baroque Marian trompe l'oeil paintings, in which it is common to see the images adorned with pieces from her jewelry box. Thus, it can be stated without hesitation that the main source for the study of this art in our country are the ecclesiastical treasures, which keep most of the pieces preserved today. Within the religion-society link that was lived in our country, we can establish two main reasons to explain the donation of these jewels to devotional images, churches and sanctuaries. On the one hand, the deep religiosity of the Spanish society motivated the offering of pieces to different images with the intention that these were placed to the sacred figure, thus acquiring a thaumaturgic sense, since the person who had given the jewel got in an empathic way to be close to the divine, by dressing the sacred image with the same piece that she had worn. And on the other hand, the submission of a jewel, other objects or money, reaffirmed the status and fortune of the donor, as well as his lineage, acquiring those pieces in addition to their economic value a value of representation. And the higher the bequest, the greater the resonance of the donation and therefore the greater the fame of the donor.

But the existing pieces in these ecclesiastical trousseaus were not only due to the munificence of civilian patrons, but the temples themselves, and also to the dictates of fashion, would want to adorn the images they housed in the most dignified way possible, which meant, on those occasions when resources permitted, ordering new jewelry to adorn the devotional figures. For this reason, many churches commissioned new works, for which it was usual to submit to the goldsmiths who were to execute them part of the materials to be used, either old-fashioned or damaged pieces, or metal materials by weight or loose stones. Sometimes it was stipulated that the jewels delivered, due to the existing link with the image or to the conditions established at the time of their donation, could not be dismantled, so in order to update the objects of adornment of the venerated image, they were incorporated into the new jewel as they were, respecting their morphology, which we can still see today mainly in rostra, bibs, bands, capes and other works used to dress the images.

When studying the production of jewelry we find several handicaps that prevent us from knowing the authors or manufacturing centers. On the one hand, the commissioning and production of these pieces often constituted private acts, and contrary to what happened with other arts, it was not collected by means of a contract. On the other hand, although their elaboration was regulated by law when they were carved in gold and silver, given that they were the same materials used to mint legal tender, there were few times that their authors marked them with the locality and authorship punches stipulated by the established marking systems. An added complication in the study of jewelry is the difficulty of determining with precision the workshops where these pieces were made, on the one hand due to the mobility of these pieces, thanks to their easy transport, and on the other because of the repetition of the models in the different workshops. Sometimes, thanks to the materials or the technical and stylistic characteristics that they present, we can ascribe them to specific production centers that later exported these pieces, although they could also have been made in local workshops. In the case of the works preserved in Navarre's temples, we find both works produced by local silversmiths and others that came from foreign centers, which we know either thanks to the preserved documentation, which tells us about the author or the donor, or because the materials used or the models they present link them to a specific center. In the case of the breastplates preserved in Navarre, pieces that are analyzed in this study, thanks to the preserved documentation we know the Navarrese origin of several of them, and given the existing similarity between all of them and their presence both in the ordinances of the silversmiths' guild and among the examination drawings, we believe that most of them would be of Navarrese origin, except for those made in rhinestones, which we believe are of French origin.

Of great importance for the study of jewelry in Navarre is the Libro de dibujos antiguos de los plateros de Pamplona, which contains the drawings made by those aspiring to obtain the Degree of master silversmith, both gold and silver, in Navarre from the last decade of the seventeenth century until the first third of the nineteenth century. This book allows us to know the gold silversmiths examined between 1691 and 1832, as well as the drawings they made as an examination test . This book contains, together with designs of silverware pieces, fourteen drawings of jewelry of aspirants to obtain the degree scroll of gold silversmith, dated the first one in 1700 and the last one in 1788. The drawings are drawn in various inks, using yellow for the gold and blue or gray for the rhinestones. Among the jewelry drawn there are eight rings, two crosses, a cross pendant, a loop with a cross, a bow with a cross, a ribbon and a breastplate. These designs, undoubtedly of totally fashionable pieces, allow us to see the prevailing models at this time in Pamplona, as well as to know the aspirants to the Degree of gold silversmith, and to show us some masters knowledgeable of the prevailing novelties in the Court.

