# Pedro de Mena

Pedro de Mena y Medrano (Granada, 20 August 1628 – Málaga, 13 October 1688) was a prominent Spanish sculptor during the baroque period. After Alonso Cano's death in 1667, Pedro de Mena y Medrano became the top sculptor in the Iberian Peninsula. He became the official sculptor of the Toledo Cathedral and a Familiar of the Holy Office of Granada.
Pedro de Mena is one of the most significant and well-documented sculptors of the Andalusian Baroque. Pedro was summoned to the royal court in 1662, located in Madrid. During the 1670s, Pedro exhibited a strong business acumen. Beyond securing numerous contracts for his sculptural work, he expanded his activities into other ventures, including the slave trade, real estate transactions such as leasing and selling properties, and even silk trading.
Notable works include sculptural elements for the choir stalls of the Cathedral of Málaga, statues of the Madonna and Child and St. Joseph in Madrid, polychrome figures in the Church of St. Isidore, and sculptures of the Magdalene and St. Gertrude in the Church of St. Martin (Madrid). Additionally, he crafted a crucifixion for Nuestra Señora de Gracia (Madrid), a statuette of St. Francis of Assisi in Toledo, and a depiction of St. Joseph for the Church of St. Nicholas in Murcia. Around 1680, he was in Granada, where he sculpted a seated half-length Madonna and Child for the Church of St. Dominic.

## Early life

Pedro de Mena y Medrano was born on 20 August 1628 in Granada, Andalusia. Pedro was the son of Alonso de Mena, a sculptor, and Juana de Medrano y Cabrera, from the powerful and noble House of Medrano. He was baptized on 20 August 1628 at the parish of Santiago in Granada. Under the guidance of his father, Alonso, he mastered the art of sculpture. Following his father's passing in 1646, he assumed leadership of the family workshop, which was the leading establishment of its kind in Granada at the time.

## Marriage

In 1647, he wed Catalina de Vitoria y Urquijo, and together they had many descendants, including five who joined religious orders.

## Career

As the leading sculptor in the Iberian Peninsula, the high demand for commissions at his workshop required the addition of another sculptor, Bernardo de Mora (1614–1684), with whom Pedro worked closely, further honing his sculptural techniques.
The pivotal moment in shaping his distinct artistic style came with the influence of Alonso Cano (1601–1667). Following Cano’s return to Granada in 1652, the two artists began a period of collaboration. Working alongside Cano, Pedro embraced innovative techniques, more sophisticated methods, and fresh aesthetic and formal ideas. However, he maintained his commitment to realism in facial expressions rather than fully adopting Cano’s idealized and refined artistic vision. During this time, Pedro’s output was remarkably prolific. His reputation and prominence continued to rise, not diminishing in Cano’s presence but rather flourishing. His mentor and collaborator entrusted him with a significant portion of commissions that Cano himself was unable to complete due to other obligations.

### Choir stalls for Málaga Cathedral

In 1656, Pedro acquired a house that had once been owned by Alonso Cano, but he did not reside there for long. On July 23, 1658, he was commissioned to complete the choir stalls for Málaga Cathedral, a task that involved sculpting forty saints for a payment of 40,000 reales. This significant project led Pedro to relocate to Málaga. The work on the choir stalls was likely completed around 1662, as the final payment was issued that year, with records confirming that the sculptor had "fulfilled the agreement."

### Summoned to the Royal Court

The acclaim and importance of Pedro's sculptures in Málaga earned him a summons to the Court. Around 1662, he traveled to Madrid at the request of Juan de Austria, who, according to Ceán, "brought him to Madrid to create a Virgin of the Pillar with Saint James at her feet, which he gifted to the Queen Mother." This piece was ultimately completed in Málaga in 1679, as noted in the sculptor’s will. While in Madrid, he secured multiple commissions, as recorded by Palomino and Ceán. Among these, Prince Doria entrusted him with crafting a Crucifix, which received high praise, even in Italy.

### Statue of Saint Francis

Following his stay in Madrid, Pedro traveled to Toledo, where the Cathedral Chapter commissioned a statue of Saint Francis. His exceptional craftsmanship, according to Ceán, led to his appointment as the Chapter’s official sculptor on May 7, 1663.

### Return to Málaga

By 1664, he had returned to Málaga, where he managed all his commissions, rarely traveling elsewhere, as noted by Ricardo de Orueta. It was in Málaga that he signed the pedestal of Penitent Magdalene (Madrid, Museo Nacional del Prado, MNP), created for the Jesuits' Professed House in Madrid. Although the sculpture was completed in Málaga, it was likely commissioned during his time at court. In this work, as well as in Saint Francis from Toledo, the impact of Castilian sculpture on his artistic style is clearly visible.

