Portico of Glory - Knowledge

225: 198: 132: 699: 588: 528: 209:, the numerous traces of the remaining paint seen today are due to later interventions. Records show that the portico was repainted often with contracts surviving from the fifteenth and seventeenth centuries. Two types of paintings are distinguishable now on the structure. On some of the figures, the paint is powdery; the colors are light, soft and clear without any additional ornaments. This dates back to the fifteenth or sixteenth century. The more enamel-like painting is harsher and darker with ornamental patterns dated back to the 17th century in a similar style to offering boxes in 1656. 285:

Written Law, the Law of Grace and the Natural Law, what can be called Glory. The central arch represents the final destination of true Christians: glory and resurrection. The left arch is decorated with sculptures of patriarchs of the Old Testament and Jewish people waiting for arrival of the Christ. The right arch represents the New Testament and the Final Judgement. Four angels blowing trumpets are carved in the four angles of the porch and symbolize the four corners of the world. The angels are not centered directly under the ribs and therefore do not support the weight of the vaults.

483: 652:. With them are two figures that could be Noah (new father of humanity to save from the flood) and Esau or Isaac and Judah. To the left of God there is Eve, Moses, Aaron, King David and Solomon. Above that, the second archivolt has twelve small figures representing the twelve tribes of Israel. Angels lead figures to paradise surrounded by foliage in the north portal. The figures in dense foliage holding scrolls contain the word of God as revealed to the Jews, but are bound by heavy moldings symbolizing the Judaic Law which imprisons them. 725:

the door is Moses, who holds the Tables of Stone with the word "Honora" ("Honor") visible. Isaiah, Daniel and Jeremiah carry scrolls with painted names probably copying the originals. St. Peter is the furthest on the left in pontifical dress holding three keys. Second, St. Paul has a book in his hands that can be read as the beginning of the Epistle to the Hebrews, "Multifarium multisque." Next is St. James dressed in a double tunic with the inner tunic white and is carrying a scroll with the words "Deus autem incrementum."

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known as "Santo dos croques" with the tradition of students rubbing their heads against the figure for wisdom and allowing pilgrims to this day to come and rub their little one's heads against that of Maestro Mateo, believing it will increase their understanding. This tradition was adopted later by pilgrims, although steps are being taken to remove access to stop the deterioration of the work.

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Rapine and Gluttony. On the left, Heaven is represented with the elect, with figures of angels with children symbolizing the saved souls. Four angels trumpet the Last Judgment while the rest of the angels sing. The two busts of Christ symbolize his presence that brings mercy and salvation for all. His physical body is unnecessary and not represented here.

293:. Mateo's figures in the Pórtico de la Gloria were the first manifestations of the Gothic spirit in European sculpture. Mateo's style and that of his studio are materialistic in representation with plastic accentuation of the folds in the garments. After his death, his workshop suffered and a lesser quality can even be seen at the tympanum. 264:, his canons, and Maestro Mateo. The Archbishop Pedro II was a francophile and a main influencer of the iconography on the portico. Examples include the simple, yet expressive monsters on the bases and the crude human figures. The portico seems to be the last known work of Master Mateo, although his studio continues to work under his name. 433:

Christ and the Jews on the left. On the outside of both these angels are two more angels of the same size. The angel on the left is leading two children and the one on the right leading three and holding one in his arms. This illustrates Isaiah's prophecy "the barren woman should have more children than she who had a husband."

321:. Its lower part is formed by the bases of the columns and decorated with fantastic animals. The middle portion consists of columns adorned with statues of the Apostles on the right and Prophets on the left. The sculpture is intended to serve as an iconographic representation of various symbols derived from the 689:

carved with groups of various animals: six eagles, a bear, four lions and two indeterminate animals, as well as three human heads with beards holding the entire portico up on their backs. In these grotesque animal figures, there are images of demons and symbolize the weight of the glory crushing sin.