As we have already pointed out, the survival of jewelry pieces in Spain is largely linked to ecclesiastical treasures, and Navarre was no exception. Throughout the length and breadth of the old kingdom numerous advocations will gather important sets of jewelry, among them the trousseaus of the virgins of the Sagrario of the cathedral of Pamplona and of the Maravillas of the convent of Augustinian Recollect nuns of the same city, being also remarkable the pieces treasured by the figure of San Fermin, also in Pamplona. The patron saint of the capital, Nuestra Señora del Camino, has hardly preserved any old pieces, mainly because throughout the 18th and 19th centuries, raffles were held with the jewels she received to help pay for the work on her chapel. Other images that have preserved important pieces are the virgins of Rocamador de Sangüesa, Ujué, Roncesvalles, Tulebras or Araceli and Villar in Corella. Of all of them, undoubtedly the most interesting at the moment is that of the cathedral, one of the most important sets of gold jewelry and precious stones from the first half of the 18th century in Spain.

The jewelry of Navarre at this time will follow the prevailing guidelines in the rest of the Hispanic workshops, mainly imposed by the Court, without showing traits of differentiating originality in models, materials or typologies. Several of the pieces of this century are covered with rhinestones, mainly diamonds and emeralds, in which we can see, due to French influence, an improvement in the techniques of setting and carving. In mid-century the use of rhinestones was introduced, a glass paste that when solidified could be cut, resembling diamond, invented by Joseph Strass, Austrian goldsmith who worked for the French court, and was used to produce abundant costume jewelry and that by 1780 had gone out of fashion.

One of the most important types of jewelry in the eighteenth century in Spain is the Dungarees, a large female jewel that was used in the neckline and chest, adorning the bodice and reaching the waist, with a triangular profile . Throughout this century, the breastplates will become one of the main jewels in the women's jewelry box. As it happens with the ribbons, another of the main feminine jewels of these moments and with which this typology has many similarities, the breastplates appeared in the XVII century, evolving from textile elements, although they lived their moment of splendor during the seventeenth century, when they became the queen piece of the feminine jewelry box, becoming the most important jewel, both for its size and its value, of the XVIII century.

The breastplates are pieces of inverted triangular profile , articulated around a central button framed by leaves, foliage and scrolls of vegetal motifs with "C" and "S" shapes superimposed, openwork and trimmed, which may include tufts and trembling on the top, as well as knobs and almonds on the bottom, all set with rhinestones, usually diamonds and emeralds. On the back they had pins for fastening. In order to cover the entire bodice, they were made up of several decreasing bodies, although those preserved in Navarre are composed of a single piece.

Their denomination is not clear, since, as we can see in the documentation, depending on the time, the center of execution or even the knowledge of the person who noted their existence in a document, their denomination changes. Thus, they have been called petos, brocamantones, miramelindos, joya en forma de alamar or with the generic name of joya. Thus, in the inventories of the cathedral of Pamplona in the 18th century they are often referred to with the generic name of jewel, while in the examination to obtain the Degree of master silversmith of Santiago Bisghres in 1721 they are called miramelindo, when nevertheless the ordinances of silversmiths of Pamplona of 1743 refer to them as alamar de guías. In the inventories of the jewels of the Virgin of the Sagrario they are called as jewels or jewels in the form of alamar, having been able to identify them thanks to the description that is made of them and their conservation at the present time "Jewel of gold of figure of alamar with a hook of copper gilded by back, and the Wayside Cross of the same with five pendants, four small ones, and one more grown in the middle and four rosettes in the superior part garnished with 70 diamonds more or less", to which it is assigned a weight of two ounces and a value of one hundred and sixty pesos. With the same designation of jewel of figure of alamar another jewel is seated more, formed by loose pieces, with a total of one hundred ten and eight set table diamonds and with a weight of one ounce and six eighty ounces and a value of two hundred forty pesos.

As we have already said, in the list of typologies that the ordinances of the Pamplona silversmiths' guild of 1743 indicated among those that could be given to choose to the aspirants to obtain the Degree of gold silversmith to make as an examination piece was the breastplate: "y las de oro han de ser de las siguientes para los que han de ser aprobados para Plattero de oro; Un alamar de guias echo a mano de toda moda en oro o en platta, con cientto y quarenta piedras clavadas, todas de fino;...". This typology was the one selected as examination piece in 1721 by the aspirant Santiago Bisghres, of Madrid origin and trained in Madrid and Zaragoza, to whom the brotherhood gave him to choose between two rings, one of seven stones and another of three, and a miramelindo, choosing the latter, a design that he presented on August 5, 1721, being C brotherhood and obtaining the Degree of gold silversmith. Thanks to the preservation of the drawing we can see that the piece called miramelindo is none other than a breastplate.

