“Popular Religiousity” is the heading applied to the figures of Jesus and Mary venerated in Cordoba in the brochure for Ruta de las Iglesias Fernandinas. The route includes a series of temples founded by Ferdinand III (1199-1252), King of Castile, following his conquest of Cordoba in 1236.
While figures of Jesus seem to play a larger role than they did in the churches of Seville, Mary is always a show-stopper with her regal brocaded gowns and impressive glittering crowns. Most of the statues of Mary have devoted brotherhoods or cofradias to see that their Marias are always elegantly attired and prepared to be borne aloft in parades, primarily during Semana Santa.
Maria Santisima de la Caridad, Miguel Angel Gonzalez Jurado, San Andres
Virgen del Cerro del Cabezo de Andujar, San Francisco y San Eulogio
San Lorenzo Martir
Nuestra Senora del Mayor Dolor, Francisco Diaz Jimenez and Antonio Castillo Ariza, San Lorenzo Martir
Nuestra Senora de Carmen, Lorenzo Cano, Carmen de Puerta Nueva
San Lorenzo Martir
Nuestra Senora de las Angustias, Juan de Mesa y Velasco, San Agustin
Maria Santisima de la Candelaria, San Francisco y San Eulogio
Maria Santisima de la Caridad, Miguel Angel Gonzalez Jurado, San Andres
Nuestra Senora de la Lagrimas en su Desamparo, Basilica de San Pedro
Nuestra Senora del Mayor Dolor, Francisco Diaz Jimenez and Antonio Castillo Ariza, San Lorenzo Martir
Nuestra Senora de la Palma, Francisco Romero Zafra, San Lorenzo Martir
The ticket to La Mezquita Catedral provides you with access during the opening hours of these churches.
When the governor of Andalusia, Pedro Enriguez de Quinones (1435-1492) began construction of his palace, most of the building expertise in the neighborhood was provided by Mudejar craftsmen.
A two-year grand tour of the Holy Land and Italy by his son, Fadrique EnrÃquez de Rivera (1476 – 1539), brought Renaissance influences into the home but not at the expense of Mudejar architectural details and azulejos. More than 100 different tile designs from the 1530s by the Pulido brothers color the interiors and its multiple courtyards. The first marques of Tarifa, Fadrique set a trend for mixing these styles among the wealthy in Sevilla, and that influence is reflected in a multitude of house museums now open to the public.
In 1521, Fadrique also established the Semana Santa tradition of a Lenten procession he was exposed to in Jerusalem, the Holy Way of the Cross. The route of La Via Crucis began in his chapel and proceeded 1,321 paces to a pillar just outside the city walls. The number represents the purported number of steps Jesus tread from the House of Pontius Pilate in Jerusalem to the crucifixion awaiting him. Possibly this association is what led Sevillanos to refer to the home as the Casa de Pilatos.
Casa de Pilatos was made a national monument in 1931, but it remains the residence of the family of the Duke of Medinaceli, who retain portions as their private quarters.
details of “La Mujer Barbuda,” Jusepe de Ribera, 1631
“La Mujer Barbuda,” Jusepe de Ribera, 1631
I feel guilty including the portrait of “The Bearded Woman” by the famous Joseph de la Ribera, except it does jump off the wall at you. Instead of trying to explain the painting or my inclusion of it, I offer a translation of Ribera’s inscription on it. This is provided by WTF Art History (great blog title):
Look, a great miracle of nature. Magdalena Ventura from the town of Accumulus in Samnium, in the vulgar tongue Abruzzo in the Kingdom of Naples, aged 52 and what is unusual is when she was in her 37th year she began to go through puberty and thus a full growth of beard appeared such that it seems rather that of a bearded gentleman than a woman who had previously lost three sons whom she had borne to her husband, Felici de Amici, whom you see next to her. Joseph de Ribera, a Spaniard, marked by the cross of Christ, a second Apelles of his own time, by order of Duke Ferdinand II of Alcalá, Viceroy at Naples, depicted in a marvelously lifelike way. 17th February 1631.
My childhood memory might be as hazy as the incense clouds at midnight mass, but I think the head covering of a rather homely statue of the Virgin Mary at Star of the Sea church was a humble blue cloak.
In Spain, things are different. La Virgen generally wears richly embroidered gowns with an elaborate silver or gold crown perched upon her head. And she is mesmerizingly beautiful.
In Adalusia, she appears everywhere (see La Virgen tiles of the streets of Seville here). In Seville, one stunning representation of Mary per church is rarely enough. Although Holy Week theoretically revolves around the story of Jesus’ last days before his crucifixion and resurrection from the dead, the candlelit floats bearing Mary through the streets are the stars.
The most cherished of these is La Macarena, or La Virgen de la Esperanza (above). The 17th-century carved wooden figure resides on the altar of her Basilica in the Macarena neighborhood in Seville. When she emerges at midnight on Good Friday, the assembled faithful gasp and cry, with some scrambling to touch her cloak. She is paraded through the streets for 12 hours, with candles lit, according to Margaret Galitzin, to prevent her from seeing her son’s suffering on the float preceding her.
Our Lady of the Waters, El Divino Salvador
El Divino Salvador
Iglesia de San Antonio Abad
Basilica de la Macarena
Iglesia de Santa Ana
Iglesia de Santa Ana
Iglesia de Santa Ana
Nuestra Senora de la Esperanza, Basilica de la Macarena
El Divino Salvador
Altar of Nuestra Senora de la Esperanza, Basilica de la Macarena
Iglesia de San Antonio Abad
Basilica de la Macarena
Basilica de la Macarena
Nuestra Senora de la Esperanza, Basilica de la Macarena
Iglesia de Santa Ana
Iglesia de Santa Ana
Basilica de la Macarena
Nuestra Senora de la Esperanza, Basilica de la Macarena
Basilica de la Macarena
El Divino Salvador
Iglesia de San Antonio Abad
Iglesia de San Antonio Abad
Iglesia de San Antonio Abad
Our Lady of El Rocio, El Divino Salvador
The wooden representation of Our Lady of Sorrows with her dramatic glass tears generally is attributed to Pedro Roldan (1624-1699). She received numerous makeovers through the years, particularly after a not-very-pious drunk hurled a bottle at her resulting in a “bruise.” Legend claims no cosmetic alterations could erase the damage. According to Galitzin:
When the man who committed this terrible offense against the Mother of God became sober, he saw the bruise and repented for his crime. For his penance, he resolved to walk before the statue each Holy Week with chains on his feet and carrying a cross to expiate his sin. After his death, his descendants continued this practice. To this day, it is said, a family member continues this act.
In addition to her elegant attire and shining crown, La Macarena wears several emerald floral brooches. The jewels were a gift from one of Seville’s most famous matadors, Jose Gomez Ortega (1895-1920), Joselito. A Canonical Coronation in 1913 added these precious stones to the garments of La Virgen.
You might have noticed the year of Joselito’s death and realized it seems premature. His faithful tribute failed to spare him from a fatal goring 99 years ago.
Yet La Virgen went into mourning. She wore widow-black robes for a month following his death – the only time she has shed her embroidered fashions. La Macarena remains the patron of bullfighters.
The photographs collaged here are regal representations of La Virgen from numerous churches in Seville.
Postcards from Barton Springs 