Architectural Masterpieces Across Civilizations
Cathedral of Santiago Compostela (Romanesque)
The Cathedral of Santiago is a pilgrimage church with a typical basilica plan consisting of three naves and a large transept. The transept is divided into three naves with four apsidioles in its arms and a wide head, featuring a remarkable central apse and five radiating chapels. The central nave is covered with a barrel vault, reinforced by arches, while the transept has a dome in the middle. The apsidioles are covered with quarter-sphere vaults, and the ambulatory features vaults with curvilinear edges. Robust buttresses reinforce the entire roofing system. The elevation is built based on pillars with attached half-columns, which support the arches. The clerestory features geminate windows with a half-point arch. There is a perfect correlation between mathematical proportions and each of its elements, explaining its structural perfection and preeminence over other contemporary examples. The church’s interior is organized to guide the faithful from the entrance towards the main aisle, where the central space is located above the tomb of the apostle. The head of the cathedral features an ambulatory with five radial chapels and apsidioles. The cathedral’s Romanesque style, evident in the portico, is characterized by volume, mathematical precision, perfection, and classical serenity. The cathedral also contains a tetramorph, represented by the four evangelists, each with a distinct animal symbol: angel – Saint Matthew, eagle – Saint John, lion – Saint Mark, ox – Saint Luke.
The Parthenon (Greek)
The Parthenon is the most important temple on the Acropolis and a significant monument in Greek civilization. Dedicated to Athena, the goddess and protector of Athens, its construction took place between 450 and 430 BC. It housed a large sculpture by Phidias, made entirely of gold and ivory. The architect in charge was Iktinos, who worked under the orders of Pericles. The Parthenon introduced several innovations compared to earlier temples. It included a square room for the virgin daughters of the goddess and divided the plot into three naves separated by a double row of columns, forming a gallery. Its construction utilized different materials like wood for the roof, marble for the structure, and ivory for the statue. The columns are Doric, divided into drums. The shaft has a diameter of 1.87 m at its base and 1.48 m at the capital. The columns have no bases and are placed directly on the stylobate. The Doric capital, consisting of echinus and abacus, connects to the shaft through the necking. Above the capital lies an entablature divided into three sections: architrave, frieze with metopes and triglyphs, and the projecting cornice that closes the pediment. The building has a rectangular plan and is octastyle. This period of Greek art is characterized by realism, evident in both sculpture and architecture. Religion is governed by anthropomorphic polytheism. Greek architecture is also notable for its perfection, harmony, and decorative elements.
Doryphoros (Greek)
The Doryphoros is a free-standing sculpture designed to be viewed from all perspectives. Primarily frontal, it shows more detail on the front. The material is polished bronze, cast using the lost-wax method. The work depicts a young, nude athlete holding a spear on his shoulder, calmly walking after exercising. The Doryphoros exemplifies human perfection, symmetry, and balance. It represents an open and extensible aesthetic, breaking the rigidity of earlier works. The sculpture seeks a perfect balance of ideal beauty. Polykleitos aimed for symmetry in movement and each body part. The contrapposto pose is evident, with one leg bearing weight and the other slightly flexed. The muscles are well-defined and slightly exaggerated, especially in the pectoral and hip folds. Subtle shadow play in areas like the groin and extremities adds plasticity to the sculpture. The head is divided into three parts: forehead, nose, and chin. The foot is three times the length of the palm; the foot to the knee is six spans, and the knee to the abdomen is another six. The expression is serene, reflecting the body’s composure. It shows self-control with a steady and calm gaze. The body is slightly inclined, creating an S-shaped curve. The hair is treated naturally, losing rigidity and breaking with archaic styles. It is curly and close to the head. Greek sculpture is characterized by the search for ideal beauty, proportion, and balance in the treatment of figures.
The Mosque of Cordoba (Islamic)
The Mosque of Cordoba is the most important building from the Caliphate period. The first mosque was built by Abd al-Rahman I and consists of a rectangular prayer hall (haram). The haram is structured into several naves separated by columns, mostly Roman and Visigothic, repurposed from older buildings. The columns have smooth shafts and simplified Corinthian capitals. Arches are more prevalent than pillars, and they are embedded in rectangular bases. The most important arches are the horseshoe arch and the polylobed arch. The maqsura is the private prayer space for the caliph or imam. It features polylobed arches and is covered by a dome that generates an eight-pointed star, typical of the Caliphate period. The mihrab is the niche where the Imam leads the prayer and where the Quran is placed. Its decoration includes the horseshoe arch and the ataurique (arabesque). The interior features marble floors, plaster walls, and wooden ceilings. The exterior utilizes ashlar stone, mortar, and brick. The walls are bare with small openings, contrasting with the richness of the interior, a characteristic of Islamic architecture. The mosque has 34 chapels distributed along different walls. The cathedral within the mosque houses the Custody of Arfe and magnificent ivory crucifixes made by Alonso Cano. Islamic art is characterized by the use of simple materials like brick, the adaptation of elements like the Visigothic horseshoe arch, and the covering of walls.
Portico of Glory (Santiago de Compostela) (Romanesque)
The Portico of Glory is located on the western facade of the Cathedral of Santiago de Compostela. On the left archivolt, the faithful Jewish people await the coming of Christ in Limbo. The archivolts represent the law of Moses. The jambs depict the minor prophets. In the center are the elders of the Apocalypse, the Pantocrator, and the tetramorphs. In the spandrel between the right tympanum and the arch, the righteous are depicted as children led by angels to Heaven. The right jambs, from left to right, feature Jeremiah, Daniel, Isaiah, Moses, Saint Peter, and Saint Paul. In the trumeau is Saint James, head of the church, with a tau-shaped staff, a symbol carried by archbishops from the 12th to the 15th centuries. Below is the Tree of Jesse. At the base, a figure struggles with two lions, and on the back is the signature of Master Mateo, the artist. The archivolts depict the Last Judgment. Christ and Saint Michael in the brackets show the fate of the judged. The left side shows the righteous, while the right side depicts sinners tormented by demons. The portico symbolizes the passage from the outside to the sacred space, representing the entrance to divine justice. Both sculpture and painting aim to instruct, delight, and decorate. The Portico’s style marks the transition between Romanesque art and the emerging sensitivity of Gothic art. It is characterized by volume, perfection, expressive study, and classical serenity.