HISTORY

CUÉLLAR, A FIFTY YEAR STORY

In half a century Cuéllar has gone from a humble association on the part of two brothers who started a marble craftworkshop in a room in their parents' house to a powerful company featuring in both the Spanish and global markets.

The combination of traditional hand crafts and business management forms an unbeatable team. The personality ofthe company's directors is the key to its success. The in-depth knowledge of marble, the technical expertise and thepositive vision of Antonio Cuéllar, who founded the company in 1958, allied with the management capacity and dynamismof Diego Martínez, who joined the company ten years ago come together to form an impressive combination. Whenthese strengths are blended with the initiative and motivation of both men, the result is that the Cuéllar enterpriseis one a company with one of the brightest futures in the natural stone industry.

ANTONIO CUÉLLAR LÓPEZ

Antonio Cuéllar was born in Cantoria en 1940, a town in the marble region of Almería to parents of humble farmingstock. At the age of 13 he was taken on by a local workshop to begin his apprenticeship in the demanding trade ofhandcrafting marble. He immediately stood out for his ability and his eagerness to learn and improve. He dedicatedhalf of each day to study and benefit from experienced colleagues and complemented this training with courses doneby post. He continued to study, completing a draughtsmanship course and also occasionally attending classes in theFine Art Faculty where he was able to register, thanks to a grant while doing Military Service.

DIEGO MARTÍNEZ CANO

Diego Martínez was born in Macael in 1959 and studied to be a teacher, but upon finishing started work as a labourerwith a construction company. Before a year was up, they had put him in charge of the project. He later began to workfor Consentino S.A., where in 1985 he was given the post of Director of Production and Human Resources of Marbleand Silestone, a position that he occupied for 10 years. In 1996 he was promoted to the position of Commercial LogisticsDirector in the same company, which by then had acquired international proportions. He continued his developmentwith two Masters degrees in High Management of Companies.

Antonio Cuéllar López and Diego Martínez Cano

AGES OF THE COMPANY

1.- 1958 – The end of the 1970's: HANDICRAFTS

Antonio Cuéllar and his brother Francisco open a workshopdedicated to funeral art, making the majority of its sales in thelocal region even though it begins to make a name for itself inother areas. After a year Antonio decides to travel around Spainin order to improve his business skills and to open up newmarkets.

2.- The end of the 1970's – The end of the 1980's: INDUSTRIAL

"Mármoles Hermanos Cuéllar" (Cuéllar Brothers Marbles)invests in machinery to take advantage of the increasedprofitability and growth in construction where the use of naturalstone is encouraged as a structural material and for decoration.Production and efficiency are increased but without losing anyof the specific hand crafted character of the products, whichare now sold all over Spain. In 1988, the brothers decide tobreak their partnership and Antonio sets up his new Company"Cuéllar, Arquitectura del Mármol" (Cuéllar, Marble Architecture)in Cantoria. His good name and extensive client list allow himto overcome the national economic crisis without ever failingto pay any of his employees.

3.- The end of the 1980's – The end of the 1990's: GLOBALBUSINESS

The business continues to introduce technology (principallyItalian) that allows it to increase production volume and undertakemuch bigger projects that include design, transformation andexecution. The company also begins to carry out emblematicprojects which bring prizes and recognition, which in turn openup high end sectors in an elite national market.

4.- The end of the 1990's – Present day

In 1998 Diego Martínez joins the company. He purchases50 per cent of the enterprise and takes control of the managementand strategy while working hand in hand with Antonio who is incharge of the technical aspects. They focus on the human factor,creating a professional team that has access to the most advancedtechnology and to which they add Miguel Ángel, Antonio's sonand an architect. They set in motion a personalised personneltraining plan and continue developing the concept of globalservice for high end sectors initiating a process that plans theinternational expansion of their commercial network.

