PEDRO DE MENA

X avier B ray

and

J osĂŠ L uis R omero T orres

PEDRO DE MENA The Spanish Bernini

X avier B ray

and J osĂŠ

L uis R omero T orres

PEDRO DE MENA The Spanish Bernini

2

X avier B ray

and J osĂŠ

L uis R omero T orres

PEDRO DE MENA The Spanish Bernini

2

F O R E WO R D

Pedro de Mena y Medrano (1628-1688) is nowadays the most

San Diego Museum of Art and the Fitzwilliam Museum in

highly regarded master of Spanish Baroque sculpture, on a par

Cambridge are a direct consequence of the London exhibition

with his contemporaries, the great seventeenth-century painters

that attracted over 100,000 visitors. Recent studies by the Getty

Velázquez, Zurbarán and Murillo. He began his artistic training

Research Institute of the sculptures’ highly complex and unique

in the workshop of his father before joining the workshop of

assembling technique also largely contributed to the worldwide

Alonso Cano (1601-1667), another of the great Spanish sculptors

appreciation of this long overlooked Spanish art form.

and painters at the time. Mena’s style is much indebted to the latter – although more theatrical and naturalistic – but his

With the newly regained appreciation for Spanish Baroque

contributions to Spanish Baroque sculpture are unsurpassed in

polychrome sculpture well established, it is the great pleasure

both technical skill and expressiveness of his religious subjects.

of our museum to be able to show and promote the oeuvre of

His ability to sculpt the human body was remarkable, and he

Pedro de Mena, one of its most important representatives. In this

excelled in creating figures and scenes for contemplation.

context, the MNHA will organize, in close collaboration with its colleagues from Musea Brugge, a temporary exhibition entitled

As Director of the National Museum of History and Art

De Mena, Murillo and Zurbarán: Masters of the Spanish

Luxembourg (MNHA), I am delighted to present this revised and

Baroque at the Sint-Janshospitaal in Bruges in 2019 and in

augmented edition of Pedro de Mena – The Spanish Bernini. Indeed,

Luxembourg in 2020.

our museum recently had the opportunity to enrich its display with a selection of prestigious Spanish Baroque works through

Apart from the article by Xavier Bray, the present book also features

long-term loans from important private collections. Among others,

important contributions by José Luis Romeo Torres, curator of the

these works include key paintings by Francisco de Zurbarán,

monographic exhibition Pedro de Mena, to be held in Malaga in

Alonso Cano, Bartolomé Esteban Murillo, Jusepe de Ribera,

2019. Discussing Mena’s life and artistic career, his new comparative

Juan Carreño de Miranda, Antonio de Pereda and Francisco

studies highlight and contextualize the eight sculptures by Mena

Collantes. These outstanding loans also feature no less than

that are currently under the care of the MNHA.

eight polychrome sculptures by Pedro de Mena. Consequently, the MNHA probably holds the largest number of sculptures by this

The works kept at the MNHA have been beautifully

legendary artist on public display outside of Spain.

photographed by Dominique Provost in close consultation with Muriel Prieur, the head of the MNHA’s restoration department

These exceptional private collections were put together following

and an expert in polychrome sculpture.

the ground-breaking exhibition The Sacred Made Real curated by Xavier Bray, one of the two main contributors to the present

The revised edition of Pedro de Mena – The Spanish Bernini, first

book. Presented in 2010 at the National Gallery in London, this

published in 2014, is an important and indispensable guide and

blockbuster exhibition was a true revelation, not only for the

reference for connoisseurs of Baroque sculpture.

general public but for experts alike. Many curators, directors, critics, and collectors were until then unfamiliar with, or even unaware of, Spanish polychrome sculpture. Recent acquisitions

4

of the artist’s works by major museums such as the Metropolitan

Michel Polfer

Museum New York, the Hispanic Society of America, the

Director of the Musée National d’Histoire et d’Art Luxembourg

5

F O R E WO R D

Pedro de Mena y Medrano (1628-1688) is nowadays the most

San Diego Museum of Art and the Fitzwilliam Museum in

highly regarded master of Spanish Baroque sculpture, on a par

Cambridge are a direct consequence of the London exhibition

with his contemporaries, the great seventeenth-century painters

that attracted over 100,000 visitors. Recent studies by the Getty

Velázquez, Zurbarán and Murillo. He began his artistic training

Research Institute of the sculptures’ highly complex and unique

in the workshop of his father before joining the workshop of

assembling technique also largely contributed to the worldwide

Alonso Cano (1601-1667), another of the great Spanish sculptors

appreciation of this long overlooked Spanish art form.

