Page 77 - The mystery of faith
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1 These themes included, but were by no means limited to, 9 E. OROZCO DÍAZ, ‘La escultura en barro, en Granada’, in
the exaltation of the Eucharist; the Passion and Resurrection Cuadernos de Arte, vol. IV (1939), pp. 10–11. The work in
of Christ; the role of Mary as Christ’s Mother; the nature of a private collection here illustrated belongs to Professor
Mary’s Immaculate Conception; the cult of the saints, and Orozco Díaz and is in a poor state of conservation, lacking
the gathering and veneration of their relics; and the various the background, the arms and the saint’s attributes. Other
examples of Christian prayer, penitence, faith and sacrifice. elements of the sculpture – the absence of the camel skin and
the mantle surrounding its hips, as well as the remains of a
2 Matthew 3:1–16, the vestments in verse 4; and Mark 1:6. hand, which appears claw-like – suggest to the author that,
without direct examination, this sculpture could just as
3 Mark 1:1–11. easily have been identified as a Daniel in the Lion’s Den.
However, the head and the disposition of the legs are similar
4 Luke 1:5–80; 3:1–22. to those in the present 1625 version, albeit with some
variants.
5 John 1:19–36; 3:22–36.
10 The convent was founded at the end of the seventeenth
6 This pose also recalls a painting of the same subject by century by Granadine nuns.
Caravaggio in the Galleria Borghese, Rome, albeit without
this artist’s customary direct engagement. In Toledo 11 The sisters of the convent and their benefactor have,
Cathedral another canvas of this subject (which, based on its however, informed the writer that they believe the original
naturalism, has been attributed to Caravaggio) also shows background of the piece was actually black, but had altered
the same contrapposto seated pose, semi-draped torso and due to deterioration produced by humidity. This sculpture,
red mantle, though here the saint gazes down upon the lamb which is currently undergoing restoration, will be included
at his feet. See A. E. PÉREZ SÁNCHEZ, Caravaggio y el in the exhibition Andalucía Barroca Itinerante that will
naturalismo español, exhibition catalogue, Reales Alcázares open in Cabra in October 2009. This exhibition is being
de Sevilla, Seville, Ministry of Education and Science, organized by the Consejería de Cultura de la Junta de
Madrid 1973, cat. no. 3. Andalucía under the guidance of Jose Luis Romero Torres,
Conservador del Patrimonio Histórico.
7 Jusepe di Ribera, Saint Jerome and the Angel of Judgment,
1621, oil on canvas, Naples, Galleria Nazionale di 12 A. OTTINO DELLA CHIESA, Caravaggio, Noguer, Milan–
Capodimonte, engraved by the artist (1621). See A. Barcelona–Madrid 1972 (2nd. ed.), cat. no. 21.
BARTSCH, The Illustrated Bartsch, New York 1980, vol. LIII,
512, p. 5.
8 OROZCO DÍAZ, El pintor Fray Juan Sánchez Cotán,
Universidad-Diputación, Granada 1993, pp. 304–305, 307,
319–320.
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