THE COMPANY IN THE PRESENT DAY

Cué l la r A rqu i tectura (Cué l la rArchitecture) is distinguished by thedevelopment of integral projects, which makeup the bulk of the company's activity, andinclude: the measurement of works, design,elaboration of natural stone, execution ofprojects and installation. There are three mainlines of business which have the followingnames: Public Spaces, Unique Houses andBuildings and Sacred Art. Both the serviceprovided and the product are aimed at themost demanding sector in the market addingvalue to each project with a stamp appropriateto the brand.

We carry out "made to measure" projects,making us true "natural stone tailors", we adaptto the unique requirements of every client atall times advising the correct and appropriateuse of each type of stone. We base ourselveson certain key factors: our knowledge of stone,technology, design, innovation and humanvalue. The speed with which we can developand execute projects helps us gain the loyaltyof our clients and constitutes another of ourdistinctive elements.

Our production plant and head officesare found in the municipal district of Cantoria,right in the heart of the Marble Industry. Wecurrently have commercial delegates inMarbella, Castellón, Bilbao, Murcia and Seville.In the same manner, we are present in theinternational market, principally in the U.S.A.(California and Florida), the United Kingdom(London), Switzerland (Basle), France (Paris),United Arab Emirates (Dubai) and Morocco.

Jesús Posadas Chinchilla is the Director for Business Unityin Eastern Andalusia and Director of Sacred Art. He graduatedfrom the University of Almería as an Information Technology andCompany Management Engineer. He has also completed a Mastersin High Management of Companies. Bound to the religiousbrotherhoods since birth, he is commercially responsible for allthe religious works that appear in this catalogue. His heritageand connection with everything to do with the fraternities andbrotherhoods combined with his business knowledge make himthe point of reference for Sacred Art in Cuéllar Architecture.

The use of natural Stone in art goes hand in hand with theorigins of artistic creation. From the small prehistoric sculpturesto the large baroque sculptured creations, from the impressiveEgyptian burials to the most modern catholic temples, or fromthe pre-Hispanic constructions to the impressive altarpieces thatthe most famous artists create for St Peter's Basilica in theVatican, the history of sacred art is littered with examples thatpay testimony to the use of natural stone in the sacred art ofall cultures, especially that of Christianity.

This use is singularly clear in Christianity, where even init's very beginnings the stony material was transported for artisticmanifestations, as is shown by the altars that have been conservedin the Roman catacombs.

With the expansion of the arts throughout Europe, allbranches of art and crafts became available to service theChristian ideal of filling the holy sites with their creations. Ofall these works the stone altars and altarpieces possess a specialbeauty, especially the definitive configuration from the end ofthe medieval period.

The ornamental sobriety of the Roman period gave way tothe great technical advances in the Gothic period where thestone, an element inherent in the architecture of the period,began to have an increased value in the decorative aspects ofthe sacred spaces. With the rebirth of the classic canons, marblebegan to take its place as a founding principle in the creationof the elements of the liturgical offerings in the temples thatare the altarpieces and their sculptures and when the Baroqueperiod arrived with its exuberant decorative programs, veinedmarble and marble together with stucco and bronze would bringa harmonious base for the impressive creativity of the polychromemonument work. The 19th century pleasure of making use of thestone material in its search for classical harmony and the purityof lines continued. The great architectural vanguards of the 20th

century also found natural stone to be the ideal material for theminimalist iconographic programs of their religious buildings.

The use of marble in projectshad extended across the whole ofEurope, and in particular Italy. Itstarted to come in to fashion in Spain,by no surprise, after Herrera's workson both the main altarpiece in thechurch of El Escorial and in Andalusiafrom working with the Jesuit architectAlonso Matías. At the start of the 17th

century, Matías had strongly defendedhis marble altarpiece work forCordoba Cathedral claiming that, "Inall Italy and Rome no other materialis worked for altarpieces; in thoseplaces they don't even know what iswood nor what is gold" and addingthat these marble creations "suspendvision, simply by setting eyes uponthem, and by contemplating theirbeauty and grandeur they raise onesspirits to a celestial level".

Notorious examples such as that of the altarpiecementioned in Cordoba, Marcos Fernandez Raya's designfor the basilica of Patrona Granadina (Patron of Granada),the wings of the Sagrario Catedralicio Sevillano in Sevilleor the impressive altarpiece in the Convento de SantoDomingo de Guzmán (Convent of Santo Domingo ofGuzmán) in Cadiz, are all testament to the use of marblein this transcendental period in the configuration ofSpanish artistic heritage.

