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The Pennsylvania State University The Pennsylvania State University The Graduate School College of Arts and Architecture THE CRISTOS YACENTES OF GREGORIO FERNÁNDEZ: POLYCHROME SCULPTURES OF THE SUPINE CHRIST IN SEVENTEENTH-CENTURY SPAIN A Dissertation in Art History by Ilenia Colón Mendoza © 2008 Ilenia Colón Mendoza Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2008 The dissertation of Ilenia Colón Mendoza was reviewed and approved* by the following: Jeanne Chenault Porter Associate Professor Emeritus of Art History Dissertation Co-Advisor Co-Chair of Committee Brian A. Curran Associate Professor of Art History Dissertation Co-Advisor Co-Chair of Committee Elizabeth J. Walters Associate Professor of Art History Simone Osthoff Associate Professor of Art Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. ii Abstract The Cristo yacente, or supine Christ, is a sculptural type whose origins date back to the Middle Ages. In seventeenth-century Spain these images became immensely popular as devotional aids and vehicles for spiritual contemplation. As a form of sacred drama these sculptures encouraged the faithful to reflect upon the suffering, death, and Resurrection of Christ as well as His promise of salvation. Perhaps the most well-known example of this type is by the Valladolidian sculptor, Gregorio Fernández (1576-1636). Located in the Capuchin Convent of El Pardo near Madrid, this work was created in accordance with Counter-Reformation mandates that required religious images inspire both piety and empathy. As a “semi-narrative”, the Cristo yacente encompasses different moments in the Passion of Christ, including the Lamentation, Anointment, and Entombment. As an andachtsbild, it is a devotional image that allows contemplation on various stages of the Passion. Images of the supine Christ played a key role in liturgical reenactments in both the Eastern and Western church; epitaphioi and medieval wooden sculptures of the dead Christ served as iconographical precedents for the Cristo yacente by establishing a relationship between the Eucharist and the physical body of Christ. These Cristos yacentes are meant to be understood not only as metaphors for the Eucharist but also as embodiments of the promise of resurrection. The symbolism of the Cristo yacente as the bread of life was furthered by the construction of structures that recreated the Holy Sepulchre in Jerusalem and by ceremonial reenactments held during Holy Week in which these figures were processed through cities in Spain. It was through imagery that both the Holy Sepulchre and the iii Resurrection of Christ were recreated as part of a sacred drama. The sculpture of the Cristo yacente then functioned as a surrogate for the physical body of Christ and played a key role in the liturgical ceremony. Fernández‟s formulation of the Spanish Cristo yacente type was aided by sixteenth-century carved and printed precedents. Together with contemporary mystical writings by San Juan de la Cruz, St. Teresa of Ávila, and Fray Juan de Ávila, these provided the artist with the necessary visual and verbal imagery that was to be crystallized in three-dimensional form. Through a detailed study and cataloguing of the most significant examples of the type, most of them produced by Fernández and his workshop, I present, for the first time in English, a thorough material, critical, and socio- historical evaluation of the Cristo yacente as a sculptural and devotional image. iv Contents List of Figures vi Acknowledgements xiii Chapter I Iconography and Meaning: Understanding the Cristo yacente 1 Chapter II Juni, Becerra, and Rincón: Sculptural precedents for the Cristo yacente 28 Chapter III Gregorio Fernández and his Workshop: A closer look at Cristos yacentes 55 Chapter IV Teatro Sacro: Religious thought, ceremony, and procession in seventeenth- century Spain 124 Conclusion 154 Appendix A: An Inventory of Cristos yacentes Madrileños 156 Appendix B: An Inventory of Cristos yacentes Vallisoletanos 164 Appendix C: Map of Spain 174 Appendix D: Figures 175 Bibliography 252 v List of Figures Figure 1. Gregorio Fernández, Cristo yacente, 1615. Polychrome wood, resin, ivory, and glass, 1,55 meters. Convento de Capuchinos El Pardo, El Pardo, Madrid, Spain. Photo credit: Author. Figure 2. Niccolò dell‟Arca, Lamentation over the Dead Christ, 1462-63. Painted terracotta, life size. Santa Maria della Vita, Pinacoteca Nazionale, Bologna, Italy. Photo credit: Scala/Art Resource, NY. Figure 3. Guido Mazzoni, Lamentation over the Dead Christ, 1477-1480. Polychrome wood, Christ figure 1,74 m, Maria Salome 1,50 m, Magdalene 1,45 m, Nicodemus 1,15 m, Joseph 1,28 m and the Virgin 1,08 m. San Giovanni Battista, Modena, Italy. Photo credit: Scala/Art Resource, NY. Figure 4. Virgin with the Dead Christ (Röttgen Pieta), c. 1300-1325. Polychrome wood, 0,88 meters high. Rheinisches Landemuseum, Bonn, Germany. Photo credit: Erich Lessing/Art Resource, NY. Figure 5. Juan de Juni, Entombment, 1544. Polychrome wood and gilding, life