The beautiful, unique and size pilgrim early eighteenth century, is the main trigger anything that sounds and evoke a pastor in our town. She has always been present in the cults of their guild in Cantillana main events and the fervor of Pastoreño. Since the years of 1720 the VP Isidore of Seville founded the Brotherhood, the devotion to this image so rooted in the hearts of the children of this town that soon convirtieneron its main symbol and trademark.
The image of the Divina Pastora de Cantillana attributed since 1934, the imager Sevilla Ruiz Gijón. To verify this attribution We have considered other less important, more emphasis on the origin of the award in Gijón, in the clarification of its name and in the theory of Jorge Bernales Ballesteros. Through analog or comparative method we found many similarities between the image of Cantillana Gijón Ruiz and others, as well as their general graphics. This method suggests the truth of the issue to Gijon or his circle, trying to encourage new investigations.
The work we analyze is a picture of a woman who represents Mary under the title of Divine Shepherd of souls. It is the first of its kind to be carved, since previous as Santa Marina, are candlestick. Image size
wood, gilded and painted, with glass eyes and eyelashes measured 1'07 meters and maintains a sitting position. The left foot forward, emphasizing the volume of the leg, while the right foot backward, decreasing the visibility of it, though significantly marking the knee. The distance between your knees sitting position sharpens the image. The trunk is slightly tilted to the front and slightly less to the right, naturalizing the position. The right arm, separated from the trunk slightly forward at the height of the knee to pet the sheep, while the left arm, with the same separation of the stem is advanced providing the forearm to hold the stick or staff.
This provision of arms set in the top of the triangular composition class based on the head and elbows as making vertex angles, thus producing a greater sense of stability. If we consider a front view and geometric be something like a triangle embedded in a log nearly cylindrical, about a cubic structure below. With this scheme we find a geometric alignment for the entire length basis, following which should be considered the position of the forearms, legs, hands, head and folds of the garments.
A rock, pretty cut linear and geometric, which can only be seen from the rear and sides of the carving. the basis of the image as a pedestal.
The head is tilted slightly to the right, stressing the readiness of the image to the sheep that are being touched by the right hand. The face image of femininity quite acute, very thin and childlike expression. The incarnation is arranged with exquisite care, fueling some areas of the face by the freshness of cheekbones, chin, eyelids, ears, nose tip and union between the head and neck. The set comes face to form an oval, accented by the breadth of the forehead. Are finely arched eyebrows. The eyes are almond and minimal sagging, with downward gaze. They are glazed and painted, the iris is dark brown and black pupils. The lower lashes are painted, while the above are false.
nose, cut fine and quite linear, continuous line of the front and is shaped alancetada. Nasolabial groove is visible. The lips are parted and very drawn, riding on top on the bottom. The corners of the lips are different: the right ends up and down a little to the left. Has carved upper teeth. Strong chin and cheeks slightly bulging.
The hair is worked with fine chisels, without forming masses of clumps, divided into two halves, drawing the threads on long slings. The right side falls a tresses which is divided into two on the shoulder: a smaller slip on the shoulder, the other longer, falling forward on his chest. There is a cavity between the hair and the tresses described, as well as the environment around the neck. Under the hair will look out the ears with their respective holes for earrings.
We can not overlook the details of the size of the eyes, which keep a close relationship with the corners of his mouth. The left eye is priceless and millimeter larger than the right, with the intention of producing a very interesting visual effect on with the corners of his mouth: The left eye, the most open, is complemented by the left lip commissure, which tends downwards. On the other facial area is quite the opposite, while the right eye is the most closed of the lips tends upwards. Without a doubt, this game produces eye-sores on the face of the image an indefinable expression, probably intended by the artist to achieve different effects on the viewer. Looking at the right facial area, the expression of the image can be defined as a joy contained, very sweet, caused by a serene, if not for the upward trend of the right labial usher in the facial area expression rather sad. Looking at the left facial area, we realize the joy and not so contained, it is released by the greater openness of the right eye. However, the sweetness and serenity not lost since that release is balanced by the downward trend of the left labial commissure, thus fulfilling the same function as the right eye in the facial area, ie provide serenity in the area the corresponding face.
