Divine Shepherdess of Souls
Description of the work
Divine Shepherdess of Souls. An image of maternal tenderness and profound Marian spirituality
The devotion to the Divine Shepherdess of Souls is one of the most original and fruitful contributions of Sevillian Baroque spirituality. Originating in the early 18th century, this Marian representation offers a profoundly theological vision of the Virgin as the guide, protector, and caretaker of the Christian people, symbolized by a flock of sheep moving forward under her protection.
The image created by Juan Alberto Pérez Rojas for the Convent of San Leandro in Seville is part of this rich iconographic tradition, reinterpreting with a contemporary sensibility a devotion that has its roots in the religious history of Andalusia and achieved extraordinary popularity thanks to the evangelizing work of the Order of Friars Minor Capuchin.
The Origin of a Marian Devotion
The origin of this devotion dates back to 1703, when the Sevillian Capuchin friar Fray Isidoro de Sevilla conceived a depiction of the Virgin Mary dressed as a shepherdess, surrounded by sheep and lovingly guiding souls toward Christ. That spiritual insight was quickly captured in paintings and sculptures, becoming one of the most distinctive Marian devotions in the Hispanic world. From Seville, the devotion spread throughout Andalusia, Spain, and numerous territories in the Americas thanks to the intense apostolate of the Capuchins.
The traditional iconography of the Divine Shepherdess is rich in symbolism. The Virgin is depicted wearing a shepherdess’s hat, carrying a crook, and dressed in a loose-fitting country dress—attributes that should not be interpreted as mere folkloric elements, but rather as visual symbols intended to express her spiritual mission. The flock represents the faithful, while the crook symbolizes Mary’s guidance and protection of Christian souls. In numerous historical depictions, the Mystical Lamb—an image of Christ—also appears, thus reinforcing the relationship between the Mother and the Good Shepherd.
Marian Art and Iconography
Pérez Rojas’s work faithfully captures these iconographic principles, expressing them through an elegant and serene sculptural language. The composition conveys a maternal warmth without compromising the dignity befitting the Queen of Heaven. The delicacy of the features, the softness of the modeling, and the harmony of the proportions all contribute to creating an image intended for both artistic contemplation and prayer.
The sculpture strikes a balance between Sevillian Baroque tradition and a contemporary sensibility that highlights the spiritual values of the devotion. The serene and welcoming expression on her face draws the viewer’s attention to Mary’s maternal aspect, the true heart of the devotion in Pastoreña.
From an artistic standpoint, the work reflects some of the recurring themes that characterize Juan Alberto Pérez Rojas’s sculptural oeuvre: a rigorous study of traditional iconography, a pursuit of naturalness in expressions, attention to anatomy, and a conception of religious imagery as a vehicle for beauty and evangelization. Far from being a mere reproduction of historical models, the sculptor offers a personal interpretation that respects the essence of Seville’s devotional tradition.
An artistic legacy within Seville's monastic tradition
The location of the image in the historic Convent of San Leandro also adds significant cultural value. This Augustinian monastery, one of Seville’s most iconic religious sites, preserves a long religious and artistic tradition that is an essential part of the city’s cultural identity. The presence of the Divina Pastora in this setting reinforces the dialogue between historical heritage, contemplative life, and contemporary sacred art.
The Divine Shepherdess of Souls remains one of the most beloved Marian titles in Andalusia today. Her message remains as relevant as ever: Mary appears as a mother who accompanies, protects, and guides the faithful on their spiritual journey. This sculpture, created for the Convent of San Leandro, thus becomes a new expression of a three-century-old devotion that continues to find in sacred art a privileged means of conveying faith, beauty, and hope.
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