This is a small format painting on copper, of those that were worn on the chest of nuns of some orders such as the Conceptionists, the Hieronymites and in some cases Augustinians and Dominicans, as a group and personal emblem.
These objects have generally been called " nuns' shields" but in the colonial era the term shield was very rare, and the name that was used consistently was "chest medals." [1] Apparently they replaced some insignias called "veneras" (scallop shells), made of gold, precious stones or enamel, which used to be worn by the nuns on their habits. It is believed that they were a response to the reforms imposed by the Archbishop of Mexico Francisco Manso y Zuniga (1629-1635) on the orders of nuns whom he considered too ostentatious and contrary to the vow of poverty, and so, among other things, forbade the continued use of veneras. The nuns then began to use these small paintings, which did not break the prohibition, but at the same time allowed them to express their devotion through a beautiful object of a precious nature.[2]
Generally, these small works, almost like cabinet pictures, were made by the great painters who worked regularly in larger formats which is why in many cases they are signed. The Amparo Museum medal, for example, is signed by Jose Maria Vazquez, a disciple of academic painter Rafael Ximeno y Planes at the Royal Academy of San Carlos.[3]
Featuring very good craftsmanship it represents the Immaculate Conception in the center, with crossed arms as a sign of humility. At the top the Blessed Trinity prepares to crown her, flanked by the Sacred Hearts of Jesus and Mary, a devotion that was prevalent in the late 18th century. A series of personages appear on each side of Mary arranged in rows, but asymmetrically. Together with the Virgin, approximately at her height, are the Archangels St. Michael and St. Raphael, one on each side. Appearing to the far left is St. Joseph with the Child, and to the right St. Louis Gonzaga, a little further up, and St. John Nepomuceno further below. On the lower right row are St. Francis of Assisi and St. Teresa. On the other side is St. Philip Neri, pointing to the edge of the frame. Still further below appear St. Joaquin and St. Anne, on either side of the Virgin, with whom they are united by green branches, a sign of her miraculous fertility. St. Ignatius of Loyola is situated a little above together with the mother of Mary. Finally, below the rest and in the center St. Agnes appears with her little lamb.
The frame of the medal is not the original as they used to be made of tortoise shell. Above the entire composition and following the circular shape, an inscription, apparently of graphite and added much later, reads: "Painted (by) Michel Angel (in) the year 1633, Rome," which makes no sense even for the dates, as the famous artist lived from 1475-1564; besides that, as stated, it is signed by Vazquez and the signature is located between St. Joaquin and St. Agnes.
[1]. Professor Nuria Salazar explains the use of the term in the inventories of the nuns, mainly the Conceptionists, which she has been studying for years. In her words, "out of 100 cases, in one the word shield appears, while the other 99 name the object the chest medal".
[2]. Pierce, Donna, Rogelio Ruiz Gomar and Clara Bargellini, Painting a New World. Mexican Art and Life 1521-1821, Introduction by Jonathan Brown, USA, Denver Art Museum, 2004, pp. 216-218.
[3]. Cuadriello, Jaime, Catálogo comentado del acervo del Museo Nacional de Arte (Annotated Catalog of the National Museum of Art). Nueva España, tome I, México, Patronato del Museo Nacional de Arte, UNAM, Instituto de Investigaciones Estéticas, CONACULTA, INBA, 2000, pp. 166-167. (Board of the National Art Museum, UNAM, Aesthetic Research Institute)
