Page 113 - The mystery of faith

Risueño’s profound knowledge of local textile manufacturing is further illustrated by the fact that the
Virgin’s mantle is decorated on both sides in two different patterns: the inner surface in a chevron
pattern of fine zigzagged lines of gold over dark blue, and bordered in a geometric pattern of diamonds
separated by ovals and circles; and the outside in a lushly dense estofado pattern of stylized leaves and
flowers. Visible on the front of the mantle amidst the gathered folds beneath the raised right arm is an
cipher below a leafy crown, formed by an ‘M’ over an ‘A’ and embellished with gold balls and lines to
form an anagram of ‘Maria’. Below this insignia is a motif of a filled vessel on a stepped pedestal
(possibly a coiled snake), a concise yet complex device that possibly alludes to Christ’s source and by
extension to the source of mankind’s redemption.

The white tunic is decorated all over in delicate gold fretwork centred by small stars, which possibly
also carry symbolic meaning associated with the Virgin’s role as Queen of Heaven. Given the evident
symbolism incorporated throughout the work, Risueño’s copious use of pomegranates amongst the
floriate estofado designs begs the question, ‘why pomegranates?’ There are two possible reasons; first,
this is a reference to Risueño and his family, who were natives of Granada (the Spanish word for the
fruit is granada), the city where the artist lived and worked for his entire career. Second, while Risueño
did not sign his work, perhaps he nevertheless wished to put his personal stamp on it, albeit in as
modestly subtle a way as possible. Moreover, the pomegranate has long been recognized in Christian
art as a symbol of the Virgin’s fruitfulness, and in classical mythology also related to death and the
afterlife.6 Later, the Roman Fathers of the Church compared the pomegranate to the mother Church,
‘which shields many under one faith, much as the fruit is comprised of seemingly infinite seeds that are
tightly joined under the protection of the pith and skin’.7 Finally, according to the sixteenth century
mystic Saint John of the Cross, the pomegranate symbolized Divine perfection, thus making this an
appropriate motif for an image which was intended for intense contemplation. The use of this motif to
decorate the garments of this Dolorosa, lends further credence to the attribution to Risueño, as this
artist not only made a hobby of signs and symbolism, but also had a keen sense of their decorative
impact in his work.

1 See D. SÁNCHEZ-MESA MARTÍN, José Risueño, escultor y 5 This detail can be seen in several of his sculptures, for
pintor granadino (1665–1732), Granada 1972. example the image of the Virgin in the relief of the
Annunciation that centres the facade of Granada Cathedral,
2 ANTONIO GALLEGO BURÍN states in his study El barroco in the Santa Catalina, and the Virgin of the Rosary in the
granadino (Madrid 1956, p. 153) that Risueño was Church of San Ildefonso in Granada, or in the Inmaculada
documented as being ‘an architect of the first name’ in in the collection of Granada University.
Granada and was appointed to choose the design of the
flooring in the Church of Nuestra Señora de las Angustias in 6 F. REVILLA, Diccionario de Iconografía, Cátedra Arte,
Granada. Madrid 1990, p. 172.

3 E. OROZCO DÍAZ, ‘Los barros de Risueño y la estética 7 Ibid.
granadina’, rev. in Goya, no. 14, Madrid 1956, p. 82.

4 D. SÁNCHEZ-MESA MARTÍN, Técnica de la Escultura
Policromada, Granada 1971, p. 218.

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