In praise of polyphony

A consort of flutes in the sixteenth-century Guimarães monstrance

Abstract

The great monstrance of the Church of Nossa Senhora da Oliveira, in Guimarães, currently housed in the Alberto Sampaio Museum, is a landmark work of Portuguese goldsmithing, belonging to a type of pieces that were produced for the cathedrals of Braga, Porto and Viseu. Used for liturgical purposes, for the exhibition of the consecrated host, it was particularly visible during the feast of Corpus Christi, where music played a prominent role. It is precisely the musical elements in this artwork that caught our attention and will be the subject of reflection in this study. A unique consort of flutes, played by angel musicians, surrounds the tabernacle and stands out from the other ornamental elements. As the purpose of highlighting the musical dimension of the monstrance seems evident to us, we seek to interpret the musical elements as participants in a specific artistic and historical context, attempting to establish links with the festivity of Corpus Christi. The decision to include the flute consort is undoubtedly an interesting testimony to the possibility of music conferring new layers of meaning on other forms of artistic expression, enriching them aesthetically; in this case, the art of sound is called upon for the spiritual enhancement and elevation of the monstrance. The music that was heard, like the one which was made visible by the consort of flutes played by the little silver angels of the liturgical vase, emerges as a superlative form of worship and honor for the mystical body of Christ.

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