The result of this treatment in the eye and lip area is surprising and troubling, as it allows the viewer to experience different sensations for different expressions radiate the face of the image. If the contemplation of each of the two zones awe the viewer, the greater the result to be achieved by contemplating the image front, because that is how merge two facial expressions, producing an even more poignant expression of the above. We could define the latter term as a beautiful irradiation of a mood of joy such, we do not know if it causes sadness or joy, tears or smile ... It is ultimately the fusion of opposing moods that reflect a state of harmony, balance, purity, beauty and grace hardly possible to achieve. The architect of this size achieved through the merger of the psyche to express moods and spirit of the character who seeks represent.
The right hand remains extended to pet the sheep. Has separated the thumb, index and headset, and remained the last two and curved slightly higher than the cordial and ring fingers, which remain close together.
The left hand takes the position to catch the stick, so that the fingers remain more bent, curved and separated. The thumb tends to join the index and cordial to form a cavity closer and hold and hold the stick, thanks to the pronounced bending of phalanges, and falangetas falangina. The ring and tend to open the handset to bend back the phalanges, especially of the handset. While the rate and friendly flex something down the phone and ring fingers tend to rise, so that the latter seems to get on friendly toward it by raising the falangeta. Flexion of these fingers occurs in the palm of the hand concavity it useful to deposit the staff and the bouquet of flowers.
We can distinguish a total of six items or polychrome carved: Wrap the entire image, being born at the level of the left hip to go through the front over the left shoulder, sliding down the back to go through the right hip toward the front finish on the legs and collected on the left side of the rock.
The coat has a large golden fringe, by way of a strip edge finished in lace cookie, alternating the size of those points, and highlighting the border with a sliver-shaped line that runs around the edge of the mantle. Predominate in the border decorations in the form of C pebbles, topped by swirls, following conflicting rhythms, leaving the rockery plant ornamentation. This border is expanded by the lower mantle as well as the superior, the latter visible in the folds of the mantle and back.
The polychromy of the rest of the mantle is composed of a mixed stew, that is, a fake and a real stew: The stew true in areas free of ornamentation, leaving the green color that sets it mixed with gold striped leaves exposed. The stew false ornaments found in rock gardens, leaving only the imprint of these gold, marked up at once by a thin green line that stands out even more ornamentation. This stands as a bas-relief by the work of stucco, as in the case of the fringe of the mantle. The ornaments are arranged in fine pebbles closed palms playing with plant motifs forms of shells, pebbles own style.
The size of the mantle is designed with ample folds trying to give a more dynamic image, such as sliding the left leg, as mobility rises to separate the mantle of his robe. The sense of momentum increases with effect produced by the mantle on the right leg, which clings to it giving way, as if a gust of wind you produce, the same that produces the lifting of the cloak over his left leg.
unappreciated, because the envelope of mantle partial eclipses are visible near the robe. Becomes visible at the bottom, around the left foot, left arm from the elbow to the garment in the right arm from the elbow to the sheepskin, in the space left by the robe and sheepskin on the belly .
Located on the robe, you can see almost all the sheepskin, but the cloak hides much of it, especially that corresponding to the left arm and back. The upper limit is cut in peak form, rather enhanced by its raised gold. The right sleeve the only visible, is short and is not limited as the relief of the neck but with their own strands of sheep's skin which is the sheepskin, and on which slide the two tresses of hair falling. The termination on the bottom, under the brow, as the right sleeve available in clumps, but unlike the latter does not acquire the same attention to highlight the limitation of the sheepskin but it highlights a much lower relief, on which it looks fine strands that contrast with the red coat, allowing it to be as visible as the termination of the right sleeve. In the sheepskin can see a real stew, whose striped on white, is vertically disposed in undulating by way of fine strands of sheepskin.
The forearms of the image are covered by a salmon-colored shirt, stewed, with ornaments in the form of C, finished in scrolls and against each other. This ornamentation, along with other decorations such as small dots, are gold and made of hollow relief, also calling attention to the laborious chopped. The sleeves are remarkable for their relief and gold adopting the way of bracelets.
