Juan de Mesa_Master of Passion - Page 45

Fig. 36 Claude Audran, Saint Louis of France,1630,
Fig. 37 Francisco de Zurbarán, The Surrender of Seville, 1634, oil on canvas, London,
The Grosvenor Estates Company, The Duke of Westminster Collection.
“San Fernando” had been venerated in Seville and the
church of San Esteban in Seville. In the latter works the figure
surrounding areas since the Middle Ages but had not been
of Saint Ferdinand recalls that of the present Saint Louis of France,
officially canonized. In the 1620s a new religious movement
particularly with regard to the open position of the legs and the
emerged in the city to defend his cult, and it soon succeeded in
position of the left hand holding the sword that hangs from the
gaining Urban VIII’s support. The result was the start in 1629
sword belt. Ferdinand’s image would later be consolidated by
of the process of Ferdinand’s canonization, although this did
Bartolomé Murillo, Juan Valdés Leal, and Pedro Roldán with the
not eventually come about until 1671. Nevertheless, in 1630 an
collaboration of his daughter Luisa.
Fig. 38 Francisco de Zurbarán, Saint Ferdinand, ca. 1630,
oil on canvas, Seville, church of San Esteban.
engraving was published in Rome showing the “saint” dressed
in military costume and royal mantle, a portrayal which would
The same painters created several images of Saint Louis of France,
become his official image (fig. 36).
Ferdinand’s cousin who had himself been canonized in 1297. Pacheco
depicted him in royal dress – holding a sword in his right hand
There were also other renditions of Ferdinand such as Francisco
and a sceptre with a fleur-de-lys in his left – in a painting from the
Pacheco’s Saint Ferdinand Receiving the Keys of Seville (1634), and
church of San Esteban dated to ca. 1610 (fig. 39). A later painting
Francisco de Zurbarán’s The Surrender of Seville (1634) (fig. 37) in
by Pacheco in the Reales Alcázares, dated to ca. 1630, shows Louis
the collection of the Duke of Westminster, as well as his Saint
wearing a cuirass, mantle with fleurs-de-lys, and ruff and crown,
Ferdinand (1629-1630)(fig. 38) for the principal altarpiece in the
holding a sceptre in his right hand and a small crucifix in his left.
Fig. 39 Francisco Pacheco, Saint Louis of France, ca. 1610, oil on canvas,
Seville, Museo de Bellas Artes.


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