MUSEO DEL PRADO

 First and foremost, Jannette and Seth arrived in Alcalá on April 28. I am so grateful to have them with me finally.

Second, on April 29 we made our way to the Prado Museum, one of the world's most amazing collections of art and sculpture. We had a wonderful time learning about some of its works and, for us, to "visit" some of our old favorites. Below are some of those "old friends":

Francisco de Zurbarán, Agnus Dei (Lamb of God) (1635-1640): this work demonstrates two vital aspects of the Savior's atonement: 1) the binding of his feet shows how the politics passed judgement on him and sentenced him to death; the gentle, submissive posture of the lambs head is a powerful reminder that it was Christ who gave his life not the political authorities who condemned him

Albrecht Durer, Self-Portrait (1498). A German painter, Durer was seen by his peers as a craftsman while he desired to be considered as a nobleman. Durer represents himself as the person that he hoped others would consider him.

Francisco de Ribalta, Christ embracing St Bernard (1625-1627). This painting is derived from an ecstatic vision that St. Bernard had while pleading for forgiveness before a statue of the crucified Christ. He sees in vision the figure of the Savior descend from the cross and embrace him. Note the benevolent look that of the Christ figure as he reaches for St. Bernard. While St. Bernard's brow is furrowed, depicting the anguish of his soul, the calm on his face corresponds to the forgiving gaze of the Savior. In the background are witness of the event. In many ways we all seek the balm of forgiveness and once experienced we become witnesses of the love that only the Savior of the world can give. We all sing the words of St. Bernard found in Jesus the Very Thought of Thee.

Diego de Velázquez, The Crucified Christ (1632). I have over the years seem many, many representations of the crucifixion but none have had the deeply spiritual impact that this has had on me. Strangely, this is not a dead Christ, but one that submits to the will of the Father; his downward gaze reminds me of Zurbarán's Agneus dei. Though his physical body is submitted to the pains of the law, his role of Savior can never diminish. Note that his gaze is toward the wound in his side. A reminder that he has given his all for each of us as we turn to Him and accept his offering.

Francisco de Goya, The Countess of Chinchón (1800). I have long loved this painting for the subtlety of its composition. Here we have a beautiful young women sitting in her chair, gazing off into the distance. She is placed in a blank space. Her story is a sad one. She was married to Manuel Godoy, a high official during the reign of Charles IV of Spain. Sadly, her husband was not faithful to his wife having maintained a relationship with the queen, María Luisa de Parma. Here we find the countess sitting, alone, in a darkened space. On her left hand is a ring bearing the image of her unfaithful husband. As she gazes forlornly into that nothingness, she wraps her arms around her stomach: she is pregnant. This painting evokes tremendous sympathy for this abandoned woman.

Diego de Velázquez, La meninas (1656). One of the world's greatest art treasures, the painter plays with space and the relationship of the artist to his subjects (even each of us as we stand looking at him and he is looking at us). Velázquez is breaking the rules that had governed artistic production, especially the Councils of Trent that placed a high priority on art that was simple, uncluttered, and spoke "truth." The works challenges the observer to enter into a "philosophical" debate over the role of art and its intersection with what we define as "reality" (closely aligned with theatre's breaking of the fourth wall that normally separates the fiction on the stage from the audience). Here, Velázquez pushes the observer into the frame.

And now, for some new favorites:

Juan de Juanes, The Last Supper (ca. 1562), is a beautiful rendition of the Last Supper. Here we witness a Eucharistic moment; Christ holding up the sacramental Host. The correlation is clear when seen through the lens of transubstantiation. Notice his gesture: he holds the Host in his right hand while placing his left hand on his chest as to say "Here I am." The scene also holds other treasures. In front of the table are what would have been used to wash the feet of the disciples; a demonstration of the Savior's humility and condescension. To the far, leaning away from the Savior, is Judas Iscariot, holding a bag of coins in his hands; the representation of his betrayal. Note two vital characteristics associated with Judas: 1) he is a redhead; associated with deceit and sin (Mary Magdalene is often represented with red hair also). If you look closely at his face the artist has painted him with a deformed countenance which was common when wanting to depict evil; in this case and many others the reconfiguration of the face is an exaggeration of Jewish facial figures; a clearly anti-semitic trope. A charming aspect of the painting is the little orange sitting on the table. Juan de Juanes was from Valencia; here he gestures towards his origins.

Juan de Flandes, St. James the Pilgrim (1497-1498). I have grown to love this representation of the Saint and seeing it in person has only strengthened that love. The artist has captured the image of an older St. James; mature, kind, and thoughtful. His finger is in the book, perhaps marking a point where he has paused in his reading; he ponders the words from the book. In his right hand he holds the pilgrims staff which reminds its bearer to stave off evil and vice.

Martín Bernat, The Transfer of the Body of St. James the Greater at the Palace of Queen Lupa (1480-1490) represents three key moment involving the arrival of the Saint's body to Spain: 1) the ship sailing towards land; 2) the arrival of the body miraculously to the shores near Finesterre; and 3) the transport of the body by two of his disciples who had remained in Spain (Atanasio and Teodoro). Miraculously the two disciples expected the body's arrival and retrieved it. One of the challenges was with Queen Lupa. She had done much to prevent the Saint's burial. When finally the disciples convinced her to provide a place, she offered a place. However, the obstacles had not ended. In this scene Lupa has told them that they can transport the body. They tell her that they need two oxen which she gives them. However, the oxen were known for being untamed and unmanageable. When the disciples go to retrieve the oxen they submit quietly to being yoked to the cart. The miracle impresses Lupa so much that she converts to Christianity.

Bartolomé Bermejo, Santo Domingo de Silos Enthroned as Bishop (1474-1477). This beautiful piece is more than a glossy enthronement. We should turn our attention to the representation of the seven virtues that all good people should reflect in their life, especially those tasked with great ecclesiastical responsibilities. They are the three theological virtues of Faith, Hope, and Charity and the four cardinal virtues of Prudence, Temperance, Justice, and Fortitude. The three theological virtues are those located highest and surround the head of Saint Dominic. Charity is just above his head (since we are told in 1 Corinthians 13 that it is the greatest of all characteristics) with Hope on the right side and Faith on the left. The other four figures are, beginning on the top left-hand side: Justice, Fortitude; on the right-hand side, top to bottom, Prudence and Temperance.