The Portico of Glory: Master Mateo's Masterpiece

For the facade, Mateo designed a structure consisting of two twinned towers either side of a central frame, divided into three levels: a crypt to compensate for the different levels between the square and the naves, an open-air, vaulted portico with three arches, and a gallery.

The commemorative inscription on the lintels of the portico informs us that Mateo erected them in 1188. However, the project was not completed until 1211, when the cathedral was consecrated.

The Portico of Glory, a masterpiece of medieval art history, is the central space of the western termination, designed by Master Mateo.

It consists of an area covered by quadripartite vaults, with three large arches offering access to each of the naves, and at the same width.

It is the narthex of the Cathedral of Santiago de Compostela. It opened onto the main square of Plaza del Obradoiro until the 16th century, when it was closed off with two large doors.

Its iconographic program is based on the Second Coming, according to the account in the Holy Scriptures.

It begins in the crypt with the earthly world, then develops through the arches with the Old Covenant, Glory, and the New Covenant, and continues on the counterfacade. It was completed with a facade that is now lost and concludes in the gallery with the Lamb of God.

The figures demonstrate a clear evolution from Romanesque art to the beginnings of Gothic art, accentuating facial expressions, among other things.

It is arranged around a large pillar with eight connected columns, from which the arches of the vaults begin. The pillar is located just below the mullion of the portico.

Its floor mirrors the cathedral's chevet, best observed in the five chapels radiating from the ambulatory. The central chapel follows the model of the Holy Chapel of El Salvador.

Within the discourse of the western termination, the crypt represents the earthly world. Two angels have been carved into the keystones of the crossing vaults; one holds the sun, and the other the moon.

These are the stars that illuminate the human world, in contrast to the New Jerusalem, at the upper level of the portico.

At the base of the mullion, there is a bearded, male figure alongside two lions. His identity is unknown, but various interpretations have been suggested, including Samson, Adam, and Gilgamesh.

As with the other bases, it could also be a reference to the story of Daniel.

Both lions, like the other two figures in the series, have their jaws open, thereby creating a channel connecting to the crypt to refresh the air and communicate symbolically with both worlds.

The columns were decorated with elements of foliage and a variety of different scenes.

The first of these, comprising the right side of the left-hand arch, contains zoomorphic representations. The second, on the central arch, to the left, depicts scenes from Genesis. And the last, on the right side of the central arch, contains images of the resurrection of the dead.

The capitals portray scenic representations of both flora and fauna, just like those on the second-order columns.

The foliage is made up of so-called cabbage leaves. The zoomorphic images depict both real animals, including lions and parrots of both genders, as well as fantastical creatures, such as mermaids, griffins, and dragons.

The capital that tops this scene justifies the divine descendants of Christ with its iconography, underlining his dual nature.

It represents the Holy Trinity: God as the father, holding on his lap the Christ child, and at the top, the Holy Spirit in the form of a dove. On the sides of the capital, angels with incense burners complete the scene.

Atop the capital is the figure of the apostle James the Great. He occupies a preeminent position since the cathedral bears his name.

Above his head, there are representations of Christ's temptations in the desert: Satan, shown covered in hair and with exaggerated features, tempts him to convert stones into bread; to throw himself off from the pinnacle of a temple, from which the angels save him; and also to worship him, which Christ refuses.

On the left were characters from the Old Testament: prophets.

From right to left: Moses, who with covered hands carries the Tablets of the Law; Isaiah, using his index finger to point to the sign that identifies him; Daniel, one of the most significant figures in the group, with his great beauty, transmitting serenity, and the hint of a curious smile giving life to the statue; and Jeremiah, with a beard, looking at Daniel.

On the right-hand side, from left to right, are a number of apostles: Saint Peter, dressed as a pontiff and holding keys in his left hand; Saint Paul, holding an open book; James the Great, with a large sign referencing his preaching in Hispania; and Saint John the Evangelist, holding a book in his hands, and with an eagle at his feet (his distinctive sign).