Las procesiones de sangre en Sevilla y Nueva España. A propósito de una pintura mural en la iglesia conventual de Huexotzingo

Tomo II ; págs. 314-321

Retablos y esculturas de América : Nuevas aportaciones

Tomo II ; págs. 429-43

El diseño de Juan Bautista Vázquez “el Viejo” para la custodia procesional de Tunja (Colombia)

This article expands the corpus of drawings by Juan Bautista Vázquez ‘the Elder’ that I had the pleasure of inaugurating in 1983 on the pages of BSAA. A new document shows the appearance of the former processional monstrance of Tunja (Colombia), and proves how far its design was indebted to Sevillian liturgical silverwork, whose Renaissance multi-storey baldachin-structures are translated into gilded wood in Vázquez’s work. Quite useful is the recommendation made to the sculptor, asking him to send the monstrance dismantled inside boxes weighing no more than five arrobas, so that they could be easily transported on canoes through the Magdalena River.El presente artículo amplía el corpus de dibujos de Juan Bautista Vázquez “el Viejo” que tuvimos la fortuna de inaugurar en 1983 en las páginas del BSAA. Visualiza el aspecto de la primitiva custodia procesional de Tunja (Colombia) y delata su dependencia de la platería litúrgica sevillana, cuyos templetes renacentistas traduce a madera dorada. Muy práctica es la recomendación que se le hace al escultor de enviar la custodia desarmada en cajones que no pesen más de cinco arrobas para poder transportarlos con facilidad en canoas a través del río Magdalena

Arte franciscano-americano en el S. XVII

págs.977-99

Definición, cronología y tipología del retablo sevillano del Renacimiento

This paper starts from a terminological definition, based upon the Spanish lexical repertories since the end of the XVth century up to the end of the XVIIIth century, to continue with an approach to the reason and operation of the reredos inside the temple. Then, a chronology of the Sevillian retable is established, separaring three different periods: plareresque (1540-I580), romanistic (1581 -1600) and purist (1601-1629). It follows a study of the more significant works and artists in each of the three periods, an analysis of typologies, paving attention to the location inside the temple (major or collateral), plan (linear, eight-sided) and purpose (sacramental, communion rail, reliquary, sepulcher). We also offer a classification, following the iconographic repertory, in rosary- and apocalypticul- retables. Finally, attending to the architectural structure, we classi' them into triptych -, tabernacle -, crucifix-, stage -, frontand illusionist- retables. They all are illustrated with numerous examples, both existing and taken from printed repertories, joined to biographical sketches of the masters who made them.This paper starts from a terminological definition, based upon the Spanish lexical repertories since the end of the XVth century up to the end of the XVIIIth century, to continue with an approach to the reason and operation of the reredos inside the temple. Then, a chronology of the Sevillian retable is established, separaring three different periods: plareresque (1540-I580), romanistic (1581 -1600) and purist (1601-1629). It follows a study of the more significant works and artists in each of the three periods, an analysis of typologies, paving attention to the location inside the temple (major or collateral), plan (linear, eight-sided) and purpose (sacramental, communion rail, reliquary, sepulcher). We also offer a classification, following the iconographic repertory, in rosary- and apocalypticul- retables. Finally, attending to the architectural structure, we classi' them into triptych -, tabernacle -, crucifix-, stage -, frontand illusionist- retables. They all are illustrated with numerous examples, both existing and taken from printed repertories, joined to biographical sketches of the masters who made them