The return to the classic canons with their purityof lines combined with the command from the royalorder of Carlos the third of 1777 that marble and veinedmarble be used in altarpieces significantly contributedto the development of these types of work, particularlyin the coastal regions due to their commercialrelationship with the main production centres in Europe.The temples of the region of Cadiz, principally thecathedral of the city, testify to the Italian influencethat was experienced during this period.

Since that period until the present day naturalstone has never stopped being used in the decorationof religious buildings, in their chapels, changing cubicles,skirting boards and paving stones. Marble continues tobe present in religious monuments, commemorativeplaques, altar tables and façades, baptismal fonts andgenerally in any decorative or liturgical element whereit has been used traditionally.

The combination of designs in any of the distinctiveartistic styles, the large commercial networks thatallow any type of material to be obtained and theenormous technical possibilities that exist in the worldtoday, forecast a rebirth and a bright future for existingworks in this noble material.

Cuellar Architecture is the prominent companyfor Sacred Art in natural stone in the world today. Asthe market leader in the industry it possesses thecreative and technical capacity to develop any type ofproject as is proven by its already large productionlevels.

INTEGRALPROJECTS

Our staff consists of a team ofprofessionals, architects, quantitysurveyors, fine art graduates,designers and decorators capable offinding and offering the best solutionsto any technical problem. Wecollaborate with various nationallyand internationally renowned artists.The process controls allow maximumquality assurance from project outlinethrough to installation.

Francisco Posadas Chinchilla is a fine arts graduate having qualified from the University of Seville. Asthe Artistic Director of the Sacred Art Division of Cuéllar Architecture, he is responsible for the designs of,among others, the altarpiece the Santo Sepulcro and Mayor del Convento de le Visitación (Holy Tomb andElder of the Convent of the Visitation), together with the pedestal in the niche of the Virgen de la Cabeza(Virgin of the Head) and skirting and decoration of the antechamber, all to be found in Motril. He is alsoresponsible for the designs of the niche of Ntro. Padre Jesús de la Salud (Our Father Jesus of Health) thename of the Hermandad de los Gitanos (Brotherhood of Gypsies) in Seville, where he also carried out theproject for the skirting for the access to the niche of its owner Marian and the cupola of the niche of theSantísimo Cristo de la Expiración (Holy Christ of the Expiration) in Cachorra, also in Seville. Similarly hedesigned the altarpieces of the chapel of Ntro. Padre Jesús Nazareno (Our Father Jesus of Nazareth) in Huelvaand of the Santísimo Cristo de la Luz (Holy Christ of the Light) in Dalías in Almeria.

Sacred Art is one of the highest forms ofexpression that flowered under the protectionof the reconquest. At its peak the developmentof a unique style was set in motion and thatthat today is recognisable in the whole world.

The designers at Cuéllar Architecturefeed off this legacy in order to elaboratenatural stone ornamentation projects inreligious buildings. Each project begins withthe definition of space, from where outlinesketches of the work are produced focusingon the specific style.

All of our projects are carried out withthe objective of meeting our clients'expectations. We take the utmost care witheach and every aspect that is brought to ourdesigns. The knowledge and know-how of theartistic professionals at Cuéllar Architecturecombined with the powerful computing toolsat our disposal make possible the presentationof projects at both a technical level and avirtual reality level.

Located in the municipal district of Cantoria, right in theheart of the marble region, we are equipped with 800 m2 ofoffice facilities and 7,800 m2 of fabrication warehouse space.

All of the sacred art projects are capable of being developedfrom their initial design through to their installation andcompletion. Each stage of the project is carried out and supervisedby a professional in the specialty, who guarantees the perfectcompletion of the work.

The speed with which the work is carried out is an essentialfactor in the process. This combined with agility and efficiencyis essential for the development of these special projects.Teamwork, as much at a management level as at a technicaland operative level, allows us to develop any project no matterwhat the level of complexity.

