{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O108719"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O108719/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AE9257/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AE9257/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006AE9257","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O108719/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O108719","accessionNumber":"M.64B-1955","objectType":"Plaque","titles":[],"summaryDescription":"This delicately chased plaque may have been a decorative mount for an altarpiece. The scene depicts the martyrdom of the apostle St Peter who was crucified upside down by Roman persecutors for upholding his faith. His death became a symbol of the triumph of Christian strength and fortitude over one's enemies. The subject appealed to the heightened sensibilities of the reformed Catholic church after the Counter Reformation in the mid 16th century. Depictions of the pain and suffering of Christian martyrs were designed to induce intense sympathy in the onlooker. \r\n\r\nThe goldsmith has chased (hammered) the design in low relief using steel chasing tools and a hammer. The silver is supported on a firm but flexible base, such as a pitch-block or sandbag. With expert blows of the hammer, the goldsmith guides the tools over the surface of the silver to push it into the required shape without any loss of metal.","physicalDescription":"Oval silver-gilt plaque hammered into relief with the martyrdom of St Peter, crucified upside down.","artistMakerPerson":[{"name":{"text":"Unknown","id":"A1848"},"association":{"text":"","id":""},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"Silver","id":"AAT11029"}],"techniques":[{"text":"chasing","id":"AAT54016"}],"materialsAndTechniques":"Silver, chased","categories":[{"text":"Religion","id":"THES48900"},{"text":"Christianity","id":"THES48978"},{"text":"Metalwork","id":"THES48920"}],"styles":[],"collectionCode":{"text":"MET","id":"THES48599"},"images":["2006AE9257"],"imageResolution":"high","galleryLocations":[{"current":{"text":"84","id":"THES49710"},"free":"","case":"CA8","shelf":"","box":""}],"partTypes":[[{"text":"Plaque","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Germany","id":"x28873"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"ca. 1570-1600","earliest":"1565-01-01","latest":"1600-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Bequeathed by Dr W. L. Hildburgh FSA","dimensions":[{"dimension":"Height","value":"12.2","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"22","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Depth","value":"0.7","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"Unmarked","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":""}],"objectHistory":"","historicalContext":"The Counter Reformation \r\nThe 16th century was a period of intense self examination for the Roman Catholic church. Internal dissent was undermining its authority and whole nations were going over to the new Protestant faiths. To clarify its role, the church held the Council of Trent from 1545 to 1563. It addressed concerns about religious education, abuses of wealth and the relief of the poor. The Society of Jesus (the Jesuits) became the champion of the reformed Catholic church and promoted the faith worldwide. At the heart of this Counter Reformation was the need to restore the Eucharist to the centre of worship. In Catholic belief, the Eucharist enshrines the moment when bread and wine, consecrated at the altar, are transformed into the body and blood of Christ. A priest holding up a monstrance Detail from The Adoration of the Holy Eucharist, by Claudio Coello, 1685-90 Monasterio del Escorial, Madrid.\r\n\r\nArt and Faith \r\nThe image and message of the reinvigorated Roman Catholic church were actively promoted through dramatic architecture and furnishings. Throughout the 17th century new churches were built in the grand Baroque style. Their sumptuous interiors were complemented by elaborate monstrances, candelabra, sanctuary lamps and censers. Awe-inspiring altar silver drew the eyes of the faithful towards the Eucharist.","briefDescription":"Silver, Germany ca.1570-1600","bibliographicReferences":[],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"Plaque with St Peter\r\nThis delicately chased plaque may have been a decorative mount for an altarpiece. The scene depicts the martyrdom of the St Peter, the Apostle who was crucified upside down by Roman persecutors. His death became a symbol of the triumph of Christian strength and fortitude over one’s enemies. The subject had a special appeal in the Roman Catholic church after the Counter Reformation of the mid 16th century, a period in which depictions of the pain suffered by Christian martyrs were believed to induce intense sympathy in the onlooker. \r\n\r\nThe goldsmith has chased (hammered) the design in low relief using steel chasing tools and a hammer. To do this, he supported the silver on a firm but flexible base, such as a pitch-block or sandbag, then carefully guided the tool over the surface to push the silver into the required shape without any loss of metal.\r\nGermany, about 1570–1600\r\nSilver\r\nMuseum no.M.64B-1955. Hildburgh Gift","date":{"text":"22/11/2005","earliest":"2005-11-22","latest":"2005-11-22"}}],"partNumbers":["M.64B-1955"],"accessionNumberNum":"64","accessionNumberPrefix":"M","accessionYear":1955,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":["2016JJ2548"],"recordModificationDate":"2025-08-14","recordCreationDate":"2005-01-25","availableToBook":false}}