Page 139 - The mystery of faith

Judging by the flowers and the rocaille decoration on the mantle, the polychrome of this sculpture was
partially modernized in the eighteenth century. Nevertheless, it has retained its delicate original
polychromy in the flesh tones, on the white tunic, particularly visible on the sleeves, and in between the
folds of the blue mantle, especially on the right side.

Finally, in the beautiful face of the Inmaculada, Mesa’s hand is absolutely manifest. It forms a perfect
oval and derives from Montañés’s autograph type, but is imbued throughout with a vivid naturalism,
and it appears that here, Mesa has sought to further humanise this very dogmatic subject. The axial
symmetry of the face, which extends cleanly from the parted hair on the forehead to the chin, is utterly
typical of Mesa’s work, as are the individual facial features. These include the Virgin’s slightly ‘sleepy’
downcast eyes, flattened cheeks, the full bee-stung upper lip and narrower lower lip, and the ever so
slightly flared nostrils. The almost doll-like lips are strongly modelled and distinctive in profile and are
generally more sensual and refined than those in works by Montañés. Another subtle refinement is the
finely modelled shin, which is slight drawn into the neck, creating a soft, double chin in profile. The soft,
smoothness of the neck is sensually modelled, but still maintains the general sense of purity and
innocence required of the subject, particularly as it was monitored at the time by the painter and theorist
Francesco Pacheco.

In this rare, elegant and highly important work, Juan de Mesa managed to retain the resounding three-
dimensional presence of Classical statuary, while infusing his image of the Inmaculada with an inner
vivacity. To create a clear didactic religious image illustrating the inviolate nature of Christ’s mortal
origins, Mesa chose to depict the Virgin as a vibrant young woman, draped in sumptuous robes and
attended by playful seraphim: an image that must surely have captivated and entertained the seventeenth
–century Sevillians who so revered this cult.

1 ‘After consulting theologians, Pius IX questioned the America, New York 1967). See also J. HERNÁNDEZ DÍAZ,
bishops of the universal church as to whether he should Juan Martínez Montañés (1568–1649), Guadalquivir, Seville
define the Immaculate Conception. 546 of the 603 bishops 1987.
consulted responded affirmatively, four or five did not think
it could be defined, twenty-four questioned whether the time 4 F. PACHECO, El Arte de la pintura, BONAVENTURA
was opportune, and ten preferred an indirect definition. Pius BASSEGODA (ed.), Cátedra, Madrid 1990, pp. 575–577.
IX was assisted in composing his papal bull, Ineffabilis
Deus, by a Jesuit theologian Perrone and by Dom 5 E. GÓMEZ PIÑOL, ‘Los retablos del San Isidoro del Campo
Gueranger, Abbot of Solesmes. The document was not y algunas atribuciones escultóricas derivadas de su estudio’,
entirely completed when the Pope made the declaration on in San Isidoro del Campo, fortaleza de la espiritualidad y
December 8, 1854.’ (http://campus.udayton.edu/mary/ santuario del poder (1301–2002), Consejería de Cultura,
resources/kimmac.html.) Seville 2002, pp. 123–129.

2 S. STRATTON, La Inmaculada Concepción en el arte 6 J. HERNÁNDEZ DÍAZ, Juan de Mesa: escultor de imaginería
español, Fundación Universitaria Española, Madrid 1989, (1583–1627), Seville 1972. See also A. VILLAR MOVELLÁN
pp. 53 and notes. and A. URQUIZAR HERRERA (eds.), Juan de Mesa
(1627–2002) Visiones y revisiones, University of Cordoba,
3 Beatrice Gilman Proske’s monograph is of great interest for Cordoba 2003, pp. 107-150; E. PAREJA LÓPEZ ET AL., Juan
the knowledge of this master’s work (see B. G. PROSKE, Juan de Mesa, Tartessos, Seville 2006, pp. 112-114.
Martínez Montañés: Sevillian Sculptor, Hispanic Society of

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