Recent restoration (2011) by the Cagliari BAPSAE Superintendency has highlighted the quantity and interest of the liturgical silverware in the parish church of Settimo San Pietro, variously dated between the 17th and 19th centuries. Documents of art and faith, they bear witness to the generosity of the people of Settimo, whose offerings contributed to the creation of these precious objects. Sacred furnishings have a liturgical purpose that conditions their shape and ornamentation, which, however, varies over time, following changes in taste and fashion; according to Tridentine instructions, each church had to equip itself with a set of sacred furnishings, subject to verification during pastoral visits. The confraternity brought together tutit the metal workers, who had a chapel inside Cagliari cathedral. In the Spanish era (16th-17th centuries), supervision of the workshops and control of metal quality was entrusted to the maggiorali, elected on June 25, the feast of the patron saint St. Eligius bishop. In the Savoy era (18th-19th centuries) an edict of 1768 issued the new regulations, in force until the unification of Italy, which provided for three marks: the crowned coat of arms of the Kingdom of Sardinia, the mark of the royal taster and that of the workshop. In the late 1700s a number of skilled silversmiths from Cagliari worked for Settimo: Felice Usay shaped the cartegloria and modernized various objects, Sebastiano Cabras made the monumental hanging lamp, and Luigi Cirronis a valuable monstrance.
