The disposition of the musician shows that these sculptures where elaborated with anteriority in workshops, as well as the rest of the Portico, and afterward attached to the archivolts of the central arch. One of the cases that evidence this difficulty of insertion and of adjustments made at the time of placement is presented in the figure of the angel that helps souls pass from the left arch to the tympanum. There, the head of the second musician from left to right, slashes with the angel’s robe