Necklace

Necklace composed of nineteen bollagras of various sizes with varied decorations based on circles of thread and spheres. They alternate with five filigree balls and eight alconciles of varied decoration. It also has ten devotional pendants. Both the thread of the stringing and the ribbons are new. \In the center, biconvex circular pendant, with smooth frame and eight candelieri in profile, on one side, superimposed, crucified half-bulk on Jerusalem engraved, on the other, Virgin half-bulk superimposed, surrounded by rays and stars. It is the medallion known as Cristo preñao or barrigón in the Castilian-Leonese area. The crucified one repeats the model that appears in the so-called crucifixes of halberd. \In addition, two crucifixes, four medals and three reliquaries are distributed symmetrically along the stringing. The crosses are Greek, of flordealisados ends, with image of half bulk. It is a Christ with three nails, with a wide cloth of purity and an almost horizontal nimbus like a plate; the arms are nailed above the horizontal pole. The four medals are openwork and correspond to eighteenth-century models; they refer to Marian advocations very venerated in the Castilian-Leonese area. One of the medals corresponds to the Virgen del Prado, in which the Virgin and Child appears covered by a rich mantle decorated with scrolls and vegetal forms, which is longer at the back, allowing us to see details of the interior of the mantle. It rests on a crescent moon. In the lower part there is a pedestal with the representation of the Betrothal. Mary is crowned and surrounded by four angels, two musicians and two wearing crowns. Above her head is the dove of the Holy Spirit. The whole is surrounded by a large glory with alternating rays and four angels' heads. Under the handle, a figure of God the Father blessing. The reliquaries, one octagonal and the other oval, are double-windowed, and have various coloured devotional prints inside: the third is an opening case in the shape of a heart, with engravings on both sides, which has lost its contents. \In the 14th century, the Arcipestre de Hita refers to certain pectoral jewels that, with the names of broncha and pancha, seem to be related to the piece that later became known as patena due to its formal similarity with the piece of the same name belonging to the liturgical trousseau. As shown by the fact that in the inventory of Isabel the Catholic's possessions there are several patens, it seems that these were jewels of the nobility during the 15th century. On the other hand, in Los trabajos de Persiles y Segismunda (book 3, ch. 8) Cervantes implies in 1617 that the paten was already a common piece among villainous people: `Vieron venir...doncellas, sobre el mismo sol hermosas, vestidas a lo villano, llenas de sartas y patenas los pechos` (They saw coming...maidens, on the same beautiful sun, dressed like villains, their breasts full of strings and patens). In a similar context of use, the definition of paten in the Diccionario de Autoridades (1726-1739) refers to a large plate or medal... that is used for adornment by the farmwomen. \In the same way that other jewels, the paten has fossilized in different places of the Castilian-Leonese area always associated with the popular clothing, so that it has become part of the list of Spanish popular jewels: in La Alberca (Salamanca), where it is carried hanging from a large lap that adorns the costume of views; in Zamarramala (Segovia), where it adorns the necklaces of the mayoress; in the so-called "collaradas leonesas", etc.