OURWORK

REAL HERMANDAD DEL SANTÍSIMO CRISTO DE LA LUZ (ROYALBROTHERHOOD OF THE HOLY CHRIST OF THE LIGHT) - DALÍAS

TEMPLO DE NUESTRA SEÑORA DE AMBROX (TEMPLE OF OURLADY OF AMBROX)

True to the ancient tradition of natural stone polychromealtarpieces, what is without doubt one of the biggest naturalstone altarpieces in Spain and one of the most important religiousworks of its kind in recent times has been started. In terms ofsize, it is only comparable with the altarpiece in Nuestra Señoradel Rocío (Our Lady of Rocío) in the mountain village which isof similar dimensions but made of wood.

The altarpiece has been conceived as an enormoustabernacle with eight columns in total each of a giant order, andCorinthian capitals – the smallest of which measures six and ahalf metres and the largest over eight – that sustain a cornicethat covers the entire perimeter of the chancel, protruding inthe centre to create the space where the sacred effigy is to beplaced.

The columns will support a prime body that is divided intwo sections, which will house in its main body the holy chapel.These parts are already complete and give an idea of theimpressive dimensions.

In construction of the altarpiece theprincipal material used was an Onix Miel, asemiprecious material, mixed with othernatural stones such as Spanish Gold or MarrónEmperador. The bases and Corinthian capitalsof the columns will be made in bronze.

FERVOROSA HERMANDAD DEPENITENCIA DE NUESTRO PADREJESÚS DEL GRAN PODER Y MARÍASANTÍSIMA DEL MAYOR DOLOR(FERVENT BROTHERHOOD OFPENITENCE OF OUR GREAT ANDPOWERFUL FATHER JESUS AND THEHOLY MARY OF GREAT PAIN) - MOTRIL

CONVENTO DE LA VISITACIÓN(CONVENT OF THE VISITATION)

The altarpiece rises up over atable to a remarkable height. Itsfaçade has been divided into threecurved spaces that can be describedas the plinth, the central body andthe upper section. The plinth hasbeen designed with two lateral basesdecorated with medallions each witha circular shape and which form thebase for the columns of the centralbody. Between these two plinths aspecial area is reserved to house themonastery's own silver tabernacle.

The niche reserved for the image of the Nazarene emerges in the centre ofthe main body and is framed overhead by a round arch. It is flanked on either sideby a pair of smooth Corinthian Order columns that support a strong mould whichcrowns the central body. It is formed by the architrave of two fascias and lengthenedfriezes and gives a moving and voluptuous mould with toothing divided in twoparts.

The upper section is developed upon a frieze that supports two finishes atits two extremes. These are repeated above the pillars that flank the central spacethat is reserved for the graphic image that gives name to the convent. On eitherside of this space two cantilevers unite the upper section with the central bodyof the altarpiece and it is completed with a lowered round arch.

Taking advantage of the circular floor of the temple's chancel and thedevelopment of the entire altarpiece at the same time, an ample niche has beendesigned to house the image of Christ. Integrally covered with marble, it takesa semicircular form and is decorated with the same mould that is to be found onthe main body.

The neo-classic structure of the temple,it's decoration, the natural light that illuminatesthe space, the prominent colours that are foundas well as the colours of the lateral altarpieceshave all been widely considered when selectingthe materials. These things were taken intoaccount when the soft colours were chosensuch as in the Rojo Alivante and Blanco Carraraand which are starkly contrasted by the darkNegro Marquina. The total height of the workis greater than 7.50 metres and the width ofthe plinth is a little more than 3 metres.

