- Enoc

We know little about what happened to these sculptures after they were removed in around 1520, until about 1909. They were loaned that year by their owner Álvaro Puga, the Count of Ximonde, to be included in a specific display on Galician culture in the archeological section of the first Galician Regional Exhibition.

They were kept at the Colegio de San Clemente until 1928 when they were moved to the Santiago Cathedral Museum. Here they remained until the start of the 1950s. When the loan was canceled, their owners offered them for sale to the state. They were eventually acquired by the Museum of Pontevedra.

These two works take a very similar form and are crafted in high relief rather than being free-standing pieces. They are made out of a prism-shaped block with sharp edges on one of the long sides, meaning that they were previously integrated. They were, undoubtedly, originally located in the jambs (side-posts) of the great central arch leading from outside the cathedral to the Portico of Glory.

The two sculptures wear halos and are barefoot, with their left legs bent. They are dressed in tunics and cloaks which, although powerful in effect, are not enough to conceal the rounded shapes of the bodies beneath them. They depict ancient figures, both of whom have long, well-kept hair that falls in undulating locks onto their shoulders, creating a wonderfully rhythmic effect. Both sculptures have thick beards.

Each holds an open scroll in one hand. Both are ripped along the bottom and the second is also ripped on the left. They almost certainly would have originally contained a painted text to help identify the figure represented, one of whom explicitly invites the onlooker to read it with an index finger pointing at the scroll. Both tilt their heads slightly to the right, and wear an expression of serious concentration on their face. They also hold a tau (t-shaped) staff, which was a style that was starting to become popular at Santiago Cathedral when these sculptures were created.

Using a hypothesis previously suggested by others, Prado-Vilar has identified the two as Elijah and Enoch: the former in the northern jamb and the latter in the southern.

The clear stylistic kinship and proximity of both pieces mean they can be attributed to the same sculptor, who was undoubtedly one of the most gifted individuals who worked on the Portico of Glory.