and painters at the time. Mena’s style is much indebted to the latter – although more theatrical and naturalistic – but his

With the newly regained appreciation for Spanish Baroque

contributions to Spanish Baroque sculpture are unsurpassed in

polychrome sculpture well established, it is the great pleasure

both technical skill and expressiveness of his religious subjects.

of our museum to be able to show and promote the oeuvre of

His ability to sculpt the human body was remarkable, and he

Pedro de Mena, one of its most important representatives. In this

excelled in creating figures and scenes for contemplation.

context, the MNHA will organize, in close collaboration with its colleagues from Musea Brugge, a temporary exhibition entitled

As Director of the National Museum of History and Art

De Mena, Murillo and Zurbarán: Masters of the Spanish

Luxembourg (MNHA), I am delighted to present this revised and

Baroque at the Sint-Janshospitaal in Bruges in 2019 and in

augmented edition of Pedro de Mena – The Spanish Bernini. Indeed,

Luxembourg in 2020.

our museum recently had the opportunity to enrich its display with a selection of prestigious Spanish Baroque works through

Apart from the article by Xavier Bray, the present book also features

long-term loans from important private collections. Among others,

important contributions by José Luis Romeo Torres, curator of the

these works include key paintings by Francisco de Zurbarán,

monographic exhibition Pedro de Mena, to be held in Malaga in

Alonso Cano, Bartolomé Esteban Murillo, Jusepe de Ribera,

2019. Discussing Mena’s life and artistic career, his new comparative

Juan Carreño de Miranda, Antonio de Pereda and Francisco

studies highlight and contextualize the eight sculptures by Mena

Collantes. These outstanding loans also feature no less than

that are currently under the care of the MNHA.

eight polychrome sculptures by Pedro de Mena. Consequently, the MNHA probably holds the largest number of sculptures by this

The works kept at the MNHA have been beautifully

legendary artist on public display outside of Spain.

photographed by Dominique Provost in close consultation with Muriel Prieur, the head of the MNHA’s restoration department

These exceptional private collections were put together following

and an expert in polychrome sculpture.

the ground-breaking exhibition The Sacred Made Real curated by Xavier Bray, one of the two main contributors to the present

The revised edition of Pedro de Mena – The Spanish Bernini, first

book. Presented in 2010 at the National Gallery in London, this

published in 2014, is an important and indispensable guide and

blockbuster exhibition was a true revelation, not only for the

reference for connoisseurs of Baroque sculpture.

general public but for experts alike. Many curators, directors, critics, and collectors were until then unfamiliar with, or even unaware of, Spanish polychrome sculpture. Recent acquisitions

4

of the artist’s works by major museums such as the Metropolitan

Michel Polfer

Museum New York, the Hispanic Society of America, the

Director of the Musée National d’Histoire et d’Art Luxembourg

5

C O N T E N TS

5

Foreword

Michel Polfer

8

Pedro de Mena. The Spanish Bernini Xavier Bray

26

Biography

José Luis Romero Torres

38

The Malaga workshop José Luis Romero Torres

48

Pedro de Mena and the illegitimate children of Philip IV: Juan José of Austria and the Bishops Fray Alonso de Santo Tomás and Alonso Antonio de San Martín

José Luis Romero Torres

60

The legacy of Pedro de Mena José Luis Romero Torres

68

Eight polychrome sculptures by Pedro de Mena photographed by Dominique Provost at the Musée National d’Histoire et d’Art, Luxembourg José Luis Romero Torres

