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Heritage<\/p>\n
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Lucena\u2019s sculptural heritage has been shaped over the centuries through the work of numerous \u2018imagineros\u2019, from the masters of the Andalusian Baroque to contemporary sculptors. Among the masters of the 17th and 18th centuries<\/strong> are figures such as Pedro Rold\u00e1n Onieva, Pedro de Mena Medrano, Alonso Cano, Francisco Salzillo, Diego de Ramos and Blas Molner<\/strong>, together with works attributed to Luisa Rold\u00e1n \u201cLa Roldana\u201d<\/strong> as well as sculptures associated with the Granada School<\/strong> of the circle of Diego de Mora<\/strong>. The town\u2019s historic heritage also includes a number of anonymous carvings<\/strong> dating from the 16th to the 19th centuries.<\/p>\n They are joined by sculptors active during the 18th and 19th centuries<\/strong>, including Diego M\u00e1rquez Vega, Luis Tibao, Miguel Verdiguier, Andr\u00e9s Cord\u00f3n, Pedro Mu\u00f1oz de Toro, Felipe Gonz\u00e1lez and Jos\u00e9 de Medina<\/strong>, who created some of the most significant works in this remarkable collection. In the 20th century<\/strong>, Lucena\u2019s religious imagery was further enriched by works form artists such as Antonio Castillo Lastrucci, Juan Mart\u00ednez Cerrillo, Luis \u00c1lvarez Duarte y Miguel \u00c1ngel Gonz\u00e1lez Jurado<\/strong>, together with sculptures produced by the Talleres de Olot<\/strong>. In recent decades, this heritage has been further enriched with new devotional images created by contemporary \u2018imagineros\u2019 such as Francisco Romero Zafra, Manuel Luque Bonillo, Juan Manuel Mi\u00f1arro and Ventura G\u00f3mez<\/strong>, together with the Lucena-born sculptors Francisco Javier L\u00f3pez del Espino<\/strong> and Daniel Henares Paredes<\/strong>, who continue to enhace this remarkable artistic legacy.<\/p>\n In addition to the images carried in procession each year during Holy Week and the Glory celebrations, numerous other carved devotional images are preserved in Lucena\u2019s churches without taking part in processional parades<\/strong>.They nevertheless form an integral part of the town\u2019s rich devotional and artistic heritage and can be admired throughout the year in its parish churches, chapels, hermitages, and convents.<\/p>\n Religious imagery in Lucena begins in the 26th century<\/strong>, led by the image of Our Father Jesus the Nazarene (Nuestro Padre Jes\u00fas Nazareno)<\/strong>, an anonymous work dating from the mid-16th century. It is one of the town\u2019s most deeply venerated devotional images and a central reference point of its confraternal tradition, and is probably the oldest dressed devotional image still carried in procession during Holy Week in Andalusia. Also dating from this period is the Most Holy Christ of the Blood (Sant\u00edsimo Cristo de la Sangre)<\/strong>, anonymous 16th-century colonial work made of plant-based paste by Indigenous artisans in New Spain (present-day Mexico). Also of particular note is Our Lady of Sorrows of St. Dominic of Guzm\u00e1n (Nuestra Se\u00f1ora de las Angustias de Santo Domingo de Guzm\u00e1n)<\/strong> \u2014comprising a figure of the Virgin attributed to Luisa Rold\u00e1n \u201cLa Roldana\u201d<\/strong>, and an anonymous 16th-century carving of Christ\u2014.<\/p>\n During the 17th century<\/strong> their artistic development of Lucena\u2019s religious imagery became firmly established through works associated with the Granada School and the Andalusian Baroque. Among the works dating from this period is Our Father Jesus at the Column (Nuestro Padre Jes\u00fas de la Columna)<\/strong>, created by Pedro Rold\u00e1n Onieva<\/strong> in 1675. The image is now accompanied by figures of a Roman soldier and an executioner, carved by Juan Manuel Mi\u00f1arro in 2003<\/strong>.<\/p>\n Also dating from this century are Our Father Jesus the Prisoner (Nuestro Padre Jes\u00fas Preso)<\/strong>, Our Father Jesus Fallen (Nuestro Padre Jes\u00fas Ca\u00eddo)<\/strong>, Mary Most Holy of Sorrow (Mar\u00eda Sant\u00edsima de la Amargura)<\/strong> and the Most Holy Christ of Health and Mercy (Sant\u00edsimo Cristo de la Salud y Misericordia)<\/strong>, all associated with the Granada School<\/strong>. Also belonging to this artistic milieu are Our Father Jesus of Humility (Nuestro Padre Jes\u00fas de la Humildad)<\/strong> and Mary Most Holy of Sorrows (Mar\u00eda Sant\u00edsima de los Dolores)<\/strong>, both attributed to Pedro de Mena Medrano and his circle<\/strong>, together with Our Father Jesus at the Washing of the Feet (Nuestro Padre Jes\u00fas en el Sagrado Lavatorio)<\/strong>, also attributed to this 17th-century \u2018imaginero\u2019.