Page 276 - The mystery of faith

DIEGO JIMÉNEZ II (CIRCLE OF JUAN BAZCARDO)

(Navarre before 1660)

31. The Last Supper

c. first half of the 17th century
Wood, polychromed

36 x 98.5 x 2.5 cm (14 ¼ x 38 ¾ x 1 in.)
PROVENANCE: Enrique Pelta, Madrid

During the first half of the seventeenth century, numerous workshops located amongst the
frontiers of Rioja, Navarre and Álava produced sculptures for the local churches.1 One such
work is this vividly polychromed relief depicting The Last Supper, which came from a
Cabredo workshop in Navarre.

The Cabredo workshop was started by Pedro González de San Pedro (1560–1608), a pupil of Juan de
Anchieta. Juan Bazcardo entered his workshop and married one of his master’s daughters, one of whom
in turn later married Diego Jiménez II. It was common practice at the time for provincial sculptors to
unite into dynasties bonded by family ties. They could then collaborate to secure and compete on large
commissions, under the aegis of the most senior artist.

The shape of this relief suggests that it originally formed part of an altarpiece’s banco, the level roughly
corresponding to that of the predella in Italian altarpieces. Jiménez’ skill as a sculptor is visible in the
way that he distributes the figures around the table and creates a convincing illusion of space within
the shallow relief. In the foreground two pairs of Apostles appear in animated conversation, while in
the background other Apostles appear in differing attitudes, which adds a lively sense of the anecdotal
to the scene. Some Apostles appear to listen carefully to the words of Jesus, while one sitting on the far
right-hand side looks at the viewer and tugs at his long and winding beard in a manner recalling that
of Michelangelo’s Moses. On the left a bald Apostle reaches for food, carefully watched by another who
sports a bushy beard and is nearly completely bald.

The Apostles are each rendered individually, yet of a piece, with emaciated faces, prominent noses,
bulging eyes and wavy beards, and hairstyles that feature a cowlick. The drapery folds of the clothing
are predominantly hard and angular, with the hems of the mantles open in wide curves.

Jiménez’ Romanist style is evident in the overall grandiosity of his composition and the general depiction
of figure types. All of northern Spain (an area that today covers the regions of Navarre, País Vasco, La
Rioja and north of Burgos) had splendid examples of Romanist sculpture, thanks to artists like Juan de
Anchieta and Pedro Arbulo de Marguvete (both in La Rioja). The latter artist is documented as having
collaborated on the altarpiece of Astorga Cathedral, under the supervision of Gaspar Becerra.2
Nevertheless, the naturalism that is evident in the present relief, the individualistic facial types and a use

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