70

Virgin of the Immaculate Conception José Luis Romero Torres

92

Virgin and Child

José Luis Romero Torres

116

Infant Saint John the Baptist José Luis Romero Torres

134

Infant Christ of the Passion José Luis Romero Torres

152

Ecce Homo & Mater Dolorosa José Luis Romero Torres

180

Saint Francis of Assisi in Meditation José Luis Romero Torres

200

Saint Peter of Alcántara José Luis Romero Torres

228

Technique and polychromy José Luis Romero Torres

238

6

Selective bibliography

C O N T E N TS

5

Foreword

Michel Polfer

8

Pedro de Mena. The Spanish Bernini Xavier Bray

26

Biography

José Luis Romero Torres

38

The Malaga workshop José Luis Romero Torres

48

Pedro de Mena and the illegitimate children of Philip IV: Juan José of Austria and the Bishops Fray Alonso de Santo Tomás and Alonso Antonio de San Martín

José Luis Romero Torres

60

The legacy of Pedro de Mena José Luis Romero Torres

68

Eight polychrome sculptures by Pedro de Mena photographed by Dominique Provost at the Musée National d’Histoire et d’Art, Luxembourg José Luis Romero Torres

70

Virgin of the Immaculate Conception José Luis Romero Torres

92

Virgin and Child

José Luis Romero Torres

116

Infant Saint John the Baptist José Luis Romero Torres

134

Infant Christ of the Passion José Luis Romero Torres

152

Ecce Homo & Mater Dolorosa José Luis Romero Torres

180

Saint Francis of Assisi in Meditation José Luis Romero Torres

200

Saint Peter of Alcántara José Luis Romero Torres

228

Technique and polychromy José Luis Romero Torres

238

6

Selective bibliography

Finally, there is another version of the Virgen de Belén (fig. 73) in the parish church in Purchil which is not universally attributed to Mena in the literature due to its formal simplification. Mary Fig. 72 Pedro de Mena y

is shown seated with the Christ Child shown sitting on her leg

Medrano, Virgin and Child

and looking in a forward direction, possibly at the devotee or

(Virgen de Belén), Cuenca

spectator, unaware that his mother is looking at him.

Cathedral (the Child is now missing).

Fig. 73 Pedro de Mena y Medrano, Seated Virgin and Child (Virgen de Belén),

Pedro de Mena and his wife Catalina de Victoria y Urquizar had fourteen children although only five were still alive on the artist’s death in 1688. One was a Jesuit, the other a canon of Granada Cathedral, and three daughters were nuns in the

polychrome wood,

Cistercian convent in Malaga. For many years Mena lived in a

Granada, parish church

context of family affection and would have been able to observe

of Purchil.

the maternal relationship and tenderness between a mother and child during the years of breastfeeding. There is no doubt that the artist was able to translate those gestures and expressions into

In general, the Virgin has features characteristic of Mena’s style:

Mary wears a tunic with splendid polychromy of a reddish-

the hair is arranged with a central parting that produces a simple

orange tone and finely delineated, gilded floral decoration. A

wave at the front of the head which frames the broad brow and is

small opening at the breast reveals her white chemise with a

tied up at the back, allowing the relatively small amount of hair to

black floral decoration at the neck that is also present on the

be adapted to the rounded shape of the skull. The eyebrows are

pleated sleeves. The body is partly enveloped in an ample

slightly arched and the eyes of the two figures are almond-shaped,

blue mantle that produces a striking interplay of undulating

lacking the natural lashes that would soften the expression. The

folds which combine with those of the small white sheet

nose is long and thin, and the mouth is closed, emphasising the

decorated with black lines and with those of the reddish-

fleshiness of the lower lip. With regard to the proportions of the

orange tunic. The way that these naturalistic folds spread out

face, Mena made this one longer in comparison to the earlier

in the lower part of the sculpture demonstrates the artist’s

versions. The flesh tones of the two figures are pale, with rosy

aesthetic abilities. Once again, this image reveals how Mena

cheeks that contrast with the chestnut coloured hair.

reproduced the textures of fabrics of his day with enormous sculptural quality.

In all his versions of the Virgen de Belén, Mena depicted Mary without

his carved images with the aim of humanising the divine mystery.

notes 1.

Lázaro Gila Medina, Pedro de Mena, escultor, 1628-1688 (Madrid, Arco Libros, 2007), pp. 129-139.

2.