REAL, VENERABLE E ILUSTRE HERMANDAD SACRAMENTALDE NUESTRA SEÑORA DE LA CABEZA (ROYAL, VENERABLEAND ILLUSTRIOUS SACRAMENTAL BROTHERHOOD OF OURLADY OF THE HEAD) - MOTRIL

REAL SANTUARIO DE NUESTRA SEÑORA DE LA CABEZA(ROYAL SANCTUARY OF OUR LADY OF THE HEAD)

Pedestal

The pedestal, which has a prismatic structure anda rectangular base, starts out from a plinth of NegroMarquina upon which a first mould develops. This followsthe entire perimeter tracing the outline of the eightpillars that adorn it's four faces. These pillars are finishedon either extreme with cantilevers fabricated in marbleof Rojo Alicante, a colour which is predominantthroughout the entire piece; in the centre two levelscan be found separated by a mould. Above the pillarsa strong mould of valiant movement rests that nowtraces the upper perimeter of the pedestal.

The spaces between the pillars house a medallionwith the colour of Negro Marquina. As a whole the piecehas been designed to reach the necessary height toallow the Sagrada Imagen de La Santísima Virgen de LaCabeza Coronada (Holy Image of the Holy Virgin of theCrowned Head) to be seen.

Skirting

The skirting that runs along the access to the niche of the Santísima Virgende la Cabeza Coronada (Holy Virgin of the Crowned Head) can be divided, in asimilar way to the stairways, into four parts: the plinth, upper and lower mouldsand a central body where distinctive panels are displayed which adapt to the formof the gradient of the stairs. The materials that were chosen are once again RojoAlicante and Negro Marquina in a combination in which the former is predominant.

REAL HERMANDAD DEL SANTÍSIMO SACRAMENTO Y COFRADÍADEL SANTO SEPULCRO Y NUESTRA SEÑORA DE LOS DOLORES(ROYAL BROTHERHOOD OF THE HOLY SCRAMENT ANDFRATERNITY OF THE HOLY SEPULCHER AND OUR LADY OFPAINS) - MOTRIL

IGLESIA MAYOR PARROQUIAL DE LA ENCARNACIÓN (MAJORPAROCHIAL CHURCH OF THE INCARNATION)

This altar was constructed to ennoble both the chapel andthe actual location of the urn of the Cristo Yacente de laHermandad del Santo Sepulcro (Residing Christ of the Brotherhoodof the Holy Sepulcher) with a dignified altar in accordance withthe existing characteristics and in order that the magnificentwork of sculpture that is held there should receive reverentialpopularity during the entire year. The piece contains a backgroundadorned with goldsmithery that makes the image of Christ morevisible. The entire perimeter skirting that envelops the chapeland the four columns in the entrance is carried out in the samemanner.

The base upon which the urn is situated, is a continuationof the skirting that traces the perimeter of the chapel. It isformed by a smooth plinth, panels with large plaques and finishedwith a mould. At the front two pillars protrude upon which,among decorative reasons, two signs open up with the coat ofarms of the Fraternity and the symbol of the Madre Dolorosa(Pained Mother). The panel between the two pillars is composedof a central tondo which holds a picture where a satisfied pelicanfeeds its young with its own blood and two mixed-lined workswhere in the centre the inscription mortuus et ecce sum vivensin saecula saeculorum, (And I was dead, and behold, I am livingfor ever) can be read. The entire piece is bordered by the samedecorative motifs.

The rear part of the altarpiece has been completed bymeans of a baldachin with two pillars that support a mixed-linearch via a grand mould that caps the piece.

The materials employed in this work were Rojo Alicanteand Negro Marquina for the altar and the columns and BlancoMacael for the chapel tiling.

PONTIFICIA Y REAL HERMANDAD Y COFRADÍA DE NAZARENOSDE NUESTRO PADRE JESÚS DEL GRAN PODER Y MARÍA SANTÍSIMADEL MAYOR DOLOR Y TRASPASO (PONTIFICAL AND ROYALBROTHERHOOD AND FRATERNITY OF NAZARENES OF OURFATHER THE ALL POWERFUL JESUS AND HOLY MARY OF GREATPAIN AND PASSING) - SEVILLE

BASÍLICA DE NUESTRO PADRE JESÚS DEL GRAN PODER (BASILICAOF THE ALL POWERFUL FATHER JESUS)

Cuéllar Arquitectura has taken part in the remodelingWorks of the Basílica Jesús del Gran Poder (Basilica of The AllPowerful Father Jesus) in Seville that houses one of the mosthistorically, artistic and devotionally powerful images in theAndalusian capital, the image of The All Powerful Father Jesus.

