Heritage Pearls
not always easy to explain why a work of art is particularly dear or deserves special treatment from the perspective of the critic or historian. Maybe it's a simple valuation subjective, the result of a first impression, received prior training or personal experiences that have just weighing on the viewer. In any case, it is highly recommended, from time to time, comment on a work pushing aside the academic and carried away by the pure aesthetic enjoyment.
In this spirit it is now proposed an approach to one of the sculptures that adorn the south door of the church of San Juan del Mercado in Benavente, specifically the image of the evangelist Matthew. It is in the right rabbet that supports the lintel and the tympanum. Without doubt, the best figure determined from the viewpoint of plastic and technical all the sculpture of the Adoration of the Kings.
not always easy to explain why a work of art is particularly dear or deserves special treatment from the perspective of the critic or historian. Maybe it's a simple valuation subjective, the result of a first impression, received prior training or personal experiences that have just weighing on the viewer. In any case, it is highly recommended, from time to time, comment on a work pushing aside the academic and carried away by the pure aesthetic enjoyment.
In this spirit it is now proposed an approach to one of the sculptures that adorn the south door of the church of San Juan del Mercado in Benavente, specifically the image of the evangelist Matthew. It is in the right rabbet that supports the lintel and the tympanum. Without doubt, the best figure determined from the viewpoint of plastic and technical all the sculpture of the Adoration of the Kings.
When faced with a Romanesque, always conceived from the religious, we must not only unravel the iconography and adopt the viewpoint of its author. Must also be at the scene of a spectator of the eleventh to thirteenth centuries.
As St. Bernard said in his famous "Apology to William of Saint Thierry", through the images could instruct the ignorant and greater devotion of the faithful. But despite this condition covers Romanesque Bibles in stone, "do not always have all the keys to decrypt the message be transmitted, probably because they tend to intermix the canonical texts, with the hagiography, the apocryphal Gospels, other traditions of the church and even secular stories.
our Evangelist Matthew appears here under one of the handiest appearances of his usual iconography: the winged man. It was St. Jerome who fixed the exact particular symbolism of each of the evangelists, Matthew assigning the angel who had the man's face, symbol of intelligence, referring to the beginning of his Gospel reconstruct human genealogy of Christ .
Matthew is identified in the synoptic gospels as Levi, son of Alphaeus publican and tax collector in Capernaum (Matthew 9:9, Mark 2:14, Luke 5:27-29).
Matthew is identified in the synoptic gospels as Levi, son of Alphaeus publican and tax collector in Capernaum (Matthew 9:9, Mark 2:14, Luke 5:27-29).
According to the testimony of the evangelist himself "Jesus, to leave, he saw a man named Matthew at his post tax collector, and said, 'Follow me." Matthew got up and followed him ... "(Mt 9, 9). Thus in the representation of tetramorfos the Portico de la Gloria of Santiago de Compostela, Matthew, instead of writing his gospel leaning on his speaker symbol, as do his three companions, he does appear on a chest, probably referring to his old job .
As one of the evangelists, St. Matthew is represented generically in a tunic and carrying a book or a scroll with writing. But in the literal interpretation of Ezekiel's vision of the specific symbol is man merely a human face, not an angel: "The first living creature like a lion, the second was like an ox, the third had a face as man, and the fourth was like a flying eagle. " (Ezekiel 1.5-10, 10.14). So at the Gate of Paradise Orense headquarters found the statue-column Mateo specific look at your man, with his gospel open, but without wings. In Instead, Matthew's tetramorfos the southern gate of Santa Maria del Azogue de Benavente spreads its wings spectacularly.
The sculpture on the cover of San Juan has an acceptable condition. We observed some loss in the nose, which is broken, lips, and some fingers of both the right and the left hand. In any case, it looks much better, of course, other figures treated worse time, like statues that populate the series spills jambs.
Recent restoration works have recovered some remains of polychrome and repair or replacement of the mortar grout. The colors are perceived by example, in the iris of the left eye, hands, wings and rabbet itself. The tones used were red, blue, green and yellow, but red is more recognizable today. Clearly the midday sun is primarily responsible for the loss of pigmentation, as the most protected areas of light and weather have slowed significantly the natural deterioration of the stone.
The restoration of the temple by Ferrant modified the front cover and there was a heightening of the facing at the top of the pointed arch. These changes have led to remedy any leakage of rainwater from the roof. Degradation has been primarily in the loss of polychromy and the breaking of the stone mill, with the accumulation of white deposits both at home and abroad.
The figure shows half-length, emerging from the clouds. Its head is rounded, well proportioned in relation to body and long neck. The young face, beardless, prominent eyes, chin protrusion, marked eyebrows and straight nose.
Her hair, acaracolados loop, it is somewhat sophisticated, but it is beautifully worked with the chisel. The way to solve their hair notably similar to that of the Prophet Daniel of the Cathedral of Santiago.
Her hair, acaracolados loop, it is somewhat sophisticated, but it is beautifully worked with the chisel. The way to solve their hair notably similar to that of the Prophet Daniel of the Cathedral of Santiago.
mouth suggests a half-smile, just perceptibly, and partially obscured by the flaws of the stone. The lofty position of his head, turned slightly left, emphasizes the effect of staring at the viewer and gives an air of calm, but sweet and pleasant.
winged man's gesture is natural and dynamic, with a slick sense of movement, far from the hieratic and frontal and other characters of that cover. Manages to escape from the strictures of limited architectural framework and suggests a dialogue with the observer.
winged man's gesture is natural and dynamic, with a slick sense of movement, far from the hieratic and frontal and other characters of that cover. Manages to escape from the strictures of limited architectural framework and suggests a dialogue with the observer.
contrast, treatment of the wings are perfectly symmetrical and denotes archaism. The details of the feathers are solved with a decorative geometric grid. Tunic dresses thick folds, parallel and volume. The natural fall of the cloth provides elegant lighting effects and shadows. The clothing shows wide sleeves, which fall under the wrist describing concentric rings and tapers. The way of shaping the neckline reminds characteristic funnel necklines flat front, present in the series statuary Portico of Glory.
