Sant Climent de Taüll and the Portico de la Gloria

San Clemente de Taüll: The Central Apse

The central apse of Sant Climent de Taüll, now moved to the Art Museum of Catalonia, features Christ appearing as a judge. He is framed in a full mandorla where the letters Alpha and Omega symbolize the beginning and end of all things. The attitude of the Pantocrator is customary: a didactic gesture, carrying the holy book with the inscription "Ego sum lux mundi" in one hand and blessing with the other.

Around him are the four Tetramorph whose symbols are supported by angels. Rounding out the space are a seraph and a cherub. At the bottom, framed by an archway, are the Virgin and five apostles. From an aesthetic point of view, the work conveys the strength and power of divinity.

Medieval Expressionism and Chromatic Style

This medieval work highlights a painterly expressionism and chromatic treatment, dominated by a full and luminous blue. The facial features and the treatment of the folds resemble those of Beck; the strength and vigor of the expressive eyes are represented by black circles. The nose consists of two parallel lines that divide the face and extend into high, open eyebrows to enlarge the facial gesture. The beard, hair, and the folds of the clothing follow a compositional symmetry with parallel lines that mark a rhythm of bold and contrasting lines; the feet are positioned in a "V" shape.

This is a geometric conception through which an abstraction of expressive force is achieved. The soundness of his strokes and the impact of color perfectly summarize the vigor and quality of Romanesque painting.

Catedral de Santiago: Portico de la Gloria

In Santiago, under the Apostle's tomb, stands one of the most characteristic temples called pilgrimage churches and perhaps the most mature example of Spanish monumental Romanesque architecture.

The Masterpiece of Maestro Mateo

The Portico de la Gloria is one of the most advanced examples of new trends in monumental sculpture. Maestro Mateo created this western door in the last third of the 12th century, at the height of the pilgrimage era. It features three main axes:

• The central mullion: Divided by a Tree of Jesse, hosting Saint James, who is kindly shown to the pilgrim.
• The tympanum: Features Christ the Judge with open arms, showing his wounds, surrounded by the Evangelists, archivolts, and the elders with their instruments.
• Lateral arches: These lack a tympanum and depict Adam, Eve, the captivity of the tribes of Israel, and the Final Judgment.

On the pilasters that separate the arches, statues and columns appear, specifically prophets and apostles (prophets on the left and apostles on the right). At the bottom of the mullion, a kneeling figure beats his chest in a penitent attitude; this is Maestro Stephen (Mateo) who apologizes for his work.

Evolution Toward Naturalism in Sculpture

This is an exceptional work that was ahead of its time in shaping a new naturalist style. Through the liberalization of the sculptures, they began to get rid of their link to the architectural setting. The treatment is much more anatomically realistic, with enormously dynamic folds and elegant, natural falls. The volume is higher, and the "eternal smile" cheers every face with a humane and sensitive tone.