40 - Castilian School. Circa 1600.

Castilian School. Circa 1600. 'Saint Peter and Saint Paul' Pair of carved, polychromed, gilded, and estofado wooden reliefs. 48 x 23 x 6 cm and 47 x 23 x 6 cm. We present two outstanding reliefs depicting Saint Peter and Saint Paul, the Princes of the Apostles, probably conceived as part of the predella of a Classicist altarpiece executed in the late sixteenth or early seventeenth century, around 1600. It is possible that the two figures were positioned on either side of the tabernacle, following a common arrangement in altarpiece ensembles of the period. Their formal and stylistic characteristics place them within the Romanist movement, the final phase of Renaissance sculpture in Spain, which developed during the last third of the sixteenth century and persisted in certain regions of the Iberian Peninsula until the middle of the following century. Romanism was a Mannerist tendency profoundly influenced by the works of Michelangelo Buonarroti (1475–1564) and by the masters associated with his Roman circle. Its introduction into Spain was closely linked to the multifaceted sculptor and painter Gaspar Becerra (1520–1568), who created the high altarpiece of Astorga Cathedral (1558–1562), a seminal work in the dissemination of this artistic language. Romanist sculpture is characterized by the monumentality of its figures, the solidity of their anatomy, the solemnity of their poses, and the grandiloquence of their gestures—features that lend the images a timeless and transcendent appearance. These characteristics are clearly evident in both reliefs, whose monumental figures are perfectly adapted to the architectural frames that contain them. Saint Peter is depicted as a middle-aged man with a short beard and abundant dark hair, arranged in curls and meticulously rendered in fine locks. The detailed rendering of the curls—possibly achieved with the aid of a drill—enhances their volume and plasticity. He wears a bluish tunic fastened at the waist, over which a generously proportioned and richly ornamented cloak is draped. Gathered in his right hand, it falls in abundant folds that cover much of his body. His slightly turned face and raised right hand—whose fingers appear intended to hold his characteristic attributes, the two keys—constitute the only elements of dynamism within a composition otherwise dominated by solemnity. Saint Paul, by contrast, is depicted as an elderly man with a long, curly gray beard of a soft, almost cotton-like appearance. His prominent bald head emphasizes his advanced age, as do his gently modeled features, which convey a certain softness. He holds a closed book in his left hand, while his right hand grasps the hilt of a sword—the apostle’s traditional attribute—which has not survived. He is likewise dressed in a tunic and cloak, whose broad surfaces are articulated by deep, heavy folds characteristic of the Romanist style. His dignified bearing and upward gaze reinforce his solemn presence. Both faces display noble features and restrained expressions, far removed from any intense emotional display. Almond-shaped eyes with clearly defined eyelids are combined with prominent, narrow noses, full lips, and pronounced cheeks. The ears, partially concealed by the hair, complete the facial features that give each figure a distinctive character. The differing treatment of the mouths—open in Saint Paul and closed in Saint Peter—introduces a note of variety into the two representations. Particular attention should be paid to the rich ornamental polychromy, especially evident in the garments, where the colors are combined with extensive gilding and meticulous decoration featuring plant and geometric motifs in a varied palette. The backgrounds, executed entirely in paint, appear to depict a landscape in the lower section and a bluish sky in the upper section. Shades of blue and ochre contrast with the colors of the figures and enhance their visual presence. The combination of sculptural monumentality and decorative sumptuousness is characteristic of numerous Castilian ensembles from this period. In light of these features and their stylistic characteristics, both reliefs may, with due caution, be attributed to a skilled Castilian sculptor active around 1600. We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloging this work.