### Leading sculptor in the Iberian Peninsula

Following Alonso Cano’s death in 1667, Pedro remained the most prominent sculptor in the Iberian Peninsula. The high regard for his work led to his sculptures commanding higher prices than those of most of his contemporaries. From that point onward, the volume of commissions he received increased significantly, forcing him to rely more heavily on his workshop, which ultimately led to a decline in the quality of many pieces produced during this period. His entrepreneurial endeavors in 1670 extended to providing services beyond sculpture for the Cathedral Chapter of Granada. He played a key role in procuring goods that arrived at the port of Málaga, including essential materials such as wax.

#### Queen Isabella I of castile and Ferdinand II of Aragon

In 1673, Pedro de Mena y Medrano designed a statue of Queen Isabella the Catholic for the main chapel of Granada Cathedral. The sculpture depicts the queen kneeling in solemn prayer before an altar adorned with a crown resting on a large cushion. She is positioned atop an elaborate pedestal that features an empty escutcheon at its center, surmounted by a royal crown and flanked by various emblems and trophies, including pomegranates, flags, suits of armor, and two nude male figures. A companion statue portrays her husband, Ferdinand II of Aragon, kneeling in a mirrored stance. The statues gained such renown that replicas were later commissioned for the Cathedral of Málaga.
His strong ties with the Granada Chapter may have contributed to his being awarded the commission for the praying statues of the Catholic Monarchs in the cathedral—an opportunity that might have otherwise gone to José de Mora (1642–1724), who was already appointed Sculptor to the King and well established in his craft. The commission, valued at 3,000 ducats, was formalized on August 10, 1675, and was likely completed by January 1677, when Pedro de Mena y Medrano was documented to be in Granada.

### Familiar of the Holy Office of Granada and illness

In 1678, Pedro de Mena y Medrano was appointed a familiar of the Holy Office of Granada. However, the following year, in 1679, his aspiration to be named Sculptor to the King ad honorem was unsuccessful. Later that same year, he fell seriously ill, to the point that he drafted his will on December 7 in Málaga before the notary Pedro Ballesteros. Historian Ricardo de Orueta suggests that his illness may have been bubonic plague, as a severe outbreak of the disease affected Málaga between 1678 and 1680.

### Statue of Saint John (1682)

Fortunately, Pedro recovered, and in gratitude for the care he received from the hospitaller brothers of Saint John of God, he sculpted an image of the saint. This work was completed and delivered to the hospital on February 15, 1682.

## Death

Pedro never fully regained his health, which led him to rely more heavily on his workshop. In May 1688, feeling gravely ill, he granted power of attorney to his wife to manage his estate. A few months later, on October 13, 1688, he passed away in Málaga, surrounded by his wife, his niece, and three enslaved individuals. His remains were interred in the Convent of the Cistercians, near the home where he had lived and died.

## Works
### Granada

* San Juanito, Church of San Antón, Granada, c. 1650
* San Pedro Apóstol, Church of San Antón, Granada, 1650
* San Pablo, Church of San Antón, Granada, 1650
* Santa Ana, Church of San Matías, Granada, 1650
* San Joaquín, Church of San Matías, Granada, 1650
* San Francisco de Asís, Church of San Matías, Granada, 1650
* San Matías, Church of San Matías, Granada, 1650
* San José con el Niño Jesús, created for the Convent of the Holy Guardian Angel, Granada, 1650
* Virgen de Belén, Cathedral Museum, Granada, 1651
* San Juan Evangelista, Church of Santos Justo y Pastor, Granada, c. 1651-1675
* San Lucas, Church of Santos Justo y Pastor, Granada, c. 1651-1675
* San Marcos, Church of Santos Justo y Pastor, Granada, c. 1651-1675
* San Mateo, Church of Santos Justo y Pastor, Granada, c. 1651-1675
* San Antonio de Padua, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657
* San Diego de Alcalá, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657
* San José con el Niño, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657
* San Antonio, with A. Cano, Museum of Fine Arts, Granada, c. 1653-1657
* San Pedro de Alcántara, Museum of Fine Arts, Granada, c. 1655-1657
* Inmaculada Concepción, Parish Church, Alhendín, Granada, 1656
* Inmaculada Concepción, Archbishop Emeritus José Méndez Asensio’s Oratory in the Convent of the Servants of the Gospel, created for the Convent of the Holy Guardian Angel, Granada, 1658
* Santa Clara, Convent of the Holy Guardian Angel, Granada, 1658
* Fernando el Católico, Chapel of the Virgen de los Reyes, Cathedral, Granada, 1675
* Isabel la Católica, Chapel of the Virgen de los Reyes, Cathedral, Granada, 1675
* Retratos de los Reyes Católicos Isabel y Fernando, Main Chapel, Cathedral, Granada, 1675-1676

### Málaga

* Sillería de Coro, Cathedral, Málaga, 1658
* Cristo de la Buena Muerte, Church of Santo Domingo, Málaga, c. 1663-1664 (lost)
* Cristo atado a la columna, Private Collection, Málaga, c. 1670-1688
* San José, Cathedral Treasury, Málaga, 1675
* Cabeza de San Juan de Dios, Provincial Museum of Fine Arts, Málaga, 1682

