Exceptionally richly executed sun monstrance in Louis XIV style, decorated with numerous precious stones and pearls. At the top is a arched crown with orb and cross, flanked by two putti with flowing drapery. Between them, in the middle above the monstrance, is an enamelled female statue with cross and chalice, symbolizing the Church. A bank of clouds, with putti holding a string of pearls, hovers underneath the monstrance to the left and right. On the clouds are seven more enamelled Renaissance-style female statues. The figurines are older than the monstrance and represent the virtues: the divine virtues Faith, Hope and Love, and the cardinal virtues Prudence, Justice, Fortitude and Temperance. On the trunk of the monstrance are the symbols of the four evangelists. On the base you can see putti and women’s heads, and four medallions with three prelates and a hermit, probably representations of the Latin Church Fathers Ambrose, Augustine, Gregory and Jerome.

The monstrance was commissioned in 1724 by Maria Magdalena van Westvelt, widow of Franciscus van Beversluys, who gave silversmith Jan Beaucourt pearls and jewels to incorporate into the monstrance in addition to a sum of money. On 20 April 1726, she donated the monstrance to the church wardens of the Church of Our Lady in Bruges.

MASTERPIECE

Legend has it that, one day, Maria Magdalena van Westvelt, the rich widow of Franciscus van Beversluys, adorned her cat with the finest jewels. In an unguarded moment, however, the animal fled outside, along with a fortune in gold, diamonds and pearls. The distraught Maria Magdalena promised in her prayers that, if both the cat and the jewels returned safely, she would donate a valuable monstrance to the Church of Our Lady of Bruges. And, indeed, shortly thereafter the cat and the jewels reappeared, after which Maria Magdalena commissioned the goldsmith Laurens (Jan) Beaucourt to make a solar monstrance. Beaucourt was paid 400 pounds gross for it, as well as an impressive number of jewels and eight enamelled female figures to incorporate into the monstrance. Ever since, the monstrance has been known as ‘de Katte van Beversluys’ (the Cat of Beversluys).

But is this story true? Probably not. It is likely a misinterpetation of the name. It is unclear what the origin of the confusion is. In the art of goldsmithing, the French word ‘chaton’ (‘kitten’) is the name of a setting in which a gemstone is clasped by separate wire rods in a wreath form. A chaton is also an embroidered symbol of a chivalric order, often in the form of a star or a cross.

This artwork is the property of the Church of Our Lady in Bruges and is managed by Musea Brugge.