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The arch of the left door, the northern portal, depicts scenes from the Old Testament, with an upper and lower band with the righteous awaiting the arrival of the Savior. In the center of the lower archivolt is God the Creator who blesses the pilgrims and holds the Book of Eternal Truth. To his right

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Jeremiah is the figure holding a scroll written "Hieremias Propheta." Next, Daniel is displayed as a handsome young man with smiling face. To the right of him is Isaiah with a scroll in his right hand, a turban on his head to show rank and his left hand raising his cloak to his shoulders. Closest to

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The far left and right end of the tympanum bears archangels and hold the symbols of the Passion on the capital of the third shaft of the left and central arch. Both angels are holding a naked figured representing a human soul towards Christ. These naked figures symbolize the Gentiles on the right of

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The Pórtico de la Gloria operates as a highly symbolic narrative whose function is to combine the present and the individual act of pilgrimage with meaning; by inscribing them within the universal and the eternal. The pilgrimage to Compostela is a reenactment of the pattern of the life of Christ and

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design and continues with the portico's large, rounded tympanum and double-storied jambs. The figures of the tympanum are made up of a large number of individual reliefs set up side by side. Those on the innermost jamb are not attached to the columns but rest like plaques. The portico represents the

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that is used as a chapel called the catedral vieja. The width of the portico was governed by the western edge of the towers and limits its view; the porch measures approximately 57 ft by 13.5 ft. Because Mateo was confined by the horizontal space, he designed upwards and higher. He used an

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At the foot of the central column looking towards the main altar of the cathedral, is a secular, kneeling figure of a young man with curls symbolizing Master Mateo, holding a sign that is written "Architectus" and an inscription dating the completion of the principal portal. This image is popularly

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decorated with a great amount of foliage. Flowers cover the vault while angels carry and lead souls to Paradise, symbolizing the Day of Judgment and praising the lord. Above the heads of these angels, two large groups of souls of the blessed, forty in all. Around the inner side of the arch contains

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The space remaining on either side of the tympanum above the angels is filled with thirty-eight small figures, nineteen on either side of Christ. These figures are believed to represent either the citizens of the Holy City of Isaiah redeemed by their savior or the "ten thousand times ten thousand"

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Originally projected as a four-part division, it was modified into a three-part format, which changed the proportions of the entire portal. With over 200 Romanesque style sculptures, the portico is the artistic high-point of the cathedral and often considered the greatest work of Spanish Romanesque

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and Christ. For others, they are Christ-Judge and an angel or may indicate God the Father and God the Son. To the right of these heads, Hell is represented with figures of subhuman monsters or demons that drag and torture the souls of the damned enslaved by passions representing Violence, Cruelty,

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In the columns of the central door and the two side doors, are figures of apostles, prophets and other figures with their symbolic attributes. All are topped with their own elaborately carved capital, which depict different animals and human heads with leaf motifs. The names of some of the figures

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in one hand, as a patron of the basilica where pilgrims kneel and kiss or touch on their way into the nave. He holds a scroll in the other hand which contains the words "Misit me Dominus" (the Lord sent me). He wears a crystal studded nimbus which dates later than the figure. Two lions support the

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of St. Denis near Paris. Below the Christ figure, Master Mateo has placed Santiago (St. James). In the Byzantine tradition, representations of Santiago as an apostle or evangelist bear no distinguishing features, apart from context, to differentiate James from other apostles. The trumeau statue of

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The pure Romanesque fabric was altered slightly and later encased with a Baroque facade. Before the facade was erected, the portico would be seen from afar and would take pilgrims up a large flight of stairs to approach it. Without door valves, the three large arches were decorated with angels and

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by Abraham is represented. On the right are the Counsels given to the church in the Epistle to the Ephesians. The last shaft carved is to the right of the north arch and shows a medieval tournament and is believed to have replaced a non-decorated shaft at a later date. The shafts have strong

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and proto-gothic structures of France. The ribbed vault is large in scale and the first of its kind in Spain. The figure's style shows a combination of the humanistic tendencies used in manuscripts beginning in 1160 and the pilgrimage style of depicting individuals of early-twelfth century

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from left to right. The opposite columns on the right of the central arch are the four Apostles: Saints Peter, Paul, James and John the Evangelist. All of these figures are standing with realistic expressions, discussing together like worldly sages.