Among the antique jewelry preserved in Navarre we find several bibs, the most important being the one in the cathedral, for the ornamentation of Our Lady of the Tabernacle. All of them can be dated to the first half of the 18th century, being made mainly in gold with diamond settings, except for one that also incorporates emeralds and another made with rhinestones. Likewise, along with the preserved pieces, there are several mentions of this subject in the analyzed documentation of different Navarrese temples, such as the annotation in the 18th century cathedral inventories of "jewel of an alamar figure", made in silver in its color, with one hundred and forty-one small pink diamonds set and fastened on the back in steel, and which was valued at one hundred and fifty pesos.

Santiago Bisghres. Pamplona. 1721
Paper, ink and graphite.
Pamplona. Municipal file . Book of old drawings of the silversmiths of Pamplona.

In spite of the fact that, as we have already mentioned, the peto is one of the most important pieces of jewelry of the 18th century, and that it was one of the pieces that could be chosen by the aspirants to obtain the Degree of gold silversmith in Pamplona, only one of them, Santiago Bisghres, chose it as an examination piece in 1721. The confraternity gave the aspirant the choice between two rings, one of seven stones and the other of three, or a miramelindo. Although the documentation does not specify which subject of the piece this denomination reference letter to, the preservation of the drawing has allowed us to identify it with the breastplate. The drawing offers us a horizontal and symmetrical breastplate, decreasing towards the sides, articulated by means of a dense vegetal foliage composed of scrolls and thistle leaves that frames three circular bodies, the central one like a rose of circular profile with a button set with an antique brilliant cut stone and pearly molding, surrounded by scrolls, and the two lateral ones in the form of a cross with sinuous arms with a central button with a stone cut in a slab and pearly molding. From the central part hangs a vegetal crown from which in turn hangs a Latin cross of vegetal arms with a lower floral finial, all of them with table-cut stone settings. It is noteworthy that, contrary to what is usual in this subject of works, there are hardly any gem settings, since in this piece the upper body is formed mainly by an exuberant work of foliage cut in gold, with occasional gem settings in the three buttons that center the piece, while both the crown and the cross have a larger issue of settings. Perhaps one explanation for this absence of rhinestones is due to the fact that aspiring silversmiths had to draw works that were then executed with materials provided by the Brotherhood of St. Eloy, which subsequently sold the work, and that Bisghres would have distributed the rhinestones provided by the Pamplona Brotherhood in the tracing and drawing. Curiously, the 1743 ordinances of the guild established that these examination pieces should have 140 stones, and although the drawing does not have them, and therefore we understand that the executed piece does not have them either, Bisghres was C

Anonymous. Pamplona. First half of the eighteenth century.
Gold and table and rose cut diamonds.
Measures: 7 x ,5 x cm.
Pamplona. Pamplona Cathedral. Trousseau of Our Lady of the Tabernacle.

This piece is part of a set of four bibs commissioned in 1733 by the cathedral chapter of Pamplona for the image of Our Lady of the Tabernacle. Given the similarities between the four pieces, they can be attributed to the same gold silversmith, probably Juan José de la Cruz, one of the main masters active at this time in Pamplona, who at this time was working for the cathedral on other commissions, such as the crowns of the Virgin and Child, made of gold, diamonds and emeralds. All of them have a similar structure, made in gold with diamond settings, table and rose cut, with the back decorated with incised vegetal and floral scrolls, also having on the back some spikes or guides for fastening. The four pieces are related to the designs of floral and vegetal elements that appear in the jewelry and some of the pieces of silverware drawn in the Libro de dibujos antiguos de los plateros de Pamplona (Book of ancient drawings of the silversmiths of Pamplona). Perhaps one of these bibs could also correspond to the gold and diamond pectoral given to the Virgin in 1729 by the Bishop of Pamplona Melchor Gutiérrez Vallejo (1729-1734), on the occasion of his taking possession of the Pamplona bishopric. This piece was appraised by Juan Muñoz, appraiser and contrast of Madrid, in four hundred eighty-six ducats, although as specified, these appraisals were made to the leave, so the pectoral was of greater value.

This is an average moon-shaped breastwork, with a curved and symmetrical profile , with the sides slightly surpassing the coping. It is articulated by means of a central body framed by vegetal scrolls, with two floral motifs at the intersection of the scrolls. From the lower part hang six pinjantes in the form of knob or lantern and two central bodies, the upper one of horizontal profile formed by central button with lateral scrolls and the lower one with the end in the form of flower, with central button surrounded by leaves similar to the pinjantes lanterns. The central body is formed by a rose articulated by means of a button with pearly molding and two superimposed bodies of scrolls and vegetal elements and flowers. It presents a rich setting of diamonds, which are distributed throughout the surface, centering the central bodies of the breastplate and pendants, as well as the pinjantes and the scrolls, contrasting the lightness and openness and definition of the latter, with the greater variegation and density in the central bodies.

