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The Archbishop of Toledo Diego de Astorga y Céspedes (1720-1734) wanted to leave his mark on the Primatial Cathedral by promoting an artistic initiative aimed at naturally illuminating the tabernacle. Such a task was entrusted to Narciso Tomé, whose talent and delicate taste resulted in one of the most paradigmatic works of the Hispanic Baroque: the so-called 'Transparente'. This circumstance has turned it into the subject matter of a great deal of research, mostly dedicated to its sculpture and painting. This is not the case regarding its bronzes. To amend this reality, a new documentary search has been carried out, thanks to which it has been possible to know both the authors and the ins and outs of the process of execution, including the signing of contracts, the deadlines, and the delivery of the pieces, in addition to their weight and the fees received by the artists. [ABSTRACT FROM AUTHOR]

This article reveals the authorship of the silver altar frontal of the chapel of Nuestra Señora de la Antigua in the cathedral of Seville. Specifically, thanks to a correct reading of its punches, we know that it was executed by the Roman silversmith Lorenzo de Caporali before September 1761, when canon Martín Alberto de Carvajal donated it to this Marian chapel. In addition, we analyse the style of the piece and argue the connection between its patron and Rome thanks to the new documents we have found in different archives. [ABSTRACT FROM AUTHOR]

A recent exhibition in Santiago de Compostela has collected the career of the silversmith Julio Lado Martínez, last witness of a centuries-old saga of Compostela silversmiths. The aim of this article is to publicise our research on this family by focusing on those members who preceded Julio, in which, through the consult of the archives of the city, we have been able to collect an enormous number of documents, especially historical press reports, which tell us about important missing works, for example, several offered to important politicians or even to the kings of Spain. [ABSTRACT FROM AUTHOR]

En este estudio presentamos y analizamos nueva documentación sobre el platero Juan de Arfe y su trabajo en la custodia de la catedral de Ávila. El legajo, conservado en el Archivo Diocesano de Ávila, contiene un duplicado del contrato, correspondencia enviada por Arfe al cabildo, cartas de pago y de poder, y la tasación completa de la custodia. A través de estos documentos podremos conocer el nombre de algunos de los oficiales vinculados a su taller y detalles del proceso creativo de la pieza, ampliando significativamente el conocimiento de su primera gran obra.

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