Renaissance Rock Crystal and Gold Agnus Dei

Rock Crystal and Gold Agnus Dei
Late 16th, early 17th century
Case made in Milan
Agnus Dei in wax from the Vatican

Among the most significant religious artifacts of the Renaissance, the Agnus Dei medallion exemplifies the height of Catholic devotional culture. Believed to hold sacramental blessings and even miraculous power, these sacred wax objects were crafted from the melted remains of the Paschal candle used in Rome and personally blessed by the Pope. Their rarity was compounded by their fragility—few survived intact, making them among the most coveted religious items of their time.

This extraordinary example, dating from the late 16th to early 17th century, defied the odds of survival. Encased in its original rock crystal and gold setting, among the most luxurious materials available when it was made, the wax itself features subtle yet remarkably preserved imprints—an almost impossible feat given its delicate nature. It is the only known example outside of a museum, with possibly two others in institutional collections.

Made for a patron of exceptional wealth, this late Renaissance masterpiece marries religious significance with extraordinary craftsmanship. The oval rock crystal frame encases the wax Agnus Dei, encircled by exquisite gold mounting with black enamel detailing and twisted gold cord. Rock crystal caryatids shaped as dog heads with gold collars transition into female busts that curve into scrolls, resting on teardrop elements adorned with vibrant enamel. Two elegant gold scrolls wrap around back-to-back dog muzzles at the top, crowned by an enamel-decorated knob and suspension ring—creating a devotional object of unparalleled artistic refinement.

The fragile composition of Agnus Dei medallions meant that most were easily damaged—cracking, collecting dirt or crumbling over time. Their pristine whiteness held such sacred significance that in 1572, Pope Gregory XIII issued a Papal Bull forbidding any painting or embellishment; those who defied the decree risked excommunication. Beyond their fragility, the significance of these objects lay in their sacred origins. Starting in the late 16th century, they were exclusively produced by the Cistercians at the Church of Santa Pudenziana in Rome and consecrated by the Pope under strictly controlled conditions. This rare blessing took place only during the first Easter of a pontificate and every seventh year thereafter, making authentic, fully preserved examples like this one exceedingly scarce. Historical evidence suggests that in the intervening years, pilgrims received simpler tokens bearing only the Lamb of God impression, further elevating the importance of this piece to scholars. Most of these simpler tokens are now housed in museums.

While esteemed institutions such as the British Museum and the Victoria & Albert Museum house similar examples, none rival the exceptional preservation and luxurious craftsmanship of this treasure. The wax remains fully intact, with its sacred iconography faded but discernible. The front of the medallion features the classic imagery of the Lamb of God, a symbol of Christ’s sacrifice, set against a domed shield adorned with an unidentified papal coat of arms. The inscription reads: "ECCE. A. D. Q. T. P. M." (Ecce Agnus Dei qui tollit peccata mundi – "Behold the Lamb of God who takes away the sins of the world," John 1:29). On the reverse, a radiant bust of Christ faces left, his nimbus forming a geometric rhombus, accompanied by the inscription "EGO SVM / DEVS N."

4 3/4" high x 3" wide x 5/8" deep

Sources:
K. Tebbe, U. Timann, T. Eser et al., Nürnberger Goldschmiedekunst 1541-1868, 3 vol., Germanisches Nationalmuseum, Nuremberg, 2007.
A. Lepoittevin, Picciolini, piccolini et piccioli. La fabrique romaine des Agnus Dei (1563-1700), Archives de sciences sociales des religions, 2018 (available online).