Anonymous. Pamplona. First half of the eighteenth century.
Gold and table and rose cut diamonds.
Measures: 8.1 x .5 x cm.
Pamplona. Pamplona Cathedral. Trousseau of Our Lady of the Tabernacle.

It follows the model of the previous one with slight variations, and like this one, was commissioned by the cathedral chapter. It also presents a curved format of average moon, with a greater angle of inclination, surpassing the lateral scrolls the central coping, formed by a motif of fan leaves. From the lower part hang six lantern-shaped pinjantes, the same as those of the previous piece, as well as the floral elements at the intersection of the scrolls. There are greater differences in the resolution of the top, here in a fan, and in the central body, more variegated and of greater proportions, with the central button in the form of a flower of lanceolate petals. In axis with the previous body hangs a piece of circular profile , of great size, that repeats the outline of the superior one, although more open, central button surrounded by three bands of leaves. As in the previous piece, it is set with rhinestones all over the surface.

Anonymous. Pamplona. First half of the eighteenth century.
Gold and table and rose cut diamonds.
Measures: 10,8 x ,1 x ,4 cm.
Pamplona. Pamplona Cathedral. Trousseau of Our Lady of the Tabernacle.

This breastplate is part of the cathedral ensemble and presents major differences with the previous pieces. The format is no longer curved, but has a straighter profile , with a fan-shaped crest composed of five circular pearl buttons. Four similar buttons are repeated superimposed on the lateral scrolls, also of smaller development and with the flowers of the intersections, simpler, while at the ends there are floral finials. From the lower part hang six lanterns, less complex than those of the previous pieces. Central body articulated in two differentiated bodies, the lower one with vegetal elements and copete, and the upper one formed by a rosette with central button framed by molding with trapezoidal frames all outlined by pearly borders. This work presents a greater simplification and purification of lines than the previous pieces, with a common language and style but with new elements, such as the buttons superimposed on the scrolls. 

Anonymous. Pamplona. First half of the XVIII century.
Gold and rose-cut diamonds
Measures: 7,6 x ,6 x ,5 cm.
Pamplona. Cathedral. Trousseau of Our Lady of the Tabernacle.

The breastplate follows the previous models, repeating the straight profile and the greater simplicity in its lines of the previous one. Like these, it has buttons on the lateral scrolls, although only one on each side, a central superior crest, of semicircular profile but with a central button surrounded by vegetal elements, framed on the sides by four flowers, joined to the scrolls by means of rigid straight and flat stems. From the lower part hang four leaf-shaped pinjantes and a vegetal body of lance-shaped profile with a small central button. The breastplate is centered by a rose-shaped body with a central button framed by rectangular settings separated by beveled rays, which continues on the upper rim. Given the description of the piece, probably this is the breastplate that is listed in the inventory of the jewels of the Virgin of 1771 as "Jewel of gold of figure of alamar with a gilded copper hook behind, and the Wayside Cross of the same with five pendants, four small ones, and one more grown in the middle and four rosettes in the superior part adorned with 70 diamonds more or less".

Anonymous. Pamplona. First third of the eighteenth century.
Gold and table and rose cut diamonds.
Measures: 5 x cm.
Corella. Church of San Miguel. Trousseau of Our Lady of Mercy.

This breastplate follows the models previously seen, and has similarities in the articulation of the scrolls and the six pinjantes hanging from the lower part, as well as in the conception of the buttons arranged in a fan in the crest. However, the arrangement of the scrolls is more dense and variegated, with the central body articulated by means of a vegetal button framed by borders of vegetal elements. Likewise, hanging from the central part of the breastplate is a habit or brotherhood insignia, which is articulated by means of a circular profile body formed by a central rosette surrounded by circular buttons, all framed by two moldings, in the interior a vegetal one, crossed by arrows, and in the exterior, another one of ces. Like the previous bibs, it is set with table and rose-cut diamonds all over the surface.

This is not the first time that we see the employment of a habit or insignia of a confraternity in the execution of another piece of jewelry, since the scepter of the Virgin of the Tabernacle of the cathedral of Pamplona is formed by the juxtaposition of one of these pieces placed as the top of a chest rose. The reuse of various pieces of jewelry in the manufacture of new jewelry, incorporating them in an integrated manner, is not surprising being a recurring resource throughout the history of jewelry, especially in those pieces linked to ecclesiastical trousseaus, as often its survival was linked to the donation of the piece or the figure of the donor.