### Madrid

* Magdalena penitente, Prado Museum, Madrid, 1664
* Dolorosa, Descalzas Reales, Madrid, 1673
* Ecce Homo, Descalzas Reales, Madrid, c. 1673
* Dolorosa, Descalzas Reales, Madrid, c. 1673
* San Pedro de Alcántara, Trinitarian Convent, Madrid, 1679
* Inmaculada Concepción, Discalced Carmelites, Madrid, 1686
* San José con el Niño Jesús, Discalced Carmelites, Madrid, 1686
* La Virgen adorando al Niño, Private Collection, Madrid, 1684

### Córdoba

* San Francisco Solano, Parish Church of Santiago, Montilla (Córdoba), 1647
* San José con el Niño Jesús, Cathedral, Córdoba, c. 1651
* San Pedro de Alcántara, Church of San Francisco, Córdoba, 1673
* Inmaculada Concepción, Cathedral, Córdoba, 1679
* Santa Ana, Cathedral, Córdoba, 1679
* San Joaquín, Cathedral, Córdoba, 1679
* San José con el Niño Jesús, Cathedral, Córdoba, 1680

### Valladolid

* San Pedro de Alcántara, National Sculpture Museum, Valladolid, c. 1663
* Ecce Homo, Diocesan and Cathedral Museum, Valladolid, 1673-1679
* Dolorosa, Diocesan and Cathedral Museum, Valladolid, 1673-1679
* Dolorosa, National Sculpture Museum, Valladolid, c. 1680 (attrib.)
* Inmaculada Concepción, Museum of the Church of San Antolín, Tordesillas, Valladolid, c. 1686

### Toledo

* San Francisco de Asís, Cathedral, Toledo, 1662
* Inmaculada Concepción, Convent of the Benitas, Toledo, c. 1651-1675

### Zaragoza

* Inmaculada Concepción, Parish Church, Longares, Zaragoza, c. 1665-1670
* Inmaculada Concepción, Parish Church of Moros, Zaragoza, 1676

### Seville

* San Juan Bautista, Museum of Fine Arts, Seville, 1674

### Murcia

* San José, Church of San Nicolás, Murcia, 1675
* Inmaculada Concepción, Parish of San Nicolás, Murcia, 1676

### Ávila

* Inmaculada Concepción, Museum of the Convent of San José, Ávila, c. 1670

### Guadalajara

* Ecce Homo, Parish Church of Budia, Guadalajara, 1674
* Dolorosa, Parish Church of Budia, Guadalajara, 1674

### Salamanca

* Dolorosa, Monastery of Nuestra Señora de la Asunción, Salamanca, c. 1670-1680

### Cuenca

* Virgen de Belén, Cathedral, Cuenca, 1683

### Zamora

* Dolorosa, Convent of the Conceptionist Mothers, Zamora, c. 1676-1685
* Ecce Homo, Convent of the Conceptionist Mothers, Zamora, c. 1676-1685

## Artistic development

Pedro’s artistic journey can be divided into distinct phases, shaped by both his creative development and life events. The first phase extends from his father’s passing in 1646 to Alonso Cano’s arrival in Granada in 1652. During this early period, he continued the realistic sculptural style inherited from his father. However, his work gradually exhibited greater fluidity and expressive intensity in the figures, along with the emergence of his signature long, taut folds in drapery. Notable examples from this stage include sculptures of Saint Anne, Saint Joachim, Saint Francis, and Saint Matthias for the Church of Saint Matthias in Granada, as well as Saint John the Baptist for the Church of Saint Anthony.
The second phase of his artistic development was shaped by the strong influence of Alonso Cano. This period spans from Cano’s arrival in Granada in 1652 to Mena’s relocation to Málaga in 1658 to work on the cathedral’s choir stalls. During this time, the expressions in his sculptures became more refined, and the drapery transitioned from long, taut folds to smaller, more fragmented ones. Cano’s impact is especially evident in Mena’s interpretation of certain subjects, most notably the Inmaculada Concepción.
The third phase of his career began with his move to Málaga in 1658 and continued through his time at court between 1662 and 1663. The fourth phase represents his artistic maturity, spanning from his return to Málaga around 1664 until the late 1660s. The final phase, often regarded as a period of artistic decline or mannerist tendencies, began after his serious illness in 1679 and continued until his death in 1688. Pedro predominantly worked with wood, which he skillfully carved using gouges and rasps.

### Legacy

His sculptural legacy had a lasting impact on 18th- and 19th-century artists in Málaga and Granada, particularly José Risueño (1665–1732) and Fernando Ortiz (1717–1771), who carried forward his stylistic techniques and artistic principles.
Pedro and José Mora may be regarded as artistic descendants of Juan Martínez Montañés and Alonzo Cano, but in technical skill and the expression of religious motive his statues are unsurpassed in the sculpture of Spain. His skill to sculpt nude figures was remarkable. Like his immediate predecessors, he excelled in the portrayal of contemplative figures and scenes.