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The capital above his head represents the temptations of Christ. On the side facing the inside of the temple, two kneeling angels pray. At the foot of the saint is another capital with the figures of the Holy Trinity. Beneath this is the

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sculpture. The Pórtico de la Gloria consists of an inner double-arched porch and finished with an outer western façade. The lateral archivolts were left undecorated, which might have been due to time restraints to finish the gate for the

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The double representation of St. James is mirrored in the braided scarf depicted on both columns. The farthest on the right is St. John who stands on an eagle. He opens a book to the words of the Apocalypse, "Vidi civitatem sanctem

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The four angels on the right are all standing. The first holds four nails in his right hand and a spear in his left. The next angel holds the jar of vinegar (Gallegan jarro or water-pot) in his left hand and the scroll on which

421:. The last angel on the right corresponds to the small size of the far left angel and carries the rod with the sponge. The angel's feet stand on clusters of foliage. Behind the two raised hands of Christ are two angels bearing 77:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge. 454:

the elders of the Apocalypse. Each is holding a musical instrument, as if preparing a concert in honor of God. Among instruments, ducal crowns are placed on their heads and some carry vessels. The figures are seated on a

1484: 329:. The Glory of Christ and the salvation of man are depicted in the central portal. Four beasts and 24 elders combine with the angels of the passion of Christ as an apocalyptic vision. This theme was first created at 289:

the microcosm of Salvation. This suggests that individual pilgrimages achieve transcendence through its recapitulation of sacred events. Mateo's work on the portal inspired such great works as the western portal of

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In 1866, London's South Kensington Museum (today the Victoria and Albert Museum) displayed a full-scale though unpolychromed replica of the Portico de la Gloria, which exemplified the twelfth-century Iberian

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Other sources give an apocalyptic interpretation with wars, famine and death (represented by the beasts) and situations that can only be saved with human intelligence represented by the heads of old men.

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The support of the lateral arches have four figures on the pillars with two figures on either side that correspond with the columns of the central arch. The figures below the northern arch are possibly

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The portal's doorway is so broad that its lintel must be supported by a trumeau or mullion in the form of a huge composite column. In the mullion, the figure of Saint James is seated with a pilgrim's

224: 63: 409:. On the far left, a small figure kneels and supports the column. Two angels stand to the left of Mark and Luke, holding a cross between them. The next angel holds a crown of thorns. 260:. Style and technique are completely unique to Master Matthew and his group of masons and sculptors of varying skill level. At the time, design and iconography were decided by the 174:

annually between 1168 and 1188. To commemorate its completion in 1188, the date was carved on a stone set in the cathedral and on the lintel that supports the richly ornamental

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is no longer viewable from the exterior. The church is responsible for the preservation of the portal to this day. The doors were never closed day or night in the Middle Ages.

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Music Iconography of Romanesque Sculpture in the Light of Sculptors' Work Procedures: The Jaca Cathedral, Las Platerías in Santiago De Compostela, and San Isidoro De León ..

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The arch of the right door, the southern portal, represents the Last Judgment. The double archivolt is divided into two equal parts by two heads in the center flanked by

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are on the books or scrolls that they hold in their hands. The scrolls symbolize the Old Testament while closed books are meant to be the Apostles or the New Testament.

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of the cathedral of Oviedo. French influence is seen in the iconography and composition with decorative sculpture similar to the details of the cloister of

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foliage and framed the ciborium and altar at the end of the nave. Prophets and apostles form the columns and jambs welcoming pilgrims inside the church.

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Pack, Sasha D. (2010). "Revival of the Pilgrimage to Santiago De Compostela: The Politics of Religious, National, and European Patrimony, 1879–1988".

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who sing a new song. They are crowded with some holding their hands in prayer, some carrying scrolls, others books, and eyes carved looking at Jesus.

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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.

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Compostela. There is a similarity in architecture between the south transept and the inner portal facing east. Capitals in the crypt

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abundance of sculpted reliefs and three round arches that correspond to the three naves of the church, supported by thick piers with

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Only three shafts besides the central one are carved. The shafts to the left and right of the central column are spiral carved

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Raulston, Stephen B. (2008). "The Harmony of Staff and Sword: How Medieval Thinkers Saw Santiago Peregrino & Matamoros".

