El Caído (The Fallen)

Pontifical, Royal and Venerable Brotherhood of Our Father Fallen Jesus and Our Lady of the Greatest Pain in her Loneliness.

HISTORY.
Since there is little written evidence about the origin of the brotherhood, the date of its foundation is one of the main mysteries. One hypothesis suggests that the brotherhood appeared with the arrival of the image in the conventual church in 1670, after the donation by the Cathedral senior master Francisco Antonio Bañuelos y Murillo for the Discalced Carmelites. However, there is another hypothesis suggesting 1764, 94 years after the arrival of Jesús Caído (Fallen Jesus). The relationship with bullfighting and students from School Virgen del Carmen (very close to its canonical see, the convent of San Cayetano) is one of its most characteristic features. In fact, the presence of bullfighters among its brothers has been constant since the 19th century. The first of them who was one of the managers was José Dámaso “Petete”, Manolete’s great uncle, in 1862. There were others after him, such as Rafael Molina “Lagartijo” and Manuel Rodríguez Sánchez “Manolete”, the last bullfighter who was president of the governing body of Hermandad del Caído (Brotherhood of the Fallen).

TEMPLE.
Conventual Church of San Cayetano. This temple appeared after the transfer of the convent of San José, founded by San Juan de la Cruz(Saint John of the Cross) on Buen Pastor Street, to this place outside the walls of the city. We can highlight the altarpiece at the main altar, as well as the decoration with oil paintings by Brother Juan del Santísimo Sacramento.

THE IMAGES.
Nuestro Padre Jesús Caído (Our Father Fallen Jesus) – [PHOTO #1; #2]
It is an image donated by senior master Francisco Antonio Bañuelos y Murillo in the middle of the 17th century. It is an anonymous work, dated back in the beginning of the second half of the 17th century. It has been attributed to the circle of Pedro de Mena.
The moment which is represented is one of the three falls Christ suffered on his way to Mount Calvary, although he is on his own on the pace. He is kneeling, with his right hand on a rock, while he is holding the Cross with his left one. He is slightly turning his head right, thus leaving his thick natural hair fall, which hides the original carved hair.
The face of the Lord is characterised by his low look, lost in thought, and his eyebrows slightly frowned, thus showing a gesture of contained pain. The wounds caused by the crown of thorns make blood constantly fall down his face, including his beard, which consists of parallel locks.
On its procession, Nuestro Padre Jesús Caído (Our Father Fallen Jesus) wears a purple velvet tunic, decorated with golden-thread embroidery and high quality flowery motifs. The belt, also in golden thread, perfectly matches the golden colour of the flames on his head and the crown of thorns, as well as the edges decorating the ends of the tree-like Cross.
The image has been through numerous restorations, and the most recent one was carried out by Miguel Arjona Navarro in 1979.

Nuestra Señora del Mayor Dolor en su Soledad (Our Lady of the Greatest Pain in her Loneliness) – [PHOTO #1; #2]
The image of the Virgen arrived in the Carmelite convent at the beginning of the second third of the 18th century. It is an anonymous sculpture made in the first third of the 18th century.
It is an image to be dressed, with only her hands and face carved. Her face is characterised by her low look and reddened eyes, thus showing a very deep and sad expression. Her half-opened mouth and her prominent nose make her a very beautiful Virgin.

NAZARENE HABIT.
Purple tunic, black face-coverer and cincture. The important posts wear a black velvet cape.

IMPORTANT INSIGNIAS.
 Purple velvet banner of Jesús Caído (Fallen Jesus), embroidered with overlays by the Clarise Mothers (1928).
 Silver metal horns (1928 and 1968) by José Villa Cabello, with purple and black velvet cloths, embroidered with overlays by the same religious workshop.
 Gilded metal nails and crown of thorns by Antonio Luque (1948) on a black velvet cushion, embroidered with overlays by the Clarise Mothers (1928).
 Regulations book, with gilded embroidery by Antonio Muñoz (1993).
 Black flag with gilded embroidery by Antonio Muñoz (1998), following the design of the previous one, with silver pole by Mogaly.