The Portico of Glory: Master Mateo's Masterpiece

Discover the story of revelation and salvation, starting in the crypt and developing through the statues and reliefs of an artistic masterpiece of the Middle Ages.

By The Catedral de Santiago Foundation

Fundación Catedral de Santiago

Contract of Master Mateo (1168) by King Fernando IIThe Catedral de Santiago Foundation

Construction of the Romanesque cathedral of Santiago de Compostela began in 1075 by order of King Alfonso VI of Spain, when Diego Peláez was bishop.

Many master builders worked on it over almost a century, but the most significant was undoubtedly Master Mateo. In 1168, King Ferdinand II assigned him to complete the final sections of the naves and the western termination.

As part of the contract for the completion of this task, King Ferdinand II granted him a lifetime pension of two silver marks per week.

Tribune of Portico of Glory (1168-1211) by Master MateoThe Catedral de Santiago Foundation

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.

Lintel of Portico of Glory (1188) by Master MateoThe Catedral de Santiago Foundation

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.

Back of Portico of Glory (1188-1211) by Master MateoThe Catedral de Santiago Foundation

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.

Central Arch of The Portico of Glory (ca. 1188-1211) by Master MateoThe Catedral de Santiago Foundation

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.

Pillar of the crypt (ca. 1168) by Master MateoThe Catedral de Santiago Foundation

The Crypt of the Portico of Glory

There is a significant difference in ground level between the chevet of the Cathedral of Santiago and the Plaza del Obradoiro. Master Mateo chose to solve the issue by installing a crypt—a strategy previously unheard of in Galicia at that time.

Crypt of Portico of Glory (Ca. 1168) by Master MateoThe Catedral de Santiago Foundation

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.

Angel with a sun of the crypt of the Portico of Glory (Ca. 1168) by Master MateoThe Catedral de Santiago Foundation

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.

Angel with a moon of the crypt of the Portico of Glory (Ca. 1168) by Master MateoThe Catedral de Santiago Foundation

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

Foundations of Portico of Glory (1168-1188) by Master MateoThe Catedral de Santiago Foundation

The Column Bases

One of the most innovative aspects of the Portico of Glory are the column bases. They are higher here than in the rest of the cathedral and include representations of various monsters and fantastical animals, such as lions, bears, and griffins. These appear somewhat flattened, perhaps representing evil and vices being oppressed by the Glory of God.

Base of the mullion of the Portico of Glory (1168-1188) by Master MateoThe Catedral de Santiago Foundation

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.

Santo dos Croques of the Portico of Glory (ca. 1200) by Master MateoThe Catedral de Santiago Foundation

On the reverse of the mullion column, there is a kneeling figure with his right hand on his chest and his left hand holding a sign reading, according to tradition, "architectus".

This image depicts Master Mateo himself. He has situated the figure of himself looking toward the main altar, presenting his labors to James the Great (Santiago).

Traditionally, the faithful would rub their heads against the head of the sculpture so that the Master could transfer some of his wisdom to them, and that is why it is commonly known as Saint of the Bumps (Santo dos Croques).

First order of the columns of the Portico of Glory (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

First Order of Columns
For the Portico of Glory, Master Mateo decided to follow a different architectural model from that used in the rest of the cathedral. This area would be reduced to make way for the layering of two distinct orders of columns.

The first of these consisted mostly of columns with smooth granite shafts, grouped in threes on each side of the central arch, and in pairs within the arches.

Only three of the first-order columns are carved from marble.

Three colummns carved on marbleof the Portico of Glory (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

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.

Capitalsn of the Portico of Glory (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

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 mullion column of the Portico of Glory (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

Dividing the central arch is the mullion, made from a large block of granite. There are a variety of columns surrounding it. The front, carved from marble, has relief scenes representing the Tree of Jesse, justifying the earthly descendants of Christ.

It begins at the bottom with the figure of Jesse, from whom the tree appears, following the prophecy of Isaiah: "And there shall come forth a rod out of the stem of Jesse."

After Jesse comes King David, and then the Virgin Mary. The branches do not make contact with the latter, emphasizing her immaculate nature.

Trinity of the Portico of Glory (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

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.

Santiago the Mayor and Temptations of Christof the Portico of Glory (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

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.

Second order of the columns: columns´ statues of the Portico of Glory. Apostle Santiago (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

Second Order of Columns
For the second order of columns, Master Mateo introduced a series of statues carved from
granite, representing the prophets and apostles, who function as the shafts. These had never before been used in Galician Romanesque style, so were a total novelty.

James the Great sits atop the mullion, as the protagonist, on a curule seat, wearing a crystal-studded metal halo, and holding in his hand a stick in the shape of the Greek letter tau.

Of the rest of the statues, it has only been possible to identify for certain those on the central part of the portico, as the rest have lost some of their color. The color was necessary in order to read the signs that identified them by name, or with a Biblical extract.

Left columns of the central arch of the Portico of Glory (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

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.

Right columns of the central arch of the Portico of Gloryh (ca. 1168-1188) by Master MateoThe Catedral de Santiago Foundation

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).

Credits: Story

An initiative by the Catedral de Santiago Foundation (Fundación Catedral de Santiago).

Director: Ramón Yzquierdo Peiró
Texts: Sara María Abal Filgueira, Marina de la Vega Adán, Mariana Oliva García.
Photography: Catedral de Santiago Foundation—Denís E. F.

The restoration of the Portico of Glory has been made possible thanks to the patronage of the Barrié Foundation (Fundación Barrié).

www.museocatedraldesantiago.es

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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