The Triumph of the Church: Rubens and Mexico

Previously we looked briefly at a series of grand colonial Mexican paintings depicting the Triumph of the Church, including those in the cathedrals of Oaxaca and Puebla (see below)  In this post we look at their principal European source: a painting by the influential Flemish artist, Peter Paul Rubens. 
   In 1626 Rubens completed one of the most important commissions of his lifetime, a suite of finished oil sketches referred to as the Triumph of the Eucharist series. The panels were commissioned by the Infanta Clara Eugenia, ruler of the Southern Netherlands and a member of the Spanish royal family, as studies for a suite of sumptuous tapestries to be hung in the Claras Descalzas Reales monastery in Madrid. 
   Although Rubens used the paintings as preparatory to his tapestry designs, they are exquisite works of art in their own right. The largest and best known of these compositions—one that has been copied or used as a basis for numerous other paintings including several in Mexico—is commonly known as The Triumph of the Church.

In the spirit of the Counter Reformation, Rubens conceived the theme as an affirmation of papal authority, framed pictorially as a Roman triumph.

The Church (Ecclesia), dressed in papal vestments, sits in an ornate gilded chariot, holding up a monstrance with the shining Host. An angel behind her is placing the triple Papal tiara on her head.

The chariot is drawn by three fine steeds ridden by angels carrying the symbols of victory (palms and laurel wreaths) Others blow horns. The horses are led by three figures in flowing robes, thought to represent the three Theological Virtues (Faith, Hope and Charity)  or perhaps three of the four Cardinal Virtues of justice, prudence, temperance, and fortitude.

The lead angel on the white horse raises a canopy sheltering the silver and gold keys of St. Peter. 

The chariot wheels, encrusted with gems, crush the enemies of the Church in the form of sins, including one with a Medusa like hair (Envy) Two other figures, one blind and the other with asses’ ears (Blindness and Ignorance) stumble beside it.

The globe at the foot of the composition, ringed by a serpent eating its tail, symbolizes the eternal dominion of the Church.  The accompanying rudder, palm frond and oak branch, signify good government, victory and fortitude.

The Rubens paintings have been recently restored and have been exhibited in the Prado alongside some of the tapestries for which they were designed.

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Several versions of this theme by prominent colonial Mexican painters are modeled on the Rubens composition, although they vary in detail and fidelity, and are occasionally reversed:

The Triumph of the Church and the Eucharist
by Baltazar de Echave Rioja (1675)  in Puebla Cathedral.

The Triumph of the Church and the Sacrament 
by Marcial de Santaella (1735) in Oaxaca cathedral

The Triumph of the Eucharist (detail)  by Cristóbal de Villalpando (1684-5)
(Museo Regional de Guadalajara)

The Triumph of the Church and the Eucharist by Pascual Pérez
(Templo de Nuestra Señora de la Candelaria y de Guadalupe, Xonaca. Puebla)

text © 2019 Richard D. Perry

See our other posts on Santaella, Pascual Pérez and Villalpando

San Sebastian in Mexican art 1.

This is the first of two posts on portrayals of St. Sebastian in Mexican colonial art. This post focuses mainly on depictions of the saint in early mural art. 
   Reportedly a Roman officer sentenced to be executed by arrows during the Christian persecutions of the Emperor Diocletian in the fourth century, this early Christian saint and martyr, is popularly depicted in Christian art, and also commonly features in Mexican colonial painting and sculpture.

Cholula

He is customarily portrayed as a young man tied almost naked to a post or tree, often with one arm upraised, and transfixed by arrows, often accompanied by the bowmen.
   In Mexico, Sebastian was seen as a protector against the plague, and his popularity may also relate in part to his visual connection with traditional Aztec arrow sacrifice (tlacacaliztli). He was also prominent among the patron saints of Puebla.
   The saint is depicted in a number of early, largely 16th century murals in monastery precincts, of which we display a selection below:

Culhuacan

Metepec

 

Oxtoticpac                    Tepeyanco

Tepeapulco

Tepeji del Rio

Tula

Zinacantepec

Portraits of St Sebastian continued later into the colonial period, some in traditional style but others more stylized, some reflecting underlying homoerotic sentiments and taste.

by Miguel de Mendoza (San Cristóbal Suchixtlahuaca)

Our second post, which deals with the depiction of the saint in sculptural images will be found on our sister blog.

text © 2019 Richard D. Perry

color images by the author, Niccolo Brooker and online sources