This image represents Saint Dominic (Santo Domingo de Guzman), a Spanish saint born in the twelfth century and founder of the order of preachers to which his name is given.[1] Although it is a round, freestanding sculpture, and of a little less than natural size, the outline of the volume in the back part and the lack of polychrome in this area indicate that the execution gave preference to the front of the character, establishing that it must have been conceived as an altarpiece. Thanks to a loss of the lid that covered the lower part of the cloak at the back, one can see the hollowing in the wood according to the rules of good craftsmanship contained in the ordinances, which also resulted in a lessening of the weight of the effigy. Apparently, this figure was worked in various parts, the body from a single block, and the cloak, arms and head, in pieces added to the central piece.
Concerning its outline, it has a smooth movement in the body that suggests a discreet S, raising the right arm, separating it completely from the body, as the hand curves separating each of the fingers with a graceful and elegant movement. In the same regard, its size also allows us to conceive of its original location, as an altarpiece, as it is too large for a private altar. The sculpture is excellent as well as the polychrome, and the estofado; details that speak of a high quality artist and polychromist. Although this piece has parts that have been retouched, especially the cloak, the refinement and the care taken in every detail of the estofado is still clearly noticeable. It features different floral and plant imprints combined with geometric patterns in which the use of punching and sgraffito stand out, and with which forms that greatly enrich the work are created. The estofado in the tunic looks original and is in very good condition; however, the cloak has retouches to the dark parts that help to delineate the flowers of the estofado, and were possibly made with the idea of beautifying the piece for its sale.
Both the movement of the body and the fabrics that maintain some repose, and the type and size of the pattern on the printed motifs in the estofado, are consistent with those of the eighteenth century. The flesh of both the face and hands seems to be original and has a smooth polished appearance without losing the characteristic carefully preserved matte finish. It has glass eyes, and attached to the eyelids, there are still some remnants of what were the original eyelashes.
Saint Dominic can be identified firstly by the two-tone habit of his order: the white tunic and scapular, and black cape which, to underscore the color scheme, the gilding in gold leaf and the temples above have been worked with great care, as well as the chiseling in the valences. As is customary, the saint has a tonsure surrounded by thick hair that has been worked with fine gouges, partly retouched at a later date. In his left hand he has the open book of his rule and perhaps in the other, due to this gesture, it can be inferred that he may be carrying a founder's staff. The symbol that makes it unmistakable is the star on the forehead; iconography that comes from the time of his baptism when his godmother, on holding him over the baptismal font "thought she saw on the forehead of her godson a very bright star that cast light on all countries of the earth." [2] Usually the representation in painting of the star, which is red, is shining on his forehead or over his head; ordinarily in sculpture it is situated in the center of the forehead and with some relief, or added as in this case.
This is a sculpture of excellent craftsmanship, possibly made in the workshops of the southern territory of New Spain, since its formal characteristics and some elements of its adornment maintain some harmony with the area between Puebla and Oaxaca, without discounting its possible origin being the capital, and chronologically its creation can be placed somewhere in the eighteenth century, although we opt for the middle decades or in the second half.
[1]. Réau, 2000: 394.
[2]. Vorágine, 2001: 441.
Sources:
Réau, Louis, Iconografía del arte cristiano. (Iconography of Christian Art.) Iconografía de los santos. (Iconongraphy of the Saints) De la A a la F, (From A to F), tome 2, vol. 3, Barcelona, Serbal, 2000.
Vorágine, Santiago de la, La leyenda dorada, (The Golden Legend) vol. I, Translated from fray José Manuel Macías, Madrid, Alianza, 2001.