Using concrete, we have taken charge of the rehabilitationand expansion of the choir of the basilica. The expansion workprincipally consisted of the construction of a balcony for thechoir and redressing the temple area with Arenisca Montealegrestone, identical to the material used for the façade of thebasilica and in the atrium.

The expansion of the choir was carriedout to allow the location of the organ whichis highly valued both artistically and historicallyand for the construction of a balcony. In theremodeling of the choir two cantilever supportswhich each support 300kg were placed underthe balcony. The whole roof has beencompleted with the same geometric forms asthe atrium roof.

The roof has been finished by a toothedmould that follows the perimeter of the entirechoir. Four pillars have been situated on topof the mould which serves as the support fora rail that is divided in three parts breakingthe monotony of the forged rail. In the samemanner two pillars with Corinthian capitalshave been fabricated and situated in theentrance to the choir at an angle of 90 degrees.

IGLESIA PARROQUIAL DE NUESTRA SEÑORA DE LA CONSOLACIÓN(PAROCHIAL CHURCH OF OUR LADY OF THE CONSOLATION) -UMBRETE

The altar's façade is composed of multiple geometrical formsof mixed-line angles. It starts off from a moulded plinth and isfinished at the top by a potent half-cane mould following the woodenmodel of the altarpiece.

Thanks to the modern technology available, it was possible tofabricate the table in only two parts, at all times respecting thecontinuity of the natural veins of the stone.

REAL, ILUSTRE Y FERVOROSA HERMANDADSACRAMENTAL, ÁNIMAS BENDITAS Y COFRADÍA DENAZARENOS DE NUESTRO PADRE JESÚS DE LA SALUDY MARÍA SANTÍSIMA DE LAS ANGUSTIAS CORONADA(ROYAL, ILLUSTRIOUS AND FERVENT SACRAMENTALBROTHERHOOD, BLESSED SPIRITS AND FRATERNITYOF NAZARENES OF OUR FATHER OF HEALTH JESUSAND HOLY MARY OF THE CROWNED ANGUISH) - SEVILLA

SANTUARIO DE NUESTRO PADRE JESÚS DE LA SALUDY MARÍA SANTÍSIMA DE LAS ANGUSTIAS CORONADA(SANCTUARY OF OUR FATHER OF HEALTH JESUS ANDHOLY MARY OF THE CROWNED ANGUISH)

Pedestal

The pedestal which consists of a prismatic structurewith a rectangular base begins from a Negro Marquinaplinth. Upon the plinth and travelling its entire perimeter,a first mould is developed and follows the relief thatmarks the eight pillars that adorn the four faces of theplinth. These pillars are finished at both extremes withcantilevers fabricated in Rojo Alicante marble, thecolour that is predominant throughout the entire work;in the centre two levels can be found which areseparated by a mould. Above the pillars rests a strongmould of valiant movement that now traces the upperperimeter of the pedestal. The spaces between thepillars house a medallion of colour Negro Marquina withmixed-line angles where it is foreseen that decorativegoldsmith motifs will be inserted.

As a whole the piece was designed to reach theappropriate level to allow the foot of the SagradaImagen de Nuestro Padre Jesús de la Salud (Holy Imageof Our Father of Health Jesus) to be kissed.

Skirting

The skirting covers the dual Access to the niche of theSantísima Virgen de las Angustias Coronada (Holy Virgin of theCrowned Anguishes) in the same way as it does the space betweenboth staircases and can be divided into four parts: the plinth,the upper and lower moulds and a central body where distinctivepanels are displayed which adapt to the shape of the gradientof the stairs. The work was completed in natural stone NegroMarquina and Rojo Alicante (which predominates) and formspart of the project to decorate the ensemble of the niche ofthe Santísima Virgen (Holy Virgin) that was completed with paint.

