BP-catalogue2023#Final - Flipbook - Page 40
This study can be related to the upper part of the
large carved altarpiece in the church of the Hospital
de la Caridad in Seville (Fig. 1). In October 1673,
Valdés Leal, following a competition he had won
at the expense of Murillo, among others, signed a
contract to paint and gild the altarpiece, which had
been designed by the architect Bernardo Simon de
Pineda (1638-1702) and whose sculptures were made
by Pedro Roldan (1622-1690).
Even if all the figures and elements represented in
the present drawing can be found in the altarpiece
as it was made, this one differs in many points. First
of all, it is - and this seems logical given the location Charity and not Faith that is enthroned in the center.
Faith and Hope are relegated to the sides and are
represented standing. The two angels symbolizing
the Eucharist are still represented at the feet of the
central figure but are no longer putti but young men.
The technique of pen and watercolor and the
execution of this drawing are particularly comparable
to two studies for wall compositions in the nave of
the Hospital de los Venerables Sacerdotes, Seville,
executed in 1686, Saint Ambrose forbids the entrance
of the church to the Emperor Theodosius1 and The
Emperor Constantine at the Council of Nicaea2. The
Louvre holds another study for the top of a sculpted
altarpiece, depicting Saint Ferdinand enthroned,
accompanied by putti and two ecclesiastics3, whose
composition is not unlike the present drawing.
The Hospital de la Caridad played an important role
in Valdés Leal’s career. It was for this institution that
he created some of his greatest masterpieces, such as
In ictu oculi and Finis gloria mundi, two large vanities
painted in 1672 and still on location.
We thank Mr. Benito Navarrete Prieto for confirming
the attribution of this drawing.