Attributed to the Workshop of Pedro Roldán (Seville 1624–1699), Spanish, 17th century

This monumental and impressive polychromed wood relief representing the Miracle of Saint Dominic in Soriano finds close affinity with the sculpture of Pedro Roldán and his workshop. Roldán was the most celebrated sculptor active in Seville in the second half of the 17th century. Trained in Granada by Alonso de Mena, whose own son, Pedro de Mena, would go on to become Spanish Court Sculptor, Roldán moved to Seville in 1646 following his master’s death. In Seville, he developed a high baroque style which is characterized by realism, simplicity of form, dynamic drapery, and, above all, scenographic theatricality. 

Polychromy was of central importance to Pedro Roldán, who was expert in both encarnación (life-like fleshtones with gloss or matt finishes and estofado (the technique of gilding the surface of a wood sculpture, applying polychrome, and then removing the paint so as to give the illusion of sumptuous gold cloth, silk or brocade). Roldán’s large workshop was home to some of the most skilled sculptors of the day, including Francisco de Fonseca, Gaspar de Ribas, and Juan de Valdés Leal. His legacy was ultimately secured, however, by his daughter, Luisa Roldán, La Roldána, who became as famous as her father and was made Escultor de Cámara (Court Sculptor) to the Habsburg king Charles II; one of the few female artists to reach such heights in Early Modern Europe.

The present relief represents a miracle which took place between 14th and 15th September 1530 in the Dominican Friary at Soriano Calabro in Calabria. The Virgin Mary, Mary Magdalene and Saint Catherine of Alexandria are said to have appeared before Brother Lorenzo da Grotteria and presented him with an image of the founder of the order, Saint Dominic, and requested that he hand it to the the founder of the monastery, Father Vincenzo da Catanzaro. The cult image of Saint Dominic became ubiquitous, and a focus for pilgrims and devotees. The miracle was widely depicted in Italian and Spanish 17th-century painting (Southern Italy was ruled by the Spanish Habsburgs at the time), by artists including Francisco de Zurburán and Alonso Cano. In the present relief, the miraculous image of Saint Dominic appears at the center of the composition, held by the Virgin Mary who stands at the top of a pyramidal arrangement, with Saint Catherine to her right, and the Magdalene to her left. Beneath, Brother Lorenzo da Grotteria kneels with astonished, rapturous, expression, whilst dramatically posed putti hold up the Virgin’s veil, and another unfurls a scroll with text.

RELATED LITERATURE

E. Pareja López, Pedro Roldan: Catalogo de Obras Documentadas y de Segura Atribución, Seville 2008, pp. 246, -247, 256-259;

E. Pareja López, Grandes Maestros Andaluces, Seville 2008;

X. Bray, Sacred Made Real: Spanish Paintings and Sculpture 1600 - 1700, exhibition catalogue, London, National Gallery 2009.