The class is designed to a frontal view, what follows original location in a recess or alcove altar with little broad. This explains the increased work and care in the front and in back.
On a rock in black and under the right hand of the image, is the sheep that can touch the image, keeping the head raised. It is a size, with glass eyes and richly gilded. The strands are treated both in size, with the one that gives relief, for the stew true, that the white stripe to produce gold and white tufts. It is curious that the eight-pointed star appears on the head, that is not carved, but made of gold, following the smooth texture of the head.
The attribution of the image of the Divina Pastora de Cantillana the Seville Baroque imaginero Francisco Antonio Ruiz Gijón has held since 1934.
So far, it assumes the origin of the attribution to Fray Juan Bautista de Ardales, who put in writing in his work La Divina Pastora and Blessed Diego José de Cádiz, published in 1949: an interesting sculpture Pastora, in our those of Gijón, or some disciple of his vantage. It is known that Ardales insatiable researcher had a spirit that drove him to deepen as nobody had done before in some historical, artistic and theology, especially around the title he so loved, that of the Divina Pastora. Do not forget the phenomenon of the Brotherhood of Cantillana and that is why he became interested in the size of its owner, by providing an allocation to be adopted by many other researchers such as Daniel Pineda Novo, of the Royal Academy of Letters of Sevilla, who assumes Ardales the contribution of his work Cantillana County History and the Brotherhood of the Divine Shepherdess, published in 1970.
In the magazine's September 15, 1934 is also attributed to Gijón, in an anonymous article dedicated to the celebrations of the Divine Shepherd of Cantillana: He deserves the beautiful sculpture of Gijon, one of school teachers of eighteenth-century Seville, the beautiful performance and beautiful polychrome. Therefore, the earliest date of allocation of the image Ruiz Gijón in 1934, although we do not know who it was that promulgated. According
Bernales Ballesteros the image of the Divina Pastora de Cantillana be considered within the circle works Ruiz de Gijón. According to him, that circle would not be very broad, which would emphasize Bartolomé García de Santiago, his brother Miguel Ruiz Gijón, or his associate José Naranjo. And states the following:
After the execution of the first image of the Divine Shepherdess (1704), spread devotion to various towns in the region. There are responsibilities for all tastes, but perhaps the most credible are those that connect the images of the locations and Olivares Cantillana the production of the heirs of Gijón. We just transcribe those powers, without question, and the only indication that drills are really very beautiful and closest to the original Santa Marina. Another important contribution
Ballesteros makes is that the image is a mock Cantillana very beautiful and closest to the original Santa Marina. This statement connects the author of the Divina Pastora de Cantillana with a work of Francisco Antonio Ruiz Gijon him to do for the Brotherhood of the Divine Shepherd of Santa Marina de Sevilla in 1704.
Although our main argument will be supported by the comparison method or analog, based also on our historical data support the hypothesis.
To develop the method of comparison we will consider first the graphics that Ruiz Gijón out in his work Bernales Ballesteros, and applied to the image of the Divina Pastora de Cantillana.
1. His images have accused faces with linear features, which usually emphasize straight nose. This graphic is clearly visible in the image of the Divina Pastora de Cantillana. Can see that the nose, straight, follows the same line as the forehead, without any interruption. Pineda Novo said: Her face, beautiful, has the perfection and realism of Hellenistic sculptures. It is unfortunate that view, since its so linear features remind themselves straight profiles of Greek sculptures. Moreover, if we look at the face of the size denote one of the classic canons of facial proportions.
2. almond eyes. Most common among the images of Ruiz de Gijón, as well as the image we studied so clear.
3. cheekbones. Although not appreciated much in the face of our image and Gijón others, we can see how the author wanted to highlight the cheeks with a further intention to dramatize or make this highly expressive face, but cute and charming as well as the pastor of Santa Marina.
4. is visible nasolabial groove, very marked . Objectively perceptible at first glance Cantillana image.
5. lips parted, and well drawn, usually arranged so that the upper mount on the bottom . The graphics with the old one is indisputable.
