As L. Arbeteta points out, reliquary lockets and devotional medallions and plaques, as well as crucifixes, were favored by the devout in Spain and, by extension, in the Spanish Indies. The popular name for reliquaries is actually the generic locket, which is still defined in the Royal Spanish Academy Dictionary as a piece of jewelry in the shape of a small, flat box where portraits, paintings... or other keepsake objects are generally kept.
Therefore, lockets may or may not contain relics. When the cherished illustrations are of a devotional subject, they are called, by extension, reliquaries. There is confusion between true reliquaries, those used to hold sacred remains, and their corresponding and non-authentic versions. The use of both words helps to remind us that they are essentially lockets for personal use, as well as being objects of a devotional nature (1).
A fairly common type in the New Spanish and Mexican jewelry since the seventeenth century is the elliptical locket with windows on the front and back, and a silver-colored or gilded silver fastening frame with a ring on its upper side for fastening and hanging, which may or may not be perpendicular to the frame.
Beveled glass is inserted inside the large oval windows, either with eight sides or smooth. Due to its hardness and resistance, which ensured the preservation of the venerated remains, rock crystal "lunas" were widely used; its transparency or visibility allowed one to see the illustrations or relics kept inside. This type of glass was generally imported into Spain from the workshops of Milan, while in Colonial Mexico the use of this material dates back to Pre-Hispanic times.
A testament to the widespread use is the collection of reliquary lockets from the eighteenth and nineteenth centuries kept in the Soumaya Museum;(2) or the many blank gold reliquaries, in gold, enameled brass, with prints of Christ, the Virgin or the saints on one or both sides (Saint Joseph and the Immaculate Conception, Our Father Jesus and Our Lady of Solitude; Jesus, Our Lady of the Rosary, Our Lady of Solitude; Saint Augustine, Saint Xavier, Saint Christopher, Saint Anthony) or Agnus wax discs, inventoried in 1763 upon the death of the prestigious craftsman from Puebla Jose de Aguilar at his silversmith's store on Mercaderes Street (3).
The reliquary lockets in the Amparo Museum follow this model, with frames or cases that have molded and semi-circular shaped borders and rims, or with windows that open on hinges and edges with incised decoration made up of leaves and plants with rococo features, or with triple indentations of a classical style. Their representations show illustrations or miniatures inspired by the Baroque paintings from New Spain, captured in oil on paper or metal sheets, although the inability to access its interior prevents us from corroborating it fully.
Already of the nineteenth century, due to its circular format, its frame in the shape of laurea and its molded frame worked with mechanical procedures, it is the one that shows the purely New-Spanish iconography of Christ with the dove of the Holy Spirit, with the Immaculate Conception on the reverse.
1. Cfr. L. Arbeteta, «La joya española. De Felipe II a Alfonso XIII», en La joyería española. De Felipe II a Alfonso XIII en los museos estatales, Ministerio de Educación y Cultura, 1998, p. 37; y M. J. Egan, Relicarios. Devotional Miniatures from the Americas, Museum of New Mexico Press, Santa Fe, 1993.
2. Cfr. Santuarios de lo íntimo. Retrato en miniatura y relicarios. La colección del Museo Soumaya, México, 2004; y M. J. Egan, «Relicarios in the viceroyalty of New Spain», en Relicarios. Devotional Miniatures…, ob. cit., pp. 31-53.
3. F. Neff, Fuentes para el estudio del Arte en Puebla, 23/02/2010.