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and are conversing two by two with the exception of the eleventh figures from each side. The elder's instruments include an

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The columns display lifelike figures continuing the size of the St. James on the central shaft. The jambs on the left have

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There are three more statues on either side of the outer doors corresponding to the column figures. On the left, there is

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describes as adorning the west front of the Cathedral at Compostela in the early twelfth century as a participant in the

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Watson, Christabel (2002). "A Reassessment of the Western Parts of the Romanesque Cathedral of Santiago De Compostela".

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Content in this edit is translated from the existing Galician Knowledge article at ]; see its history for attribution.

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wrote Christ's sentence. The letters "I N R I" can be seen on the scroll. The next angel holds the thong used at the

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of the Cathedral by building a new crypt beneath the nave and the surrounding terrain. The portico consists of an

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Vázquez Varela, José Manuel; Yzquierdo Perrín, Ramón; García Iglesias, José Manuel; Castro, Antón (1996).

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writes on a scroll. Eight angels stand on the base of the tympanum with four on each side holding the

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Before initiating the work on the portico, Maestro Mateo's (Master Matthew) workshop finished the

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Stokstad, Marilyn (1957). "The Portico de la Gloria of the Cathedral of Santiago de Compostela".

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Four Apostles: Saints Peter, Paul, James and John the Evangelist. (from left to right)

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El Pórtico de la Gloria en la Inglaterra victoriana: invencio ́n de una obra maestra

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La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures

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Studies on the Portico de la Gloria of the Cathedral of Santiago de Compostela

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Master Mateo was also influenced by the local tradition and sculpture of the

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The arrangement of the tympanum is based on the description of Christ that

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Goldschmidt, Werner (1937). "The West Portal of San Vicente at Avila".

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Proceedings of the Third International Congress on Construction History

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to the source of your translation. A model attribution edit summary is

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Martínez, Rosario Álvarez & Miguel Ángel Aguilar Rancel (2002).

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The Portico of Glory: (A ... Work of Mateo) An Introductory Study ..

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verticals accents and emphasize strength and support of the piers.

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on the right. Below the southern arch on the left are the apostles

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Santiago in the Pórtico de la Gloria, depicts a seated James, with

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The central arched opening, twice as wide as the other two, has a

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Rendering: Jenaro Pérez Villaamil, Palacio de la Moncloa, Madrid

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Mestre Mateo inside the church on the opposite side of St. James

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makes in Revelation (Chapter 1 v 1 to 18). In the center, the

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Concealed now by the Churrigueresque west front, the porch or

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Many diverse architectural features are combined including

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The Story of Santiago de Compostela – Medieval Town Series

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Santiago de Compostela in the age of the great pilgrimages

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around Christ and have emblematic animals on their knees:

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University of Michigan: ProQuest Dissertations Publishing

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is shown, displaying in his palms and feet the wounds of

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The central opening is composed of three rows of radial

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The four pillars of the porch are sustained on strong

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Musicians using string and various other instruments.

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a machine-translated version of the Galician article.

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Roman Catholic Archdiocese of Santiago de Compostela