<\/p>\n Special mention should be made of the Most Holy Christ of Love (Sant\u00edsimo Cristo del Amor)<\/strong>, whose head is attributed to Alonso Cano and dates from the late 17th century<\/strong>, while the body was carved by Luis Tibao and Andr\u00e9s Cord\u00f3n in 1808<\/strong>.<\/p>\n The 18th century<\/strong> further enriched Lucena\u2019s sculptural heritage with new devotional images and works of outstanding artistic value. Among these are Our Father Jesus Captive of Medinaceli (Nuestro Padre Jes\u00fas Cautivo de Medinaceli)<\/strong>, created by Diego de Ramos in 1713<\/strong>, and Mary Most Holy of Passion and Souls (Mar\u00eda Sant\u00edsima de Pasi\u00f3n y \u00c1nimas)<\/strong>, an anonymous carving dating from the early 18th century. Also dating from this period is St. John the Evangelist (San Juan Evangelista)<\/strong>, a work by the sculptor from Murcia Francisco Salzillo<\/strong>. From 1769<\/strong> is Our Father Jesus at His Entry into Jerusalem (Nuestro Padre Jes\u00fas en su Entrada a Jerusal\u00e9n)<\/strong>, created by Diego M\u00e1rquez Vega<\/strong>, and accompanied by the figures of the donkey and the colt, carved by Luis Tibao in 1779<\/strong>. Among the Marian images, special mention should be made of Our Lady of Sorrows Servite (Nuestra Se\u00f1ora de los Dolores Servitas)<\/strong>, attributed to Blas Molner in 1786<\/strong>.<\/p>\n Also dating from this period is the Holy Burial of Our Lord Jesus (Santo Entierro de Nuestro Se\u00f1or Jesucristo)<\/strong>, a work attributed to Miguel Verdiguier<\/strong>. The early 19th century also saw the creation of Our Lady of Sorrows (Nuestra Se\u00f1ora de las Angustias)<\/strong>, popularly known as the Virgen de Piedra (Stone Virgin)<\/strong>, carved by Blas Molner in 1800<\/strong>.<\/p>\n The 19th century<\/strong> saw the addition of important new works to Lucena\u2019s sculptural heritage. Particularly noteworthy is the work of the sculptor Pedro Mu\u00f1oz de Toro<\/strong>, who created the Most Hoy Christ of Humiliation (Sant\u00edsimo Cristo de la Humillaci\u00f3n)<\/strong> and the Christ of the Crucifixion (Cristo de la Crucifixi\u00f3n)<\/strong>, both dating from the 19th century. The first scene is now completed by two Roman soldiers, carved by Ventura G\u00f3mez in the late 20th century<\/strong>, while the Crucifixion group has recently been enriched by the addition of two Roman soldiers and an equestrian figure of a centurion, carved by the Lucena-born \u2018imaginero\u2019 Francisco Javier L\u00f3pez del Espino in 2024<\/strong>. Also dating from this century is Our Father Jesus of the Valley (Nuestro Padre Jes\u00fas del Valle)<\/strong>, a work of the Granada School<\/strong>, which is now carried in procession accompanied by the figure of Simon of Cyrene <\/strong>, created by the Lucena-born sculptor Daniel Henares in 2025<\/strong>.<\/p>\n Another notable work from this period is the Allegory of the Holy Faith<\/strong>, by Andr\u00e9s Cord\u00f3n<\/strong>, probably one of the very few sculptural representation of this subject in Spain.<\/p>\n The 20th century<\/strong> brought new additions to the city\u2019s sculptural heritage, many of them associated with the revival of the Andalusian Neo-Baroque style. Among them is Our Father Jesus on His Triumphal Entry into Jerusalem (Nuestro Padre Jes\u00fas en su Entrada Triunfal en Jerusal\u00e9n)<\/strong>, coming from the Talleres de Olot and created in 1928<\/strong>. Among the Marian images, special mention should be made of Mary Most Holy of Greatest Sorrow (Mar\u00eda Sant\u00edsima del Mayor Dolor)<\/strong>, created by Antonio Castillo Lastrucci in 1959<\/strong>, and Mary Most Holy of Peace (Mar\u00eda Sant\u00edsima de la Paz) affectionately known as \u201cCampanitas\u201d<\/strong>, carved by Juan Mart\u00ednez Cerrillo in 1983<\/strong>.<\/p>\n Also dating from this period are several images by the \u2018imaginero\u2019 Luis \u00c1lvarez Duarte<\/strong>, including Our Lady of Solitude (Nuestra Se\u00f1ora de la Soledad, 1988)<\/strong>, Our Lady of Succour (Nuestra Se\u00f1ora del Socorro, 1995)<\/strong>, Saint Veronica (Santa Mujer Ver\u00f3nica, 1995)<\/strong>, Saint Mary Magdalene (Santa Mar\u00eda Magdalena, 1996)<\/strong> and Mary Most Holy of the Star (Mar\u00eda Sant\u00edsima de la Estrella, 2000)<\/strong>. The late 20th centrury also saw the creation of Mary Most Holy of Peace and Hope (Mar\u00eda Sant\u00edsima de la Paz y Esperanza)<\/strong>, by Miguel \u00c1ngel Gonz\u00e1lez Jurado in 1992<\/strong>.