6. The hair is worked with fine chisels and locks are not masses.
7. His female faces are very thin, swarthy and expression intantil; very beautiful by the length of the eyes . It seems as if describing this face, which seems to be that of a girl no more than fifteen years.
8. Gijón works have a marked taste for the use of broad fringes of bright gold. As you can see the evidence speaks for itself, the treaty of gold in this size are abundant, particularly in the hem of the robe and mantle.
applying these graphics in the Divina Pastora de Cantillana seems as if they had been made to conform to this size. Hardly could a follower of Ruiz de Gijón agree on many graphics for the teacher, otherwise it should be a very advantaged student and very true to style Gijón staff.
now develop the comparative method itself, taking into account these images or traits that are similar to the Pastora Cantillana, for which, to facilitate further identification, we will be illustrating the exposure sheets.
The analog image is located so far is what the whole Santa Ana Virgen Niña and preserved in the Church of the Magdalena de Sevilla. It is especially in the carving of the Virgin girl where the similarity is very clear, as it seems as if we were watching the pastor of Cantillana with younger patients. Numbering We will not take the similarities to confusion:
1. Layer in the form of Virgin's mantle is very similar girl for you: covering the legs, the edge of it is higher in the left, down diagonally to the right until contact with the ground. This provision is also the image of Santa Ana, which as in the image of the figure highlights Cantillana knees and in the Virgin Girl, where the mantle is attached to the right leg to give it more shape.
2. The gust of wind that commented on the size of Cantillana and the mantle was lifted a bit on the left leg also occurs in the same area of \u200b\u200bSanta Ana, in the form of two folds quite significant.
3. Drop it and fold the mantle at the bottom right of the Virgen Niña.
4. Mantle wrinkles on the belly of Santa Ana resemble those discussed in the fold of the mantle in the Pastora Cantillana. It is also similar in this respect the fold of the mantle of the Virgin Girl under the right arm with the fold of the mantle in the image of Cantillana on his belly, and also with the same purple hue.
5. Both the Child Virgin and Santa Ana have in the mantle and the robe, golden stripes as a fringe run through the entire length, as the pastor of Cantillana, who also has a robe and tunic. The work of gold in full is identical, the reliefs arranged through a very similar rock garden ornamentation, where motifs reappear as a c ending in curls and arranged in opposite ways accompanied by vegetable ornaments.
6. The stew of the rest of the mantle of the Virgin girl is also very similar: with the same emerald green hue, the same treatment from the stew on the ornaments fake rock gardens in low relief also noted for its palm-shaped gold and adorned with plant closed shell forms, typical of the rococo. It also uses real stew in the empty spaces left by the mantle ornamentation in relief, by calling attention to the use of green line, which surround the plant motifs and the border.
7. The provision in the Virgin's mantle fold girl under his right arm, the hem and the remaining space between the two areas form a set identical to the pastor of Cantillana.
8. The assembly formed by the arrangement of the cloak, tunic and shirt at the Virgen Niña is similar. The turns of the coat sleeves are identical and are equally visible backing it, the same tone. Sleeves are extremely similar and the colors used in the polychrome.
Restorations
Previous to 1978 the image of the Divine Cantillana pastor had few unimportant restorations carried out in a short time and always Cantillana.
During the forties and early fifties of the twentieth century, the image was operated on several occasions by Sebastián Santos. These interventions included the restoration of a finger, the stew of the sheepskin, worn by rubbing necklaces in the colors of the bottom of the left sleeve and worn stew in several areas of the sheep. The respect that this event instilled among the brothers, was recorded in the memory of this famous warning pastoreños Mercedes Santos Sebastian Espinosa did when he was about to proceed to restore finger image: "Tráteselo you like meat." intervention irrelevant, was carried out so explosive in the house of Mistress Mercedes Espinosa, who always strove obsessively height is fully respected in its original state, which explains why it is warning that way Sebastian Santos.
would be in 1978 when the Brotherhood has decided to undertake a major restoration project the image of the Divina Pastora. Of all time restorers opted for the more famous, Francisco Peláez del Espino, Chief of Restoration Services Paintings and Sculptures of Defence of National Artistic Heritage and technical director of the Institute of Conservation and Restoration of Works of Art of Seville. This reputation is the pulse beat as Sevilla had restored images as popular as Jesus of the Passion in 1974, the Lord of Sorrows, the Star and the Great Power in 1977, the Crucified and the Museum in 1978 Nazareno del Silencio , among others. 