PONTIFICIA, REAL E ILUSTRE HERMANDAD Y COFRADÍA DENAZARENOS DEL SANTÍSIMO CRISTO DE LA EXPIRACIÓN YNUESTRA MADRE Y SEÑORA DEL PATROCINIO (PONTIFICAL,ROYAL AND ILLUSTRIOUS BROTHERHOOD AND FRATERNITY OFNAZARENES OF THE HOLY CHRIST OF EXPIRATION AND OURMOTHER AND LADY OF PATROCINIO) - SEVILLA

TEMPLO DEL SANTÍSIMO CRISTO DE LA EXPIRACIÓN (TEMPLEOF THE HOLY CHRIST OF EXPIRATION)

Based on the chapel of the sepulcher of Pope Urban XVIIIand Saint Longinus of Bernini located in Saint Peter's Basilica inthe Vatican, a semispherical tomb with seven caskets and ribshas been made. It rises from a frieze that crowns the apse ofthe semi-circular floor, all of which is done in the material VerdeGuaco.

The apse was designed to be completely flat to avoidanything getting in the way of the vision of Christ. The distinctiveparts that make up the redressing of the stone are cut anddisplayed following the curved shape of the floor of the nicheand are adapted to the structural screens that exist. Each plaquehas a thickness greater than 5 centimetres with the result thatthe final vision does not have the joints that would be producedby flat plaques.

The pieces that form the tomb and thecornices were made in the same manner. Allthese plaques are fastened with stainless steelstaples. With four staples per piece, they areanchored in the structural screen my meansof special resins that support the tensile forcesthat can exceed six tones at the point off ixture. The tomb hangs from theaforementioned structural screens and thesepieces that make it up follow the same methodof fixing and suspension. The entire tomb iswoven together with steel supports in theinterior of the plaque joints to stiffen theensemble.

HERMANDAD DE LA SANTA CRUZ DE LA CALLEMALVA (BROTHERHOOD OF THE HOLY CROSSOF MALVA STREET) - LUCENA DEL PUERTO

This base of Travertino Clásico (ClassicTravertine) and Travertino Rojo (Red Travertine)supports the solid bronze Santa Cruz de laCalle Malva (Holy Cross of Malva Street) whichwas designed by Manuel Jiménez Almagro. Thebase is composed of four cantilevers of mouldedfilm on the outer face that hug a central bodywhere the cast piece rests.

ANTIGUA Y VENERABLE HERMANDADDE PENITENCIA Y COFRADÍA DENAZARENOS DE NUESTRO PADRE JESÚSNAZARENO, SANTA CRUZ DEJERUSALÉN, MARÍA SANTÍSIMA DE LAAMARGURA Y SAN JUAN EVANGELISTA( A N C I E N T A N D V E N E R A B L EBROTHERHOOD OF PENITENCE ANDFRATERNITY OF NAZARENES OF OURFATHER JESUS OF NAZARETH, HOLYCROSS OF JERUSALEM, HOLY MARY OFBITTERNESS AND SAINT JOHN THEEVANGELIST) - HUELVA

PARROQUIA DE LA PURÍS IMACONCEPCIÓN (PARISH OF THE PURECONCEPTION)

The altarpiece that holds theSagrada Imagen del Nazareno (HolyImage of the Nazarene) is entirely madeof materials such as Rojo Alicante, CremaMarfil y Negro Marquina.

The ensemble of the base uponwhich the statue of Jesus sits is formedby a smooth plinth at its lowest part, asection with large panels and finishedwith a mould. On the façade of the basetwo pillars protrude at each extremeand between them a central tondo,which displays the corporate coat ofarms of the Brotherhood. This structureis repeated in the second section,although with more movement. Uponthe second structure rests the pedestalmade of intricate goldsmithery which inturn supports the majestically craftedsculpture of Jesus of Nazareth.

The rear part of the altarpiece hasbeen completed by means of a baldachinmeasuring more than six metres in heightand which has double pillars that supportan arch formed by semi-circular panelsand a decorative medallion. Togetherwith a large mould the medallion, whichbears the coat of arms of the Santa Cruzde Jerusalén (Holy Christ of Jerusalem),a name shared by the Brotherhood,completes the work.