María José Martínez Justicia and Domingo Sánchez-Mesa Martín, “Virgen de Belén”, in Pedro de Mena, 1628-1688 (Malaga: Consejería de Cultura, 1989), p.

116; José Manuel Martín García, “Virgen de Belén. Alonso de Mena”, in Et in Terra Pax, la Navidad en el arte granadino de la Edad Moderna. Siglos XVI al XVIII, exhib. cat. (Granada: Diputación, 2012), pp. 201-205; Lázaro Gila Medina, “Alonso de Mena y Escalante (1587-1646). Escultor, ensamblador y arquitecto: nueva aproximación biográfica y nuevas obras”, in La consolidación del Barroco en la escultura andaluza e hispanoamericana (Granada: Universidad, 2013), p. 11.

3.

Concepción García Gaínza, “Algunas anotaciones a Miguel de Zayas”, Archivo Hispalense 169 (1972): pp. 1-8.

4.

Ricardo Orueta y Duarte, La vida y la obra de Pedro de Mena y Medrano, Madrid,

a veil over her head, with the exception of the one in Cuenca. This

At a later date Mena executed his only known signed and

is also true of his father’s versions and those of Alonso Cano. Mena

dated Virgen de Belén (1683). It is in the sacristy of Cuenca

paid close attention to all the different viewpoints of the image as

Cathedral (fig. 72) and according to an engraved inscription

well as to some details that are barely visible. In the present work he

on a metal plaque Mena made it for the city’s bishop, Alonso

carefully executed the hair at the back through the soft waves of the

Antonio de San Martín, considered to be an illegitimate son of

brown locks as well as the detail of the green ribbon that ties it,

Philip IV. In that version (whose present location is unknown),

6.

Orueta y Duarte “La vida y la obra”, p. 142.

a notably modern solution. These elements and the naturalistic

the Virgin was standing and holding the nude Christ Child in

7.

María Elena Gómez Moreno, Escultura del siglo XVII, Ars Hispaniae collection

folds of the blue mantle at the back enhance the quality of the

her arms on a white sheet, the end of which was supported on

image in this part of the work, making it an important zone for

her outstretched arm, a composition similar to the one in the

aesthetic contemplation despite the fact that images of this type

image in Purchil (see fig. 68). The two sculptures are, however,

could not normally be seen from the rear as they were housed in

different in technique as the Cuenca version has the simplified

glass cases with a flat back that prevented this.

formal features characteristic of the artist’s work of the 1680s.

112

Centro de Estudios Históricos, 1914. Facsimile edition with prologue by Domingo Sánchez Mesa Martín, (Granada: Universidad y Colegio de Arquitectos, 1988); Ricardo de Orueta y Duarte, “La vida y la obra de Pedro de Mena y Medrano”, Museum (Barcelona) 4, no. 4 (1915), p. 142.

5.

Jesús Urrea Fernández, “Nuevas esculturas de Pedro de Mena”, in Pedro de Mena y su época (Malaga: Consejería de Cultura de la Junta de Andalucía, 1990), pp. 365-368.

(Madrid: Plus Ultra, 1963), p. 240; María Elena Gómez Moreno, “Pedro de Mena y los temas iconográficos”, in Pedro de Mena, 1628-1688 (Malaga: Consejería de Cultura, 1989), p. 81.

8.

José Luis Romero Torres, La escultura del Barroco, Historia del Arte de Málaga collection, vol. 10 (Malaga: Empresa Malagueña, 2011), pp. 80-81 and 84-85.

9.

José Luis Romero Torres, “Virgin and child”, in Pedro de Mena. The Spanish Bernini (Madrid: Coll & Cortés, 2014), pp. 78-91.

113

Finally, there is another version of the Virgen de Belén (fig. 73) in the parish church in Purchil which is not universally attributed to Mena in the literature due to its formal simplification. Mary Fig. 72 Pedro de Mena y

is shown seated with the Christ Child shown sitting on her leg

Medrano, Virgin and Child

and looking in a forward direction, possibly at the devotee or

(Virgen de Belén), Cuenca

spectator, unaware that his mother is looking at him.

Cathedral (the Child is now missing).