<\/p>\n In the final decades of the 20th century, Lucena\u2019s religious imagery continued to evolve through the addition of new contemporary works. Among these are Our Father Jesus of Goodness (Nuestro Padre Jes\u00fas de la Bondad)<\/strong>, created by Francisco Romero Zafra in 1995<\/strong>, and Our Father Jesus in His Agony Praying in the Garden (Nuestro Padre Jes\u00fas de la Agon\u00eda Orando en el Huerto)<\/strong>, carved by Manuel Luque Bonillo in 1996<\/strong>. The latter was subsequently complemented by an angel, also carved by Luque Bonillo in 1997, and three Apostles, created also by Luque Bonillo in 2015<\/strong>. Also by this sculptor are Mary Most Holy of Divine Consolation (Mar\u00eda Sant\u00edsima del Divino Consuelo) and Saint John the Evangelist (San Juan Evangelista)<\/strong>, both created by Francisco Romero Zafra in 1997.<\/strong><\/p>\n The 21th century has also further enriched Lucena\u2019s sculptural heritage with works such as Our Lady of the Angels (Nuestra Se\u00f1ora de los \u00c1ngeles)<\/strong>, created by the aforementioned Francisco Romero Zafra<\/strong> in 2001. <\/strong>Among the most recent additions to Lucena\u2019s religious imagery, two Lucena-born religious sculptors stand out: Francisco Javier L\u00f3pez del Espino<\/strong>, creator of Our Father Jesus of Charity (Nuestro Padre Jes\u00fas de la Caridad, 2015)<\/strong> \u2014later complemented by the figure of Herod, carved by the artist himself in 2019<\/strong>\u2014 and of Our Father Jesus Resurrected (Nuestro Padre Jes\u00fas Resucitado, 2025), and Daniel Henares Paredes, <\/strong>creator of Mary Most Holy of Health (Mar\u00eda Sant\u00edsima de la Salud, 2010). <\/strong><\/p>\n Lucena\u2019s sculptural heritage is further complemented by a number of Glory images<\/strong>, which are the focus of devotional celebrations throughout the year. Among them stands out Our Lady of Araceli (Mar\u00eda Sant\u00edsima de Araceli)<\/strong>, patroness of Lucena and the Andalusian countryside, an anonymous carving made around 1562<\/strong>.<\/p>\n Also included are Mary Most Holy of the Aurora (Mar\u00eda Sant\u00edsima de la Aurora)<\/strong>, attributed to Jos\u00e9 de Medina and dating from the mid-18th century<\/strong>; Saint Joseph the Worker (San Jos\u00e9 Artesano)<\/strong>, attributed to the circle of Diego de Mora and dating from the late 17th century<\/strong>; Our Lady of the Valley and Saint Martha (Nuestra Se\u00f1ora del Valle y Santa Marta)<\/strong>, both anonymous carvings of the 17th century<\/strong>; Our Lady of Carmel (Nuestra Se\u00f1ora del Carmen)<\/strong>, created Felipe Gonz\u00e1lez in 1798<\/strong>; Saint James the Apostle (Santiago Ap\u00f3stol)<\/strong>, carved by Andr\u00e9s Cord\u00f3n in the first half of the 19th century<\/strong>; and Saint Teresa of \u00c1vila (Santa Teresa de Jes\u00fas)<\/strong>, an anonymous 19th-century carving.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.2″ _module_preset=”default” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” custom_padding=”53px|||||” locked=”off” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”5352,5032,5034,5035,5036,5037,5038,5039,5040,5044,5043,5041,5042,5045,5047,5353,5048,5049,5050,5051,5052,5053,5054,5055,5056,5057,5058,5059,5060,5061,5062,5063,5064,5065,5066,5067,5354,5069,5070,5355″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” custom_padding=”53px|||||” locked=”off” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”5356,5357,5358,5359,5360,5361,5362,5363,5364,5365,5366″ fullwidth=”on” _builder_version=”4.27.2″ _module_preset=”default” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" HeritageSculptural HeritageThe Religious Imagery of Lucena: Five Centuries of Faith Preserved as Heritage Lucena is home to one of the richest and most diverse collections of religious imagery in Andalusia. […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-5351","page","type-page","status-publish","hentry"],"yoast_head":"\n<\/h1>\n
XVIXVIIThe 16th and 17th centuries: The Origins of Lucena\u2019s Religious Imagery<\/h1>\n
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The 18th Century: The Flourishing Baroque<\/h1>\n
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The 19th century: Artistic Development and Local Production<\/h1>\n
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The 20th century: The Neo-Baroque Revival<\/h1>\n
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The 21th Century: Contemporary Religious Imagery<\/h1>\n
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Images of Glory<\/h1>\n
Passion<\/span> Imagery<\/h3>\n
Imagery of Glory<\/span><\/h3>\n