The hands are large, long fingers and awkward, but very expressive. Holds in his left hand underneath, its main feature: the open book, while with the index finger of right hand shows the viewer his name and the first words of his Gospel:
MATEVSLIB [ER]
GEN [ER] ACIONIS
The genealogy of Jesus occupies the first verses of the first chapter of the Gospel of Matthew, in fact, is this just the beginning: "Liber Jesu Christi filii David generationis , filii Abraham. " (Book of the Generation of Jesus Christ, Son of David, son of Abraham). Matthew faces the life story of Jesus presenting his family lineage.
Since the arrival of a Messiah had been a recurring theme in various prophecies made in the Old Testament, our evangelist seeks to demonstrate that Jesus of Nazareth was, indeed, one of whom Moses and the prophets bore witness. As the Messiah must necessarily come from the descendants of Abraham (Gen. 22:18, Gal. 3:16), the father of the Jewish nation, and David, the founder of royal lineage (Isa. 9:6-7; 11:1, Acts. 2:29-30), Matthew believes demonstrate his genealogy that Jesus is descended from such illustrious characters.
The ancient interpreters of biblical texts, as Augustine of Hippo, traditionally believed that this book was first written in the Synoptic Gospels and, therefore, always took precedence over the other three editions of the New Testament. They argued that Matthew wrote the Gospel in Palestine shortly before the destruction Temple of Jerusalem in 70 AD, and would have done in Hebrew or Aramaic in response to Jewish converts to Christianity. Today, most experts do not only doubt these assertions, but question the authorship of Matthew itself.
Ultimately, the bill for technical and compositional rhythm to the piece we recommend the entire cover. Reveals the virtuosity of a master, but also the support of a workshop. Are notable differences in quality and style observed between the various figures of this cover, no doubt a consequence of the participation of several hands, but also possibly reflect various stages of completion. Nothing
know about the authorship, or the historical circumstances surrounding its preparation. The identification was done once with the "Magister Giraldo" of the jurisdiction of Benavente 1167, or the epitaph of a certain "Aime Giral" existing in the same home, nothing more than an appealing hypothesis.
know about the authorship, or the historical circumstances surrounding its preparation. The identification was done once with the "Magister Giraldo" of the jurisdiction of Benavente 1167, or the epitaph of a certain "Aime Giral" existing in the same home, nothing more than an appealing hypothesis.
For its naturalism, its formal richness, the elongation of the royalties, the faintest smile and folds care, our winged man approaches protogothic forms the last quarter of the twelfth century and early the next century.
It's called the art of 1200, a notable style projection in the territories of Galicia and Leon, in the sculptural aspect has often been associated with school teacher Matthew and all its consequences spread across the northwest of the peninsula. Their sources of inspiration and the parallels are quite varied. It highlighted the ascendancy of Burgundy, Saint-Denis and Chartres; influence of Italy, probably from Provence, Saint Gilles-du-Gard, and flashes of Hispanic-e Islamic art.
But the teacher Matthew-who in any case there are very few certainties, is not only the head of a generation of sculptors and architects of high quality. Are involved in a remarkable renewal of ideas stylistic and iconographic of Romanesque art to decorate either new constructions, either to beautify other inherited from previous eras. Set
stylistic and chronological affiliations among the major art centers of the Kingdom of León and secondary schools more rural area is difficult and complex task. The most sublime works considered exemplary, those incorporated in the building industry more representative of the kingdom, influenced the masons and sculptors of local workshops is evident. But to pinpoint where the original lies and where it starts copying, or imitation, is a company that risky as sterile, among other things because we are missing puzzle pieces and stylistically similar works may be branches of a common trunk.
In Benavente is this a time of remarkable building momentum and inspiring artistic endeavors. It corresponds to the reign of Ferdinand II (1157-1188) and Alfonso IX (1188-1230). Two Kings of Leon, the father and son who both influenced the recruitment of the new town, in urban settings and the projection of its district. In the short period covering the years 1181-1230 have news of the construction of a number of parishes in the town, but all of them have only come down to us two: Santa Maria Quicksilver and the San Juan del Mercado.
The only two safe chronological references on the construction of the church of San Juan del Mercado come from the years 1181 and 1182. This is, first, a document that Dona Aldonza, daughter of Count and Countess Teresa Osorio, gave the Order of St. John the rights to the church building and, secondly, a brief inscription on the socket corridor connecting the Main Chapel to the north apse: ERA MCCXX KALS A. (It was 1220, Kalends of April or August).
For these same years the subscription in a letter benaventana a certain "Fernandus Ihoannis Sancti Martini presbytery" may indicate that the church was already in use. Later and more problematic, with respect to the real situation of the temple is the news of a document dated in 1211 Benavente "in Hospitalis of Benavento atrium domus."
Images: 1, 2, 3, 4, 5 and 6, different perspectives and details of the figure on the cover San Mateo south of San Juan del Mercado in Benavente.
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