Fig. 73 Pedro de Mena y Medrano, Seated Virgin and Child (Virgen de Belén),

Pedro de Mena and his wife Catalina de Victoria y Urquizar had fourteen children although only five were still alive on the artist’s death in 1688. One was a Jesuit, the other a canon of Granada Cathedral, and three daughters were nuns in the

polychrome wood,

Cistercian convent in Malaga. For many years Mena lived in a

Granada, parish church

context of family affection and would have been able to observe

of Purchil.

the maternal relationship and tenderness between a mother and child during the years of breastfeeding. There is no doubt that the artist was able to translate those gestures and expressions into

In general, the Virgin has features characteristic of Mena’s style:

Mary wears a tunic with splendid polychromy of a reddish-

the hair is arranged with a central parting that produces a simple

orange tone and finely delineated, gilded floral decoration. A

wave at the front of the head which frames the broad brow and is

small opening at the breast reveals her white chemise with a

tied up at the back, allowing the relatively small amount of hair to

black floral decoration at the neck that is also present on the

be adapted to the rounded shape of the skull. The eyebrows are

pleated sleeves. The body is partly enveloped in an ample

slightly arched and the eyes of the two figures are almond-shaped,

blue mantle that produces a striking interplay of undulating

lacking the natural lashes that would soften the expression. The

folds which combine with those of the small white sheet

nose is long and thin, and the mouth is closed, emphasising the

decorated with black lines and with those of the reddish-

fleshiness of the lower lip. With regard to the proportions of the

orange tunic. The way that these naturalistic folds spread out

face, Mena made this one longer in comparison to the earlier

in the lower part of the sculpture demonstrates the artist’s

versions. The flesh tones of the two figures are pale, with rosy

aesthetic abilities. Once again, this image reveals how Mena

cheeks that contrast with the chestnut coloured hair.

reproduced the textures of fabrics of his day with enormous sculptural quality.

In all his versions of the Virgen de Belén, Mena depicted Mary without

his carved images with the aim of humanising the divine mystery.

notes 1.

Lázaro Gila Medina, Pedro de Mena, escultor, 1628-1688 (Madrid, Arco Libros, 2007), pp. 129-139.

2.

María José Martínez Justicia and Domingo Sánchez-Mesa Martín, “Virgen de Belén”, in Pedro de Mena, 1628-1688 (Malaga: Consejería de Cultura, 1989), p.

116; José Manuel Martín García, “Virgen de Belén. Alonso de Mena”, in Et in Terra Pax, la Navidad en el arte granadino de la Edad Moderna. Siglos XVI al XVIII, exhib. cat. (Granada: Diputación, 2012), pp. 201-205; Lázaro Gila Medina, “Alonso de Mena y Escalante (1587-1646). Escultor, ensamblador y arquitecto: nueva aproximación biográfica y nuevas obras”, in La consolidación del Barroco en la escultura andaluza e hispanoamericana (Granada: Universidad, 2013), p. 11.

3.

Concepción García Gaínza, “Algunas anotaciones a Miguel de Zayas”, Archivo Hispalense 169 (1972): pp. 1-8.

4.

Ricardo Orueta y Duarte, La vida y la obra de Pedro de Mena y Medrano, Madrid,

a veil over her head, with the exception of the one in Cuenca. This

At a later date Mena executed his only known signed and

is also true of his father’s versions and those of Alonso Cano. Mena

dated Virgen de Belén (1683). It is in the sacristy of Cuenca

paid close attention to all the different viewpoints of the image as

Cathedral (fig. 72) and according to an engraved inscription

well as to some details that are barely visible. In the present work he

on a metal plaque Mena made it for the city’s bishop, Alonso

carefully executed the hair at the back through the soft waves of the

Antonio de San Martín, considered to be an illegitimate son of

brown locks as well as the detail of the green ribbon that ties it,

Philip IV. In that version (whose present location is unknown),

6.

Orueta y Duarte “La vida y la obra”, p. 142.

a notably modern solution. These elements and the naturalistic

the Virgin was standing and holding the nude Christ Child in

7.