1412: 760:"Master Mateo – Skilled Artist or Medieval Engineer" 70: 1323: 1094:Journal of the Society of Architectural Historians 1485:Museum of the Cathedral of Santiago de Compostela 1359:El Pórtico de la gloria en "Rincones de Santiago" 1542: 486:St. James in central column to welcome travelers 1267:Centro virtual Cervantes: El camino de Santiago 1240:Russo, F. (2007). "Dialogues With the Guitar". 757: 95:accompanying your translation by providing an 57:Click for important translation instructions. 44:expand this article with text translated from 1398: 1177: 1175: 1173: 1171: 799: 280:have been linked to similar capitals in the 1349:El Pórtico de la Gloria, Misterio y sentido 1293: 664:Right Door with two busts in each archivolt 190:of 1182 and formal procession of pilgrims. 1556:Romanesque architecture in Galicia (Spain) 1405: 1391: 824:: CS1 maint: location missing publisher ( 758:Münchmeyer, Annette; Kruse, Sönke (2009). 366:shown as larger than the other characters. 1263:"El Maestro Mateo o el Santo dos Croques" 1229:. Santiago de Compostela. pp. 35–36. 1183:"Pórtico de la Gloria y el Maestro Mateo" 1168: 702:Replica in the Victoria and Albert Museum 162:and the cathedral's main gate created by 1296:The Burlington Magazine for Connoisseurs 1139: 988: 895: 697: 659: 586: 526: 481: 440: 357: 300: 223: 196: 170:. The king donated to Mateo one hundred 166:and his workshop, on the orders of King 130: 1378:Cathedral of Santiago Pórtico da Gloria 1373:El Maestro Mateo o el Santo dos Croques 1364:Pórtico de la Gloria y el Maestro Mateo 1302:(414): 110–111, 114–116, 118–121, 123. 1224: 1030: 843: 135:Central Arch with tympanum and columns. 14: 1543: 1257: 1255: 1091: 1386: 1354:HyperSculpture - Pórtico de la Gloria 1239: 1135: 1133: 1131: 1129: 1127: 1125: 1123: 1087: 1085: 1026: 1024: 1022: 1020: 984: 982: 980: 978: 976: 974: 891: 889: 887: 885: 883: 881: 879: 877: 875: 313:and is divided by a central column—a 1045: 1018: 1016: 1014: 1012: 1010: 1008: 1006: 1004: 1002: 1000: 972: 970: 968: 966: 964: 962: 960: 958: 956: 954: 913: 911: 909: 907: 873: 871: 869: 867: 865: 863: 861: 859: 857: 855: 839: 837: 835: 782: 778: 776: 753: 751: 436: 26: 1252: 900:. OK: University of Oklahoma Press. 648:(with his index finger raised) and 353: 107:{{Translated|gl|Pórtico da Gloria}} 24: 1120: 1082: 919:"Santiago de Compostela Cathedral" 305:Christ with Evangelists and angels 25: 1577: 1342: 997: 951: 941:"Master Mateo (active 1168–1188)" 904: 852: 832: 773: 748: 205:Though the portal was originally 1561:Santiago de Compostela Cathedral 1414:Santiago de Compostela Cathedral 1202:100 obras mestras da arte galega 153:Santiago de Compostela Cathedral 31: 1317: 1287: 1233: 1218: 1193: 1039: 728: 718: 708: 591:Left of central arch: prophets 560:and Moses on the left side and 296: 219: 1031:Hartley, Catherine G. (2007). 933: 802:Camino de Santiago Inolvidable 793: 105:You may also add the template 13: 1: 1048:The Journal of Modern History 800:Bravo Lozano, Millán (1999). 742: 655: 1480:Royal Pantheon of Compostela 1225:Sevilla, Matilde M. (1991). 848:. Galaxia. pp. 188–287. 634: 258:Santo Domingo de Silos Abbey 7: 1468:Stone choir of Master Mateo 1324:Angel del Castillo (1954). 1242:Actas Dermo-Sifiliográficas 1204:(in Galician). Nigra Arte. 317:—containing a depiction of 10: 1582: 896:Stokstad, Marilyn (1978). 477: 407:instruments of the Passion 69:Machine translation, like 1500: 1430: 1420: 1279:: CS1 maint: unfit URL ( 783:Ward, Michael L. (1978). 