El complejo proceso de conservación y restauración al que ha sido sometida la sagrada imagen de Ntro. Padre Jesús Cautivo de Medinaceli, a manos de D. Manuel Espejo Mármol y D. Miguel Ángel Sánchez Jiménez, durante los últimos tres meses y medio, no solo ha permitido devolver el esplendor a esta antigua talla, sino que ha revelado valiosos datos sobre su verdadera historia y autoría. Tradicionalmente atribuida al imaginero lucentino Pedro Muñoz de Toro y Borrego, quien se pensaba que pudo realizarla en el ecuador del siglo XIX, la restauración ha desmentido esta creencia y ha sacado a la luz una cronología mucho más rica y compleja, situando su hechura a comienzos del siglo XVIII.
Esto queda corroborado con el hallazgo en el interior de la mascarilla de la imagen de dos documentos manuscritos que arrojan nueva luz sobre su verdadera autoría. El primero, firmado por D. Diego de Ramos en 1713, revela que este escultor y retablista afincado en Lucena fue el verdadero autor de la imagen.
El segundo documento, fechado en 1804 y firmado por el imaginero lucentino Andrés Cordón, detalla una intervención significativa sobre la imagen. Según los estudios acometidos por los restauradores, esta intervención de manos de Cordón consistió en el retallado de algunas partes del rostro, la aplicación de ojos de cristal y dientes de marfil, y la aplicación de una nueva policromía, elementos que contribuyeron a la mejora estética de la obra. Los mismos estudios han demostrado que Pedro Muñoz de Toro intervino la imagen a mediados del siglo XIX, dejando su impronta artística en la policromía, lo que, con el paso del tiempo, condujo a la confusión sobre su autoría original. La falta de documentación previa había consolidado esta atribución errónea, corregida ahora gracias al hallazgo de estos valiosos escritos.
La imagen, que en sus orígenes representaba a Jesús preso y pertenecía a la Archicofradía de Nuestra Señora del Carmen, pasó por diversas custodias antes de llegar a su sede actual. Conocida popularmente como “El Preso de los Villalta” por haber sido venerado en el domicilio de la familia Fernández de Villalta, la imagen fue trasladada al convento de Santa Clara y, tras el cierre de este, al convento franciscano donde hoy recibe culto. Desde los años noventa, forma parte de la Cofradía Franciscana de Pasión.
La restauración ha permitido subsanar importantes daños estructurales y dotar a la imagen de una nueva peana, corrigiendo su disposición y anclaje sobre esta. Además, ha sido posible recuperar su impronta primitiva, profundamente alterada durante una intervención efectuada entre 1995 y 1996. Uno de los logros más destacados ha sido la eliminación de la repolicromía más reciente, dejando al descubierto la policromía aplicada por Muñoz de Toro en el siglo XIX.
Fuente: D. Manuel Espejo Mármol.
Un trabajo de @gitanitofotografia @gitanitophoto para Videoluc TV.
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