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  • Home
  • Resources
    • Smarthistory
    • Antonio Francisco Lisboa: Aleijadinho >
      • Documentary Evidence
      • Gallery
  • Teaching
    • Visual Dynamics
    • History of Art I
    • History of Art II
    • History of Photography
    • Museum Ethics & Issues
    • Theory & Methods
    • Native American Art >
      • About
      • Virtual Tour
      • Collaboration
    • Latin American Art
  • Research
    • Textiles >
      • Chintz
      • Woven Patterns
      • Embroidery
    • Metalwork >
      • Utilitarian Items
      • Jewelry
    • Furniture >
      • Beds
      • Storage
      • Seating
      • Transportation
    • Ceramics >
      • Porcelain
      • Tin-Glazed Earthenware
    • Resources
  • Contact
Picture
Photo: Winterthur Museum

Chocolate Pot

copper, wood, tin, iron
1703
Dutch Republic
Winterthur Museum



Chocolate originated in Central America and the habit of drinking a hot beverage made of chocolate was brought to Europe by the Spanish. By the eighteenth century, drinking chocolate was popular among the wealthy throughout Europe and the Americas. 

The hot beverage was stirred in these specialized pots. The small lid slides open to allow the chocolate to be stirred. Chocolate pots were common in elite homes in Minas Gerais.

Picture

Basin and Ewer

silver
last quarter of the eighteenth century
signed R.S.J., Lisbon, Portugal, 
The Metropolitan Museum of Art


In a time before homes had plumbing and running water, people washed their hands using a basin and ewer.  After the meal, a slave brought out a towel, a basin and a ewer filled with water. The slave poured water over the hands of each diner who could then dry their hands with the towel. 




Picture

Picture

Basin and Ewer

silver
third quarter of the eighteenth century
Lisbon
Museu Quinta das Cruzes



The coat of arms of the Brandão e Melo family is engraved into the center of the basin. For more information, see Museu Quinta das Cruzes, Um Olhar do Porto: Uma Collecção de Artes Decorativas, (Funchal, Madeira: Museu Quinta das Cruzes, 2005), 242-3.

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Copyright 2018 Rachel A. Zimmerman ​
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