In spite of the fact that the ordinances specified the marking of this subject of pieces, there are very few pieces of jewelry that have reached our days with stamped punches that allow us to identify the author or place of execution of these jewels. Nor does the existing documentation offer us any light on the provenance of this work. However, its similarity to the previous ones, both in terms of the work and the articulation of the motifs and structure, lead us to attribute it, if not to Juan José de la Cruz himself, then to a goldsmith from Pamplona.

Anonymous. Pamplona. First half of the eighteenth century.
Gold, diamonds, table and rose cut, and table cut emeralds.
Measures: 8.1 x .5 x cm.
Pamplona. Church of San Saturnino. Trousseau of Our Lady of the Way.

Breastplate that follows the models of the previous ones but with simpler and more refined lines. It presents a horizontal projection profile , with straight scrolls that frame a vegetal rosette with a central button, that sets an emerald of emerald cut, framed by a pearly molding and on the sides, over the scrolls, there are two vegetal rosettes that follow the model of the central one but of greater simplicity. From the scrolls hang four lantern-shaped pinjantes and from the central body a vegetal element of lance-shaped profile , with a central pearly button framed by vegetal elements.

Unlike the rest of the gold breastplates, this piece is set not only with table and rose-cut diamonds, but also with emerald-cut emeralds that center the composition, in the scrolls of the upper part and of the hanging body. As in the rest of the pieces, it does not present punches that allow us to identify its author, although the similarities of style and language with the previous pieces allow us to ascribe it to the Pamplona workshop. This is one of the few antique jewelry from the trousseau of Our Lady of the Way of Pamplona that has survived to the present day, since it was customary to raffle the jewels given to the Virgin to defray the expenses of the Chapel. 

Anonymous. Pamplona. First third of the eighteenth century.
Gold and table and rose cut diamonds.
Measures: 5 x cm.
Corella. Convent of Our Lady of Araceli. Trousseau of Our Lady of Araceli

Bib that follows the aesthetics of the previous ones but that has arrived very transformed to our days, since it was modified to adapt it to one of the bejeweled bands of the Virgin of Araceli. In this way, only the central body is conserved, without the pinjantes that usually hang in the inferior part. It presents a slightly curved profile , of average moon, with a central floral element articulated by means of a button with pearly molding framed by petals with settings, from which emerge on both sides, two vegetal bouquets. Like the rest of the pieces, it has gem-settings on the entire surface, with an emphasis on the button and petals of the central body.

We lack data that would allow us to ascribe this piece not only to a specific silversmith, but even to a workshop. It is different in form from the pieces we have seen in Pamplona, and is probably the work of a foreign workshop. In this sense, we must not forget that Corella lived a moment of splendor in the centuries of the Baroque, and that even the kings Felipe V and Isabel de Farnesio settled there for a few months, between June and October of 1711. Likewise, there are numerous native sons of Corella who settled in the Court and the main cities of the monarchy, and who sent sumptuous gifts to their hometown.

Anonymous. France. First third of the 18th century.
Silver in its color and rhinestones.
Measures: 6 x cm.
Pamplona. Church of San Saturnino. Trousseau of Our Lady of the Way.

More advanced is the second of the bibs preserved in the trousseau of Nuestra Señora del Camino de Pamplona, a piece made of silver and rhinestones. Of horizontal projection and made entirely with rhinestones, it is articulated by a central flower formed by a button surrounded by two borders as petals, framed by two branches that cross at the bottom, where another flower of six petals of smaller dimensions is placed, and that on the sides are continued with other vegetal elements.

This breastplate is set in the front of the daily crown of the Virgen del Camino, being a piece of great showiness and effectiveness. The rhinestone, a subject of cut glass paste that produced diamond-like effects, became fashionable in the mid-eighteenth century, although by the 1980s it was already outdated. The costume jewelry made with this material were made mainly in France, where they were imported to Spain, reaching a high price, producing the paradox that in our country, on numerous occasions, were exchanged for pieces carved in gold with precious stones, which were exported to France, with the economic loss that entailed. It was such a business Issue that was reached that even was legislated on numerous occasions prohibiting the import of French costume jewelry pieces and the export of Spanish jewelry. Although traditionally the manufacture of these pieces was carried out in French workshops, production soon spread to centers in Catalonia and Portugal. The breastplate studied here is very similar to one in the Museu Nacional de Arte Antiga in Lisbon. Likewise, Our Lady of the Recollects of Pamplona has an interesting ornament made of rhinestones, although in this case, it does not include a breastplate.

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