La imagen devocional en la orden de Nuestra Señora de la Mercedtradición, formación, continuidad y variantes.

Abstract

With the protestant Reformation a new one begins reconquers of the Faith. The new slavery that the mercedarios try to rescue, supposes to embark in the crossed one against the Protestantism. The Pope and the Church one will find in the Order of the Mercy a good arm executor of the directives tridentines, and this one will adapt its monasteries like didactic centers in whose walls, the dogmatic tridentine is shaped. As of this moment and during the baroque period, their goods in rejuvenated of monasteries and the foundation of new do not scrimp. They contract for this aim the best artists: Pacheco, Alonso Vázquez, Zurbarán, Espinosa, Carducho, Reyna, Pontons, Palomino, Vergara... Although until century XVI the greater efforts of the Order had been for the.redemption of captives, contrarreform tridentine will create in the mercedarios the necessity to remove from the legend and history the brightness necessary to promote the cult to its preclear children. In the literary sources we found the keys of the adjustment of the Order to the directives tridentines. Writers of the own religious Order as Gaspar de Torres is the key to understand the paper of the Order of the Mercy during I conciliate of Trento because, although this one did not participate directly, had in the father Santa Maria the mercedari presence from the salmantina institution in conciliate of Trento. The father Francisco Zumel, disciple of Towers, will write up in 1588 the definitive text of the reform of the Constitutions of the Order, that contains, basically, all the ideas pointed by Towers twenty-three years before. In these writings, of end of century XVI, they found inspiration the first narrative reliefs of Pedro of the Block for the Mercy of Valladolid, with scenes of the Foundation of the Order of Merced and Nolasco to the rescue of captives; or the first pictorial series, like which they take shape in claustro of the Mercy of Seville, in the first years of century XVII. These paintings of the convent of the Mercy of Seville were entrusted by fray Juan Bernal to Francisco Pacheco and Alonso Vázquez. Remembering which the death of Fray Juan Bernal is dated in 1601, the orders had to be previous to that date. Of this series it is possible to emphasize the picture of Pacheco, who is in the National Museu d'Art of Catalonia, San Pedro Nolasco Desembarca with the redeemed prisoners, work painted for claustro great in 1601. One is a complex picture, with different scenes, and has his antecedent historiado in the attributed picture to Alonso Vázquez, San Pedro Nolasco releasing to captives. In fact, in the picture of santo one uses as the same model. As of the first years of century XVII, we found referring and allegories in engravings artistic, like which it orders Fray Isidro de Valcázar in 1610 to Pedro Perret, the most known which institoris will be the Navis. The second part of the investigation is based on an extensive work of field in which it is analyzed, from the sources studied in the previous chapters, the evolution of the images and the consolidation of the iconográficos types that make specific the subjects of the iconography in the Order of the Mercy. The work of field, in search of the images that confirmed the raised hypotheses, began with a simple formula of inventory of images; but the fact to participate in the group of investigation APES, that develops its work by means of the qualifying method of images ICONCLASS, motivated a change in the card system used, with the possibility of incorporating corpus of images to a future project. The group of investigation "APES. Image and Culture ", directed by Rafael Garci'a Mahíques, are creating a great data base of Hispanic iconography (Spanish and Latin American) by means of qualifying system ICONCLASS, as one formulates complete of catalogue of images. The international system of classification of images ICONCLASS, created by the Dutch iconógrafo Goes of Waal, systematically classifies the iconográficos types of a hierarchized form, to the time that allows to incorporate new subjects constantly to be prepared to index new icnográficos types; by his character of opened fields, it allows variety of content fields, becoming an instrument by the possibilities that combinatoria of data offers. In addition to the data of allegiance from the images to fields of location, formal and stylistic, this card form makes specific in each image fields of meaning and culture, concretion of the literary sources and the bibliography that mentions the images, etc. The discipline to that we have put under the card catalogue work justifies its peculiar numeration; the one that corresponds to my scope of work in the data base APES, it begins with number 005000 and it has an intermittent continuity due to the character opened in construction of the data base and that so and as I aim has continuity solution. This second part of the work, constituted by the catalogue of images, is completed with chapters five and six dedicated to its analysis. The scheme of work in these chapters leaves from the first images of each representation, the foundation of the representations, the literary sources that justify the appearance of the types, the influence of the engravings and the variants in the iconográficos types. In these chapters the mercedarias representations to the canonical devocionales images of the Christian santoral have been limited: the Virgin of the Mercy, the Virgin of the Puig, san Pedro Nolasco, san Ramon Nonato, san Pedro Armengol, san Serapio; san Paschal Pedro, santa Maria Cervelló and the Mariana de Jesus. They would be left other subjects in the art of the Mercy that without a doubt can be treated by other works of investigation: like the architecture in the Mercy, the galleries of pictures, the particular devotions, the canonized, venerable and mercedarios martyrs I do not illustrate in the art... The extension is evident that supposes the artistic contribution of the Order of the Mercy, to try to approach it in an only doctoral thesis. The third part of this study opens the doors to future works of investigation, and its presence I consider it necessary. The seventh chapter and the epilogue show key aspects in the evolution of the mercedaria iconography. Chapter seven deals with the figure of the mercedario fray Juan Interián de Ayala and his contribution to the Christian iconography with the published most important treaty on this one subject in Spain: The Pictor Christianus. This book deserves by himself only a critical edition work, work nonmade until the present. Interián de Ayala, in the first quarter of century XVIII, raises a revision of the Christian art in agreement with the doctrine of Trento; between the aspects that treat, like it was to hope, are the mercedarias devocionales representations. The work of Interián will have its importance in the mercedarias representations of century XVIII, swan song of the iconography in the Order of the Mercy, influenced by I conciliate of Trento. The epilogue turns on a very particular aspect that presents/displays the mercedaria iconography in America: the evolution of the devocional image of the Mercy of "Conqueror to liberating."Como member of CIAL, I have not wanted to let pass the occasion of the present work to treat an aspect, of the American mariana iconography, that only occurs in the art of the Mercy. The first scenes of the American earth conquests appear whitened by mercedarios habits that they accompany the conquerors. We see how the engravings influence in "the didactic" representations and catequéticas that will populate the American convents in centuries XVII and XVIII. Finally, we see as America the invocation of Mercy of slaves and captives becomes symbol of independence. The insurgents even erect, by to be liberating, the Virgin of the Mercy like pattern of the armies (Argentina, Peru, Chile...) or as pattern of the nation as it is the case of Ecuador. The symbolic sense of "the liberating" invocation takes shape in a political instrument and referring iconográfico in the new nations.