Pórtico de la Gloria: Romanesque Masterpiece
Pórtico de la Gloria (Santiago de Compostela)
Basic Details
- Author: Maestro Mateo
- Title: Pórtico de la Gloria
- Location: West Portico of the Cathedral of Santiago de Compostela
- Style: Romanesque
- Chronology: 1168-1188
Brief Biography
The origin of Maestro Mateo is unknown, although it is claimed he could be French. He was one of the authors of the crypt of the cathedral and the Pórtico de la Gloria. He remained in Santiago until at least 1217, the date of the final document referring to him.
Formal Analysis
Iconography: The Pórtico de la Gloria depicts the Second Coming of Christ, or Parousia, when Christ returns to Earth to judge humanity. It is based on the books of Revelation and Ezra.
The portico has three arches, but only the central one features a tympanum. The work is signed by Master Mateo.
Central Tympanum of the Pórtico de la Gloria
In the center, Christ in Majesty is shown displaying the wounds on his feet and hands, symbols of his human suffering. Surrounding him appears the Tetramorph (a divine representation of the four Evangelists). On either side of Christ, angels carry the instruments of the Passion.
The angels closest to Christ do not directly touch the nails, crown of thorns, and cross, as they are considered too sacred. Other instruments, such as the pitcher where Pontius Pilate washed his hands, are held directly. In the archivolt, twenty-four Elders of the Apocalypse tune their instruments for a concert in honor of God.
- Material: Granite and marble
- Technique: Carved
- Function: Religious
Composition: Symmetric and closed. The shape of the semicircular archivolts creates the composition. The compositional lines are vertical, creating a hieratic effect. However, the relationship of looks and gestures between the different characters breaks the absolute rigidity and introduces a more Gothic sensibility. The figures in the jambs, shown in conversation with each other, are particularly active.
Meaning of the Work
General Characteristics of the Style
The stylistic affiliations of the work are debated. Some believe it is one of the first major Gothic works, while others consider it the last great Romanesque piece. The frame has a plastic structure and iconography close to Romanesque, but with more Gothic influences. The rigidity tempered by the movement of the figures and the naturalistic detail of the faces show a clear Gothic spirit. However, the compositional structure, folds of clothing, and the overall hieratic, agglomerated, and hierarchical conception of the figures, adapted to the architectural space, suggest it is the last great work of the Romanesque period.
Iconology
Work and Time: This work is an exponent of the religious character of feudalism, which influenced the cult of relics throughout Europe. The most popular and crowded devotion was undoubtedly the Way of St. James, which led thousands of Europeans to Galicia and brought great dynamism to the north of the peninsula, especially Castile.
Significance of the Work
Maestro Mateo was inspired by French models, in some respects even surpassing their naturalism. Maestro Mateo not only marks the end of Romanesque sculpture and opens the door to Gothic forms but also exerts a profound influence on much of the sculpture of Northern Spain, especially in Galicia.
The work has been greatly admired by generations of artists, even after the popularity of Romanesque and medieval styles had passed.