@misc{10481/72158,
year = {2021},
month = {11},
url = {http://hdl.handle.net/10481/72158},
abstract = {Presentamos uno de los episodios totalmente desconocidos de la Capilla Real de Granada durante parte del siglo XVII. Se trata de
la conversión del espejo-custodia de la reina Isabel en relicario para un supuesto clavo de la cruz de Cristo, en contra del parecer de los capellanes
reales, quienes lucharán para que retornara a ostensorio, sin marginar el clavo para el que encargarán un busto de Ecce Homo a Pedro
de Mena (1628-1688). El artista, según lo hasta ahora conocido, al irse a Málaga, en 1658, no lo había hecho, realizándolo Bernardo Francisco
de Mora (1614-1684). Aunque sin documentar, estilísticamente entra en su haber, sí en cambio hoy sabemos que Mena lo hizo, si bien,
una vez acabado, ignoró lo pactado e intentó chantajear a la Capilla Real. No logró su objetivo, sino que, como era de esperar, los capellanes
reales rompieron con él, afectándole en su prestigio profesional y quizás sería una de las causas que sopesó en su decisión de irse a Málaga.},
abstract = {We will introduce one of the completely unknown episodes in the history of the Royal Chapel of Granada that took place during
part of the 17th century. It deals with the conversion of Queen Isabel´s mirror-monstrance into a reliquary for an alleged nail of the cross of Christ,
against the wishes of the royal chaplains. They would fight to convert it again into a monstrance, without neglecting the nail, for which they would
order a bust of Ecce Homo from Pedro de Mena (1628-1688). The artist –according to the facts known so far– had not done this before he left
for Malaga in 1658 and it was Bernardo F. de Mora (1614-1684) who finally completed the assignment. Although it is not documented stylistically,
it is nevertheless considered part of Mena’s work and, furthermore we know today that Mena did in fact make it but, once finished, he ignored
the agreement and tried to blackmail the Royal Chapel. Not only was he unsuccessful in his attempt, but also –as one might expect– the royal
chaplains severed ties with him. This affected his professional reputation and perhaps possibly is one of the reasons for his moving to Malaga.},
publisher = {Universidad de Málaga},
keywords = {Barroco},
keywords = {Siglo XVII},
keywords = {Granada},
keywords = {Capilla Real},
keywords = {Custodia},
keywords = {Relicarios},
keywords = {Busto de Ecce Homo},
keywords = {Pedro de Mena},
keywords = {Bernardo Francisco de Mora},
keywords = {Baroque},
keywords = {XVII Century},
keywords = {Royal Chapel},
keywords = {Monstrance},
keywords = {Reliquary},
keywords = {Bust of Ecce Homo},
title = {La deslealtad de Pedro de Mena con la Capilla Real de Granada: a propósito del busto-relicario del Ecce Homo},
doi = {10.24310/BoLArte.2021.vi42.11668},
author = {Gila Medina, Lazaro},
}