This monstrance was in use in the Trois-Rivières parish church until June 22, 1908. Saved at the same time as other objects of worship or liturgical works of art thanks to the dedication of three priests (Vallée, Denoncourt, and Dusablon) and several parishioners, this piece of goldsmithery escaped the threats of the terrible fire that nevertheless devastated much of the city that day.

With respect to the artist, Laurent Amiot, he was born in Quebec City in 1764. He was the son of an innkeeper. After studying at the Petit Séminaire de Québec, he began working as an apprentice at the goldsmith’s workshop of his older brother, Jean-Nicolas. In 1782, he left for Paris to continue his training. He remained there for five years. Upon his return in 1787, he could rely on a letter of recommendation that confirmed that he was qualified to practice his talent, now well versed in the techniques in vogue in Paris in the purest Louis XVI style.

He opened his workshop in an area of Quebec City where several fellow goldsmiths were already established and maintained close ties with François Baillairgé, whom he asked to make the sign for his shop.

In the Dictionary of Canadian Biography, one of his biographers, René Villeneuve, said that Amiot “was to the silversmith’s art what François Baillairgé was to architecture and woodcarving.”

Laurent Amiot died in 1839 in Quebec City.

The Royal Ontario Museum has a monstrance from the same artist that features several similarities.

Musée Pierre-Boucher Collection
1977 105 O