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The Caravaca City Council transfers the image of La Dolorosa from the parish of El Salvador to the Murcia Region Restoration Center for the intervention of this 18th century image in the Salzillesco style (03/11/2020)

| The General Directorate of Cultural Assets of the Autonomous Community assumes the restoration of the work, which is part of the set of local imagery from the late Baroque period that follows in the wake of the artist Francisco Salzillo | The mayor asked the Ministry of Culture to restore this piece "because of its artistic and historical values ??and because it is in a poor state of conservation, after previous unfortunate interventions that notably altered the appearance of the image and its original polychrome" José Francisco García has stated that "contributing to the improvement of cultural assets is a duty of public administrations and we must all ensure that we conserve our heritage and leave it to future generations in the best condition, also contributing to their knowledge and appreciation" La Dolorosa of the parish of El Salvador de Caravaca de la Cruz is already in the Restoration Center of the Region of Murcia.

The City Council has moved the image to these facilities to be intervened in the coming months, under the direction and supervision of the group of technicians and specialists who work there. The mayor, José Francisco García, asked the Ministry of Culture of the Region of Murcia, who directs Esperanza Moreno, to restore this piece "because of its artistic and historical values ??and because it is in a poor state of conservation, after previous unfortunate interventions that they altered the appearance of the image and its original polychrome ". La Dolorosa is one of the images that are part of the artistic and devotional heritage that participates in the processions of Holy Week in the town, with the brotherhood of 'Los Azules'.

Although, despite his artistic value, in recent years he had not been able to go out on the street due to his condition, which advised against sudden movements. José Francisco García, present during the packing and transfer of the image to the Restoration Center, has declared that "La Dolorosa is one of the few images of Holy Week in Caracas that has not been restored, since during the decade of the 2000, most of them were intervened within an ambitious program of intervention in the local heritage that the Caravaca City Council began and that also extended to other movable property such as thrones, paintings and sculptures ". "Contributing to the improvement of cultural assets is a duty of public administrations.

We must all ensure that we conserve our heritage and leave it to future generations in the best condition, also contributing to its knowledge and appreciation", declared García, who has added that "currently we have also promoted the rehabilitation of an emblematic building such as the House of San Juan de la Cruz and also began, within the 1.5% Cultural program of the Ministry of Public Works, the works on the facade and roofs of the Royal Basilica of the Vera Cruz ". For his part, the parish priest of El Salvador, Jesús Aguilar, thanked the regional and local administrations for their interest in this restoration process, highlighting the help in maintaining the heritage. The image of La Dolorosa from the parish of El Salvador, dated in the 18th century and an anonymous author, follows the stylistic and aesthetic canons of Francisco Salzillo's production.

There are researchers who suggest that it could be authored by José López or Marcos Laborda, both sculptors from Caracas and followers of the Murcian artist's style in what has been called the Caravaca School of Sculpture.

Other hypotheses argue that the piece could be a work that came out of Francisco Salzillo's own workshop, being commissioned by the Society of Jesus for his church in Caracas. The current state of the work presents a difficult assessment of its original polychromy because the sculpture was completely repolichrome in the mid-80s of last century on its entire surface, which makes it impossible to see the original layers and damage that have been hidden under repaint. This intervention is added to those that, years ago, other images of the local sculptural heritage were submitted, such as the Christ of the Arrest, Our Father Jesus Nazareno, the Christ of the Column, the Lord of the Balcony, the Crucified of Mercy, Saint John Evangelist, the Virgen de las Angustias, the Oración del Huerto or the Virgen de la Soledad.

Source: Ayuntamiento de Caravaca de la Cruz

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