size. Museo Nacional de Escultura, Valladolid, Spain. Photo credit: Erich Lessing/Art Resource, NY. Figure 6. The Anointment and Entombment, Three Marys at the Tomb, Psalter of Ingeborg of Denmark, Queen of France, c. 1210. MS 9/1645, folio 28 verso, 30 x 20 cm. Musée Condé, Chantilly, France. Photo credit: Erich Lessing/Art Resource, NY. Figure 7. Body of Christ surrounded by Angels, Byzantine shroud embroidered by Anthony of Heracles, 14th century. Silk with gold and silver thread. Studenica Monastery, Studenica, Serbia. Photo credit: Erich Lessing/Art Resource, NY. Figure 8. Hieronymous Wierix, The Virgin and Mary Magdalene watching over the Body of Christ, Life of the Virgin series of 32 Plates, c. 1570. Engraving, 105 x 65 mm. Bruxelles Bibliothèque Royal Albert I, Bruxelles. Photo credit: Bruxelles Bibliothèque Royal Albert I. Figure 9. Gregorio Fernández, Cristo yacente, detail of reliquary, 1609. Polychrome wood, 2,05 x 0,65 x 0,70 meters. Convento de San Pablo, Valladolid, Spain. Photo credit: Author. Figure 10. Gaspar Becerra, Cristo yacente, detail of reliquary, c. 1563. Polychrome wood, glass, gold, and silver. Monasterio Descalzas Reales, Madrid, Spain. Photo credit: Author. Figure 11. Gregorio Fernández, Cristo yacente, 1609. Polychrome wood, 2,05 x 0,65 x vi 0,70 meters. Convento de San Pablo, Valladolid, Spain. Photo credit: Author. During the Holy Week Procession of the Confraternity of the Descent and the Christ of the Good Death. Figure 12. Matthias Grünewald, Isenheim Altarpiece, c. 1515-20. Oil on panel, 269 x 650 mm. Musée d‟Unterlinden, Colmar, France. Photo credit: Erich Lessing/Art Resource, NY. Figure 13. Hans Holbein the Younger, Dead Christ, 1521. Oil on wood, 30.5 x 200 cm. Kunstmuseum, Basel, Switzerland. Photo credit: Erich Lessing/Art Resource, NY. Figure 14. Andrea Mantegna, Dead Christ, c. 1501. Tempera on canvas, 68 x 81 cms. Pinacoteca di Brera, Mantua, Italy. Photo credit: Erich Lessing/Art Resource, NY. Figure 15. Orazio Borgianni, Lamentation over the Dead Christ, 1615. Etching, 23.2 x 21.5 cm (image). Fine Arts Museum of San Francisco, San Francisco, California. Gift of Mr. and Mrs. Marcus Sopher Collection, 1985.1.405. Photo credit: Fine Arts Museum of San Francisco. Figure 16. Gregorio Fernández, Cristo yacente, view from the feet, 1620-25. Polychrome wood, resin, ivory, and glass, 1,77 x 0,66 meters. Convento de Encarnación, Madrid, Spain. Photo credit: Author. Figure 17. Attributed to Sanchez Barba, Cristo yacente, 17th century. Polychrome wood, 1,78 meters. Iglesia de Nuestra Sra. del Carmen, Madrid, Spain. Photo credit: Author. Figure 18. Attributed to Sanchez Barba, Cristo yacente, 17th century. Polychrome wood, 1,78 meters. Iglesia de Nuestra Sra. del Carmen, Madrid, Spain. Photo credit: Author. Figure 19. The Holy Face (Volto Santo), 10th century. Polychrome wood. Duomo San Martino in Lucca, Italy. Photo credit: Scala/Art Resource, NY. Figure 20. Francisco de Zurbarán, Holy Face (Veronica’s Veil), c.1631. Oil on canvas, 70 x 51.5 cm. Nationalmuseum, Stockholm, Sweden. Photo credit: Art Resource, NY. Figure 21. Giulio Clovio, The Deposition and Shroud of Turin, c. 1550. Miniature, 45 x 52 cm. Galleria Sabauda, Turin, Italy. Photo credit: Scala/Art Resource, NY. Figure 22. View of Sacro Monte, Varallo, Italy. Photo credit: Cristina Mendoza. Figure 23. Gaudenzio Ferrari, Calvary (Crucifixion, Chapel 38), and Giovanni d‟Enrico vii (sculptures), c.1510 and 1600. Fresco and polychrome wood. Sacro Monte, Varallo, Italy. Photo credit: Alinari/Art Resource, NY. Figure 24. View of Chapel of Santo Domingo de Guzmán with chamber for Cristo yacente, second quarter of the 18th century. Polychrome wood and gilding. Convento de San Pablo, Valladolid, Spain. Photo credit: Author. Figure 25. Gregorio Fernández, Cristo yacente, 1631-36. Polychrome wood, ivory, glass, and cornamenta (bull‟s horns), 0,455 x 1,880 x 0,670 meters body, and urn 1,585 x 2,390 x 1,300 meters. Museo de Arte Sacro, Clarisas de Monforte de Lemos, Lugo, Spain. Photo credit: Museo de Arte Sacro. Figure 26. Gaspar Becerra, Cristo yacente, inside chapel setting, c. 1563. Polychrome wood, glass, gold, and silver. Monasterio Descalzas Reales, Madrid, Spain. Photo credit: Author. Figure 27. Gaspar Becerra, Cristo yacente, c. 1563. Polychrome wood, glass, gold, and silver. Monasterio Descalzas Reales, Madrid, Spain. Photo credit: Author. Figure 28. Francisco Rizi, Drawing of Altar, c. 1660. Pencil, pen, and sepia drawing, 470 x 485 mm, inventory 10558. Santarelli Collection, Uffizi, Italy. Photo credit: Uffizi. Figure 29. Francisco de Rincón, Cristo yacente, c. 1597. Polychrome wood, 1,91 meters. Convento de Sancti Spiritus, Valladolid, Spain. Photo credit: Junta de Cofradías de Valladolid. Figure 30. Cornelius Cort after Taddeo Zuccaro, Lamentation, New Testament. Engraving, 403 x 274 mm; lower margin: 38 mm. The Illustrated Bartsch, Vol. 52, Vienna. ID 89-II (101). Photo credit: Abaris Books. Figure 31. Gregorio Fernández, Cristo yacente, 1609.
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