Late 17th century Spanish (Mallorcan) medallion or rosary terminal.
White, black and red enameled gold with openwork floral elements and translucent green points surrounding an elliptical, convex painted porcelain. One side displays an image of St. Anne teaching the young Virgin with St. Joseph and Christ Child on verso.

37 x 43 mm

The enamel work appears to be specific to Mallorca, however, similar examples can be found with Sicilian classification. Examples set with porcelain are thought to exhibit the influence of French designs.
Devotional pieces like this were personally selected or commissioned by members of a confraternity and referred to as medallions and/or reliquaries due to their religious subjects, even if they did not contain physical relics. They were often used as rosary finials(baix de rosari), sometimes hanging from a cross or replacing one. They could also be hung for display or attached to the dress of a statue of the Virgin in gratitude for divine assistance.
The apocryphal story of the young Virgin Mary being taught by her mother St. Anne was a common subject of Counterreformation iconography in the 16th and 17th centuries. Religious images formed the basis for real-life expectations and behavior. Not only was this image an illustration of Catholic virtue and values, but a commonly understood experience. Here, it shows a mother passing wisdom through literacy to her daughter and familial domesticity.
Images of St Joseph became increasingly popular in Spain and its territories in the Americas after he was named patron saint of the monarchy by King Charles II in 1679. He holds the staff of flowering lilies representing virtue, integrity and his faithfulness to the Blessed Virgin Mary. Increased devotion to Joseph in the 17th c. led to the proliferation of his stories in art. Many Catholics would recite his prayer for a "happy death" before bed, making his image a favored commission for medallions to complete a rosary.

additional information in Instagram story highlights BAIX DE ROSARI +