María Elena Gómez Moreno, Escultura del siglo XVII, Ars Hispaniae collection

folds of the blue mantle at the back enhance the quality of the

her arms on a white sheet, the end of which was supported on

image in this part of the work, making it an important zone for

her outstretched arm, a composition similar to the one in the

aesthetic contemplation despite the fact that images of this type

image in Purchil (see fig. 68). The two sculptures are, however,

could not normally be seen from the rear as they were housed in

different in technique as the Cuenca version has the simplified

glass cases with a flat back that prevented this.

formal features characteristic of the artist’s work of the 1680s.

112

Centro de Estudios Históricos, 1914. Facsimile edition with prologue by Domingo Sánchez Mesa Martín, (Granada: Universidad y Colegio de Arquitectos, 1988); Ricardo de Orueta y Duarte, “La vida y la obra de Pedro de Mena y Medrano”, Museum (Barcelona) 4, no. 4 (1915), p. 142.

5.

Jesús Urrea Fernández, “Nuevas esculturas de Pedro de Mena”, in Pedro de Mena y su época (Malaga: Consejería de Cultura de la Junta de Andalucía, 1990), pp. 365-368.

(Madrid: Plus Ultra, 1963), p. 240; María Elena Gómez Moreno, “Pedro de Mena y los temas iconográficos”, in Pedro de Mena, 1628-1688 (Malaga: Consejería de Cultura, 1989), p. 81.

8.

José Luis Romero Torres, La escultura del Barroco, Historia del Arte de Málaga collection, vol. 10 (Malaga: Empresa Malagueña, 2011), pp. 80-81 and 84-85.

9.

José Luis Romero Torres, “Virgin and child”, in Pedro de Mena. The Spanish Bernini (Madrid: Coll & Cortés, 2014), pp. 78-91.

113

I nfa nt S a int John the

B a ptist

III 116

117

I nfa nt S a int John the

B a ptist

III 116

117

Fig. 99 Pedro de Mena y Medrano, Ecce Homo and Mater Dolorosa, ca. 1674-1685, parcel-gilt polychrome wood, New York, Metropolitan Museum of Art.

168

169

Fig. 99 Pedro de Mena y Medrano, Ecce Homo and Mater Dolorosa, ca. 1674-1685, parcel-gilt polychrome wood, New York, Metropolitan Museum of Art.

168

169

Fig. 102 Pedro de Mena y Medrano, Ecce Homo, 1676-1688, polychrome

Fig. 103 Pedro de Mena y Medrano, Ecce Homo, ca. 1679, polychrome

wood, Valladolid, Museo Nacional de Escultura

wood, Valladolid, Museo Nacional de Escultura.

The arms of the Ecce Homo are crossed in front of the torso, the

is also evident in the Ecce Homo in the Metropolitan Museum

hands held to one side, barely touching but crossed over at the

(see fig. 99) and in two more figures in the Museo Nacional de

Fig. 100 Pedro de Mena y Medrano, Ecce Homo, 1673, polychrome wood,

wrists. In a similar pose, but without the red mantle, are the

Escultura (figs. 102 and 103). The red mantles of the three latter

Madrid, monastery of Descalzas Reales (Patrimonio Nacional).

images in the convent of the Descalzas Reales, Madrid (fig.

figures also differ, either leaving one shoulder bare (as in the

100), the Museo Nacional de Escultura, Valladolid (formerly

Metropolitan Museum and the Museo Nacional de Escultura,

housed in the Museo de Artes Decorativas) (fig. 101), in Budia

no. CE1141), or covering both and knotted at the chest (Museo

(see fig. 98), and in the former convent of the Císter in Malaga

Nacional de Escultura, no. CE2882).

Fig. 101 Pedro de Mena y Medrano, Ecce Homo, ca. 1673, polychrome wood, Madrid, Museo Nacional de Artes Decorativas.

(see fig. 96a). The only difference between them is that the hands of the first three are limp, making it difficult to hold the

The third group, which includes the Ecce Homo and Mater

cane which symbolised the “sceptre” given to Christ, or else

Dolorosa presented here, are figures in short bust format, showing

the position of the right hand would have meant the cane was

the head and top of the chest, and focussing attention on the

hair, New York, The Metropolitan

held nearly horizontally. The Malaga figure’s right hand forms

face. They are simple compositions and make a powerful impact

Museum of Art.

a hollow in the correct position to hold the cane; the same pose

when viewed frontally.