342:, like the one which the 46:the corresponding article 693: 680: 518: 385:The Evangelists form a 250:Puerta de las Platerías 116:For more guidance, see 703: 665: 608: 532: 487: 446: 367: 306: 229: 202: 148: 136: 1154:10.1353/cor.2008.0020 701: 663: 590: 530: 485: 444: 361: 325:and the books of the 304: 291:San Vincente of Avila 227: 200: 134: 118:Knowledge:Translation 89:copyright attribution 1525:Feast of Saint James 844:Armesto, V. (1971). 331:Abbot Suger's church 168:Ferdinand II of León 18:Glory's Portico 626:. On the left, the 495:legs of his chair. 372:John the Evangelist 1520:Jacobean Holy Year 1508:Camino de Santiago 704: 666: 628:sacrifice of Isaac 609: 533: 488: 447: 368: 364:Christ Pantocrator 362:The Tympanum with 323:Book of Revelation 315:mullion or trumeau 307: 230: 203: 180:Alfonso IX of León 137: 97:interlanguage link 1538: 1537: 674:archangel Michael 505:Iberian Peninsula 437:Central Archivolt 149:Pórtico da Gloria 129: 128: 58: 54: 16:(Redirected from 1573: 1514:Codex Calixtinus 1493: 1476: 1458:Portico of Glory 1443:Berenguela Tower 1407: 1400: 1393: 1384: 1383: 1369: 1338: 1329: 1312: 1311: 1291: 1285: 1284: 1278: 1270: 1259: 1250: 1249: 1237: 1231: 1230: 1222: 1216: 1215: 1197: 1191: 1190: 1179: 1166: 1165: 1137: 1118: 1117: 1089: 1080: 1079: 1043: 1037: 1036: 1028: 995: 994: 986: 949: 948: 945:Visual Arts Cork 937: 931: 930: 928: 926: 915: 902: 901: 893: 850: 849: 841: 830: 829: 823: 815: 797: 791: 790: 780: 771: 770: 764: 755: 736: 732: 726: 722: 716: 712: 354:Central Tympanum 141:Portico of Glory 108: 102: 75:Google Translate 56: 52: 35: 34: 27: 21: 1581: 1580: 1576: 1575: 1574: 1572: 1571: 1570: 1541: 1540: 1539: 1534: 1496: 1487: 1470: 1463:Quintana Square 1438:Archive-Library 1426: 1416: 1411: 1367: 1345: 1320: 1315: 1292: 1288: 1272: 1271: 1261: 1260: 1253: 1238: 1234: 1223: 1219: 1212: 1198: 1194: 1189:. 26 June 2015. 1181: 1180: 1169: 1138: 1121: 1090: 1083: 1044: 1040: 1029: 998: 987: 952: 947:. 26 June 2015. 939: 938: 934: 924: 922: 921:. 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León. 617:St. Luke 593:Jeremiah 537:Jeremiah 466:, harp, 399:St. Mark 395:St. Luke 391:St. John 311:tympanum 274:transept 252:and the 176:tympanum 145:Galician 87:provide 1501:Related 925:26 June 687:plinths 646:Abraham 562:Obadiah 478:Mullion 472:vihuela 464:cittern 423:censers 214:narthex 188:Jubilee 160:portico 109:to the 91:in the 50:. 1308:867156 1306: 1208: 1160: 1114:991623 1112: 1074: 1066: 808: 601:Isaiah 597:Daniel 582:Thomas 574:Andrew 570:Philip 545:Isaiah 541:Daniel 415:Pilate 336:nimbus 1492:] 1475:] 1304:JSTOR 1158:S2CID 1110:JSTOR 1072:S2CID 1064:JSTOR 763:(PDF) 694:Notes 681:Bases 650:Jacob 605:Moses 549:Moses 519:Jambs 468:aulos 456:divan 234:naves 155:is a 151:) of 71:DeepL 1281:link 1206:ISBN 927:2015 826:link 806:ISBN 642:Adam 603:and 580:and 572:and 566:Joel 564:and 558:Amos 547:and 509:Noah 276:and 139:The 85:must 83:You 64:View 1150:doi 1102:doi 1056:doi 640:is 73:or 1547:: 1490:es 1473:es 1300:71 1298:. 1277:}} 1273:{{ 1265:. 1254:^ 1246:98 1244:. 1185:. 1170:^ 1156:. 1146:36 1144:. 1122:^ 1108:. 1098:59 1096:. 1084:^ 1070:. 1062:. 1052:82 1050:. 999:^ 953:^ 943:. 906:^ 854:^ 834:^ 822:}} 818:{{ 775:^ 765:. 750:^ 599:, 595:, 543:, 539:, 425:. 350:. 245:. 182:. 147:: 1406:e 1399:t 1392:v 1337:. 1328:. 1310:. 1283:) 1214:. 1164:. 1152:: 1116:. 1104:: 1078:. 1058:: 993:. 929:. 828:) 814:. 769:. 143:( 120:. 113:. 20:)

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