Gilt bronze pax with scene of the Adoration of the Shepherds in relief with an inlay of lapis lazuli.

Gilt bronze pax with scene of the Adoration of the Shepherds in relief with an inlay of lapis lazuli.

This pax was an early acquisition on the part of the museum. Nothing is known of its early history, although the elegantly classical style, which matches the mood and architecture of the Belli plaque, and the use of lapis lazuli inserts, suggest that it would have been owned by at least a moderately wealthy church.

Art of the Rockface Exhibition RF.2004/887

Historical significance: Plaquettes after designs by Valerio Belli circulated widely amongst collectors, many of whom were cardinals and other churchmen. One of the advantages of plaques was that once collected, they could be set into other objects of use. Recent research has suggested that this kind of assemblage was much more common than has until now been realised. Belli's work became collectable on the one hand through his extraordinary ability to duplicate the spirit of engraved classical gems, and on the other through the way in which his gem designs could be replicated in numbers through the production of cast bronze plaques.

Paxes were kissed in church by the priest and members of the congregation during the ceremony known as the Kiss of Peace. It symbolised the unity of the congregation in Christ. The most common subjects were the Crucifixion and Resurrection of Christ, and scenes of the Virgin Mary.

This example has been made by incorporating a gilt bronze plaque into a frame. Plaques of this type, produced by the workshop of Valerio Belli and others, were important collectable objects in the period and circulated widely. Many of them were incorporated into larger objects, often caskets, but uses could be as varied as sword pommels and cap badges. Other plaques after relgious subjects were converted into paxes by the simple addition of a handle on the back. The homogeneity between the style of the plaque and the style of the frame suggests that the form of this example was carefully considered.

The composition and style of the plaquette mounted into this piece mean that although it is unsigned, it can confidently be attributed to the gem engraver, medallist and goldsmith Valerio Belli of Vicenza. Another version, this one ungilded, is in Paris. The style of the plaque is similar to works believed to have been produced by Belli in the 1530s and 1540s, at which time he was living in Vicenza.

The pax itself is similar in style both to Northern Italian examples, such as a pax in the Walters Art Gallery, Baltimore, which is mounted with a painted enamel plaque, and also to the architecture in the background of related Belli plaquettes, like the Adoration of the Magi (examples in Berlin, Florence and London).

Written records indicate that Belli was also an accomplished goldsmith, as well as a medallist and engraver, and although he did not sign any piece of goldsmiths' work, a number of objects mounted with his plaques are usually attributed to him. These works, like a cross and candlesticks in the V&A, are made in a lively renaissance style. Although the pax is certainly Northern Italian, it is hard to know whether this pax was also made by Belli, or whether another goldsmith simply inserted his plaque into it.

A pax is passed around the congregation and kissed during the church service of Mass to symbolically convey the kiss of peace ('pax' is Latin for peace). It usually consists of a plaque in an ornate frame with a scrolled handle at the back to make it portable. The plaque on this pax depicts the biblical scene of the Adoration of the Shepherds bringing gifts to the Christ Child, in a classical setting. The plaque is probably the work of Valerio Belli, a celebrated Renaissance goldsmith and stonecutter who was active in Venice and Vicenza. The addition of lapis lazuli, a highly luxurious and costly material, suggests this pax was made for a noble setting.

1205-1854