Another of the interesting examples that complement the Museum's varied collection of Guatemalan pieces is this set that has been given scant attention by art history until now. Its composition insists on models that were frequent in the sculpture and painting workshops of the ancient General Captaincy, and whose references are in painting, as is the case with other similar compositions, both Spanish and American, of the Modern Period, of which we would highlight mainly the European, paying special attention to that of Nordic origin, so widespread through engravings.
Due to the size of its pieces, it is, once again, imagery intended for private, so-called domestic, worship, and which, as is the case with other groups reported in the bibliography and preserved in different international institutions, in response to commissions or to satisfy the to satisfy the diverse requirements of their clients, they could vary in their formats and even in the number of images. The review of several of the already known ones attests to this, as this would be one of the smallest, along with those of the Museum of America and the National Museum of Sculpture, both in Spain. They would be followed in an ascending line by the one in the Metropolitan Museum of New York, acquired in Andalusia, Spain, and above that by the one in the Franz Mayer in Mexico City. In relation to the most notable pieces, we have evidence of one reproduced by Xavier Moyssén of which there is another very close one in a private collection in Guatemala; to these are added the figures of the rest of the executed, San Dimas and Gestas (the thieves). Linked to the last ones and with the almost mimetic repetition of these last figures, we have another example, which we studied at the time for the Madrid gallery Coll & Cortés, donated by the Colnaghi Foundation in 2018 to the Art Institute of Chicago, thereby becoming the first work of Spanish-American origin from the viceregal period in its collection.
When talking about the iconography in the sculpture at hand, we cannot fail to mention, due to its votive nature, as it is associated with one of the most renowned devotional images in Guatemala, the representation of Calvary with the Christ of Esquipulas (Quirico Cataño, 1594), which presides over its sanctuary in the distant town whose name it receives. Of these pieces, all of larger format than those named, it is known from the documentation that they were before 1804, which is when they are named in an inventory, which could have a link with several of the groups mentioned. Not in vain, some common points have already been established between them and those of Franz Mayer's Calvary, without forgetting, of course, that of the Museum of America that imitates the Christ.
Focusing on our protagonists, we have already commented in the corresponding data sheet how the Sorrowful Virgin is very close in its layout to that of the same dedication that this museum has. It is also the only one that preserves its brilliance, in silver and of unmistakable Guatemalan manufacture, so it must be the original with its characteristic metal chiseling and combination of shapes and forms. As for the carving of the San Juan, due to the position of the arms it is not distant from that of the Museum of America, although the arrangement of both arms is inverted. For its part, the figure of the Magdalene, although it maintains the traditional kneeling posture, common to all the examples mentioned, does not seem to follow the previous ones due to the layout of its arms, since those cling to the lower part of the cross. Thus, the current layout of the Museum, in front of the feet of Christ, seems to us the most appropriate, distinguishing it as an unusual design. Regarding the carving of the Crucified, we share the opinion of the Guatemalan specialist Johann Melchor that its design and multiple points of carving and polychrome are distant from the codified Guatemalan formulas. Furthermore, the very fact that it has the typical base for individual pieces insists on the idea that the figure is an addition, without detracting from its artistic value and effectiveness in its belonging to the set.
We conclude with a call for attention regarding polychromes. Although they are another reflection of the origin of the pieces, complying with both the designs and the manufacture, some differences between the ornamental elements are noteworthy. Perhaps this has to do with the fact that in the Calvary of Esquipulas this detail is repeated regarding those present in the Virgin with respect to those in San Juan and Magdalena.
Indicative bibliography:
Hugo David López Hernández. La historia del Señor de Esquipulas, Guatemala, Ediciones San Pablo, 2010.
Brenda Janeth Porras Godoy. El retablo y la esculura en Guatemala, siglos XVI al XIX. Sevilla, Universidad de Sevilla, Departamento de Historia de Arte, 2015, (tesis para optener el grado de doctor).
Xavier Moyssén. Estofados en la Nueva España. México, Ediciones de Arte COMERMEX, 1978.
