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1 S. T. WALLIS, Notes of an Unfinished Tour in 1847, Harper and Diego de Siloé’, in The Art Bulletin 25, no. 3 (September
& Brothers, Publishers, New York 1849, pp. 211–212. 1943), p. 226.
2 J. J. MARTÍN GONZÁLEZ, Escultura barroca en España 10 This is the term used by M. E. GÓMEZ-MORENO,
1600–1770, Ediciones Cátedra, Madrid 1983, p. 17. Escultura del siglo XVII (Ars hispaniae. Historia universal
del arte hispánico), Editorial Plus Ultra, Madrid 1963,
3 F. PACHECO, El arte de la pintura, edited with introduction which is still a very useful volume.
and notes by BONAVENTURA BASSEGODA I HUGAS, 2nd
edition, Cátedra, Madrid 2001, pp. 494–509. 11 For a thorough study of the subject, see S. V. WEBSTER,
Art and Ritual in Golden-Age Spain. Sevillian
4 For more in English about the techniques of polychrome Confraternities and the Processional Sculpture of Holy
sculpture, see RONDA KASL, ‘Painters, Polychromy and the Week, Princeton University Press, Princeton (NJ) 1998.
Perfection of Images’, in SUZANNE L. STRATTON (ed.),
Spanish Polychrome Sculpture 1500–1800 in United States 12 Quoted in WEBSTER, Art and Ritual in Golden-Age Spain
Collections, exhibition catalogue, The Spanish Institute, cit., p. 164.
New York 1993, pp. 33–53, and MARJORIE TRUSTED,
Spanish Sculpture. Catalogue of the Post-Medieval Spanish 13 Corpus Alonso Cano. Documentos y textos, Ministerio
Sculpture in Wood, Terracotta, Alabaster, Marble, Stone, de Educación, Cultura, y Deporte, Madrid 2002, p. 472.
Lead and Jet in the Victoria and Albert Museum, Victoria
and Albert Museum, London 1996, pp. 9–10. 14 F. SCHROEDER, Shores of the Mediterranean; Sketches of
Travel, 2 vols, Harper & Brothers, Publishers, New York
5 PACHECO, El arte de la pintura cit., p. 498, note 8. 1846.
6 B. G. PROSKE, Castilian Sculpture: Gothic to Renaissance, 15 Good examples in this exhibition are Alonso Cano’s (cat.
Hispanic Society of America, New York 1951, p. 7. no. 6) Inmaculada, Mena’s Saint Anthony of Padua (cat. no.
8) and Rueda’s two busts (cat. no. 23).
7 For the richly documented history of this altarpiece, see F.
J. PORTELA SANDOVAL, La escultura del siglo XVI en 16 MARTÍN GONZÁLEZ, Escultura barroca en España cit., p.
Palencia, Diputación Provincial de Palencia, Palencia 1977, 20.
pp. 46–63.
17 Quoted from G. MCKIM-SMITH, ‘Spanish Polychrome
8 M. GÓMEZ-MORENO, Las águilas del renacimiento Sculpture and its Critical Misfortunes’, in STRATTON (ed.),
español: Bartolomé Ordóñez, Diego Silóe, Pedro Machuca, Spanish Polychrome Sculpture cit., p. 17.
Alonso Berruguete. 1517–1558, Gráficas Uguina, Madrid
1941. 18 Ibid., p. 18. For a thorough discussion of the critical
history of Spanish polychrome sculpture, see McKim-
9 H. E. WETHEY, ‘The Early Works of Bartolomé Ordóñez Smith’s essay.
19 Ibid., quoted on p. 16.
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