Francisco Peláez
left no report on the process of restoring the image to the Brotherhood. Francisco Peláez issued by an interview with Manuel Naranjo Rivers following:
is a wood carving, pine Flanders, which is hollow inside and was attacked by wood boring and totally lost his contact lens. The image has been stitched inside, all the components of your body. Consolidated by several steel implants. Have subsequently been cleared parts of the polychrome, which was crudely hidden by thick layers of calcium sulfate. In the hair and base can further appreciate these films.
What then seemed an innovative conservation measure, the graft supporting steel rods in size, was then a danger to it. Another measure, which also seemed right then, waterproof varnish and patina that covered casserole in size, except incarnation, were altering and adopting overly dark tones, impairing the visibility of the original color.
On December 29, 1994 took place in front of the chapel of the Divine Shepherdess an Extraordinary General council to expose the urgent restoration of the image, unanimously agreed once known technical report issued by the Professor of the University of Seville Arquillo Francisco Torres . Conservation status that was then, Arquillo in its report states that show some deterioration, between the most important we collect as follows: detachment of some points of polychrome caused by the rigidity of the strata or loss of adhesive strength between them and the base Lignea. Loss of pigmentation in lobes practiced by the earrings. Small lifting elbows polychromy coincident with metal rods inserted in a previous intervention. Polychrome highly localized loss due to friction. Alteration of the product waterproof varnish layer of the previous intervention, obscuring original zones. General patina of a colored varnish.
The condition described advisable to apply restorative treatment whose main operations consist of:
1. Photographic and radiographic documentation.
2. Sampling for analysis.
3. State Inspection of the structure.
4. Settlement and fixation of polychrome detached from the bracket.
5. Review of the assemblies of the different pieces that make up the core structure.
6. Extraction or processing of metallic elements introduced in the previous intervention.
7. Consolidating and disinfectant treatment of the structure.
8. Survey of waterproofing coatings that cover the original color.
9. Elimination of the surface patina given in the last intervention.
10. Return of the bearing layer at the points where it has disappeared 
acid.
11. Cleaning media and intonation compensated to balance plant after removal of overlying patina.
12. Chromatic reintegration areas where polychrome gone.
13. Final protection to mitigate the effects of the environment.
14. Photographic documentation.
15. Of the process that report. Determined and agreed
restoration, January 19, 1995 was celebrated the Eucharist to dismiss the image in his dressing room. The Board of Officers decided in council to appoint a committee to follow closely the whole process of restoration. The restoration team was composed of Arquillo Francisco Torres, Mercedes Barrera, Nuria Moreno, Domingo J. Coto, Juan García León and Joaquín Arquillo.
The restoration was a success, the image of the Divina Pastora regained its original splendor. As shown in the report Arquillo Francisco Torres, metal bars were removed, waterproof varnish and patina, applied with great mistake in the previous restoration. Polychromy recovered lost by wear and total visibility, reviewing the state of the structure, assembly, etc. The budget for the restoration came to the amount of 1,750,000 pesetas, fully paid for by brothers and devotees of the Divine Shepherdess.
Day April 23, 1995 Parish Church came to the image of the Divina Pastora, where at 6 pm Eucharist was celebrated in thanksgiving, a massive levee and the monastic movement in procession to place the image in his dressing room. Rev.
. Álvaro Román Villalón, Fr.
This text are several excerpts from the detailed study that the author did in 2003: The Image of the Divine Shepherd of Cantillana, Studio iconographic, historical, artistic, cultic, diffusive, theological and iconologycal, published in the magazine Franciscan Studies and is the most complete and comprehensive study conducted to date on the image of the Pastora Cantillana. The study recommended to anyone wishing to learn more about everything related to the image of the Pastor and all the surrounding elements.
unsigned photographs belong to the aforementioned study of Father Álvaro.
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