(Overleaf) Pedro de Mena, Ecce Homo (detail), ca. 1670-1680, polychrome wood, ivory, glass, and

170

171

Fig. 102 Pedro de Mena y Medrano, Ecce Homo, 1676-1688, polychrome

Fig. 103 Pedro de Mena y Medrano, Ecce Homo, ca. 1679, polychrome

wood, Valladolid, Museo Nacional de Escultura

wood, Valladolid, Museo Nacional de Escultura.

The arms of the Ecce Homo are crossed in front of the torso, the

is also evident in the Ecce Homo in the Metropolitan Museum

hands held to one side, barely touching but crossed over at the

(see fig. 99) and in two more figures in the Museo Nacional de

Fig. 100 Pedro de Mena y Medrano, Ecce Homo, 1673, polychrome wood,

wrists. In a similar pose, but without the red mantle, are the

Escultura (figs. 102 and 103). The red mantles of the three latter

Madrid, monastery of Descalzas Reales (Patrimonio Nacional).

images in the convent of the Descalzas Reales, Madrid (fig.

figures also differ, either leaving one shoulder bare (as in the

100), the Museo Nacional de Escultura, Valladolid (formerly

Metropolitan Museum and the Museo Nacional de Escultura,

housed in the Museo de Artes Decorativas) (fig. 101), in Budia

no. CE1141), or covering both and knotted at the chest (Museo

(see fig. 98), and in the former convent of the Císter in Malaga

Nacional de Escultura, no. CE2882).

Fig. 101 Pedro de Mena y Medrano, Ecce Homo, ca. 1673, polychrome wood, Madrid, Museo Nacional de Artes Decorativas.

(see fig. 96a). The only difference between them is that the hands of the first three are limp, making it difficult to hold the

The third group, which includes the Ecce Homo and Mater

cane which symbolised the “sceptre” given to Christ, or else

Dolorosa presented here, are figures in short bust format, showing

the position of the right hand would have meant the cane was

the head and top of the chest, and focussing attention on the

hair, New York, The Metropolitan

held nearly horizontally. The Malaga figure’s right hand forms

face. They are simple compositions and make a powerful impact

Museum of Art.

a hollow in the correct position to hold the cane; the same pose

when viewed frontally.

(Overleaf) Pedro de Mena, Ecce Homo (detail), ca. 1670-1680, polychrome wood, ivory, glass, and

170

171

172

173

172

173

Fig. 104 Pedro de Mena y Medrano, Ecce Homo, polychrome wood, Seville,

Fig. 105 Pedro de Mena y Medrano, Mater Dolorosa, polychrome wood,

Fig. 107 Pedro de Mena y Medrano, Ecce Homo, ca. 1680-1688, polychrome

Fig. 108 Pedro de Mena y Medrano, Mater Dolorosa, ca. 1680-1688,

Palacio de San Telmo.

Seville, Palacio de San Telmo.

wood, Madrid, Coll & Cortés.

polychrome wood, Madrid, Coll & Cortés.

The catalogue of Mater Dolorosa figures by Mena has been

orientated to the front. The mouth is slightly open and the

increasing since the time of Orueta’s 1914 monograph.

eyes – either half-closed or fully open – gaze upwards with

Several of these are paired with Ecce Homos, such as the

an anguished expression, somewhere between desolation

sculpture in the church of San Pedro, Lima (Peru) which

and compassion. Some images of the Mater Dolorosa are more

previously belonged to the Jesuits; the one in the convent of

theatrical than others.

the Descalzas de la Piedad, Cadiz;4 the one in the church of the Palacio de San Telmo, Seville (figs. 104 and 105); another

Some of these features appear in the Mater Dolorosa presented

in the Museo Diocesano y Catedralicio, Valladolid (fig. 106);5

here. The dark red tunic, the white veil over the head, the

and, finally, one in a private collection (currently at Coll &

shoulders and top of the chest under the light blue mantle

Cortés, Madrid) (figs. 107 and 108). The other versions of

– all framing the Virgin’s flushed face. The modelling of

the Mater Dolorosa are single figures and housed in the church

the eyebrows, eyes, nose, cheeks, lips, chin, and neck are set

of San Nicolás, Madrid,6 the Dreifaltigkeitskirche, Vienna

against the semi-dark background created by the shadows of

(Austria),7 the Museo Nacional de Escultura, Valladolid

the veil and the outward flowing movement of the mantle.

(fig. 109), 8 the Fitzwilliam Museum, Cambridge (fig. 110)

These are carved in fine layers, where the edges alternate

and in a private collection (formerly on display at the Lázaro

between curved lines and the straight lines made by the fall of

polychrome wood, Valladolid, Museo Diocesano

Galdiano, Madrid). These depictions of the Virgin have both

the fabric. A common feature is the slight central peak formed

y Catedralicio.

young and mature faces but the compositions are always

by the veil or mantle, intensifying the upward gaze.

Fig. 106 Pedro de Mena y Medrano, Ecce Homo,

174

Fig. 109 Pedro de Mena y Medrano,

Fig. 110 Pedro de Mena y Medrano,

Mater Dolorosa, polychrome wood,

Mater Dolorosa, ca. 1670-1675,

Valladolid, Museo Nacional de

polychrome wood, Cambridge,

Escultura.

Fitzwilliam Museum.

175

Fig. 104 Pedro de Mena y Medrano, Ecce Homo, polychrome wood, Seville,

Fig. 105 Pedro de Mena y Medrano, Mater Dolorosa, polychrome wood,

Fig. 107 Pedro de Mena y Medrano, Ecce Homo, ca. 1680-1688, polychrome

Fig. 108 Pedro de Mena y Medrano, Mater Dolorosa, ca. 1680-1688,

Palacio de San Telmo.

Seville, Palacio de San Telmo.

wood, Madrid, Coll & Cortés.

polychrome wood, Madrid, Coll & Cortés.

The catalogue of Mater Dolorosa figures by Mena has been

orientated to the front. The mouth is slightly open and the

increasing since the time of Orueta’s 1914 monograph.

eyes – either half-closed or fully open – gaze upwards with

Several of these are paired with Ecce Homos, such as the

an anguished expression, somewhere between desolation

sculpture in the church of San Pedro, Lima (Peru) which

and compassion. Some images of the Mater Dolorosa are more

previously belonged to the Jesuits; the one in the convent of

theatrical than others.

the Descalzas de la Piedad, Cadiz;4 the one in the church of the Palacio de San Telmo, Seville (figs. 104 and 105); another

Some of these features appear in the Mater Dolorosa presented

in the Museo Diocesano y Catedralicio, Valladolid (fig. 106);5

here. The dark red tunic, the white veil over the head, the

and, finally, one in a private collection (currently at Coll &

shoulders and top of the chest under the light blue mantle

Cortés, Madrid) (figs. 107 and 108). The other versions of

– all framing the Virgin’s flushed face. The modelling of

the Mater Dolorosa are single figures and housed in the church

the eyebrows, eyes, nose, cheeks, lips, chin, and neck are set

of San Nicolás, Madrid,6 the Dreifaltigkeitskirche, Vienna

against the semi-dark background created by the shadows of

(Austria),7 the Museo Nacional de Escultura, Valladolid

the veil and the outward flowing movement of the mantle.

(fig. 109), 8 the Fitzwilliam Museum, Cambridge (fig. 110)

These are carved in fine layers, where the edges alternate

and in a private collection (formerly on display at the Lázaro

between curved lines and the straight lines made by the fall of

polychrome wood, Valladolid, Museo Diocesano

Galdiano, Madrid). These depictions of the Virgin have both

the fabric. A common feature is the slight central peak formed

y Catedralicio.

young and mature faces but the compositions are always

by the veil or mantle, intensifying the upward gaze.

Fig. 106 Pedro de Mena y Medrano, Ecce Homo,

174

Fig. 109 Pedro de Mena y Medrano,

Fig. 110 Pedro de Mena y Medrano,

Mater Dolorosa, polychrome wood,

Mater Dolorosa, ca. 1670-1675,

Valladolid, Museo Nacional de

polychrome wood, Cambridge,

Escultura.

Fitzwilliam Museum.

175