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described in
Ezequiel’s vision, which symbolise the presence of the Lord. On the vault was the Virgin and Child, representing the accomplishment of the prophecies, in the scene from Epiphany, with two archangels, Michael and Gabriel, patrons of sinners, in a representation very similar to that in the apse from Santa Maria in Cap d'Aran (The Cloisters, New York). A third archangel, Raphael, is represented on the right of the semicylinder, perhaps as the introducer of the two donor clergymen who appear on the left of the apse.
171:, in their hands they hold live coals with tongs which they place in the mouths of two crouching figures. In the left lower zone, there are two tonsured (meaning scalp has been shaved) figures who might be Saints Benedict and Bernard or one of them might be a portrait of a local deacon on account of the realism in the face of the figure. The theory that these figures are patrons of the church is strengthened by the discovery of similar figures in related frescoes at the monastery of Saint Peter of
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prophetic hopes of the Old
Testament—that is, hope in the coming of a Messiah who was to redeem humanity—against fulfillment of the prophecies—that is, the coming of the Messiah announced by the prophets. Museu Nacional d'Art de Catalunya dates the original work at the end of 11th century – beginning of 12th century. However, there is speculation that the paintings were completed at the beginning of the 13th century at the time when Romanesque styles were breaking down and
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229:, Italy. This influence is shown in the costume of the Wise Men (or Maji) which is representative of the eastern court. Other features linking the artwork to Italy are the decorative border, simulated drapery (they have waves and circular medallions), and the geometrical border is similar to the one in the Roman church of San Carlo in
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At the bottom is the announcement, the biblical prophecy, represented by means of combined images of the visions of Isaiah and
Ezequiel. In keeping with the first, two magnificent seraphim with three pairs of wings each purify the mouth of the prophets with glowing embers which they are holding with
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The iconography of the painting is suggestive of the Old
Testament through the presence of the prophets in reverential attitudes. In the vault portion of the apse, the Epiphany or Adoration of the Magi is represented, with Mary, Jesus, and the three eastern kings baring gifts. Wheels of fire from
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Santa Maria in Àneu was the most important church in the Àneu Valley and belonged to the cathedral chapter of Urgell. From the stylistic circle of Pedret, of
Lombardic influence, the decoration of the apse reveals the existence of an elaborate iconographic and theological programme setting off the
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The Àneu frescos make a complete break with the normal
Catalan artistic scheme. The lower zone is unique and unrelated to the upper portion of the apse. The Byzantine influence appears to be strong in the style of the frescos, the seraphim have been noted to resemble those in the crypt at the
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in Berga. The Apse at Aneu represents the end of a tradition, during this time the painter might have felt himself at liberty to relax old rules and abandon strict division into zones, therefore filling the bottom section not with lines of
Apostles, but with less rigid elements of the prophetic
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At the same time, the seraphim intone the
Trisagion, or song of praise to the Lord, represented by the letters SCS, SCS, SCS, which mean ‘holy, holy, holy’. From this moment, the word of the prophets will be the word of God. Beneath the central window are the wheels of fire of Yahweh’s chariot,
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Michael and
Gabriel holding banners and scrolls with the inscription PETICIVS and POSTVLATIVS. Bordering the central window of the lower zones are two six-winged
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and aisles by six pairs of piers, taking the shape of a cross. The east end concludes in three semicircular apses, the central apse was decorated with frescoes.
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221:, this is seen in the details such as the unshaven face of the figure at the left of the lower register and the thin and deeply wrinkled face of
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Metropolitan Museum of Art (1993). The Art of Medieval Spain (AD 500-1200), New York. Distributed by Harry N Abrams, p. 194
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Jehovah’s chariot are depicted in the lower register, conforming to Ezekiel’s vision. To the right and left are the
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122:. The decoration of the apse of the church of Santa María d’Àneu combines themes and motifs from the Old and
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tongs. Next to them are the prophets, represented with their hands together in an attitude of reverence.
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mountain region. The building once belonged to a Benedictine Monastery, it is divided into a
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The church of Santa María d'Àneu is located in the upper valley of the Noguera Pallaresa,
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126:. Originally painted at the Church of Santa María d’Àneu (La Guingueta d’Àneu,
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Kuhn, Ch. L., Romanesque Mural Painting of Catalonia, Cambridge, 1930, p. 45.
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Post, Ch.R., A History of Spanish Painting, Cambridge, 1930, I, p. 136-140.
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700 cm × 410 cm (280 in × 160 in)
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Carbonell, Eduard; Pagès, Montserrat; Camps, Jordi; Marot, Teresa (1998).
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The Corpus Christi Procession Leaving the Church of Santa Maria del Mar
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Esteller, E.,MNAC Romanesque Art Guide, Barcelona, 1998, p. 40-43.
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The Medieval Treasures of the Museu Nacional D'Art de Catalunya
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Romanesque Art Guide: Museu Nacional D'Art de Catalunya
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Altar frontal from La Seu d'Urgell or of The Apostles
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450:Carbonell, Eduard; Sureda i Pons, Joan (1997).
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633:Mural paintings of the conquest of Majorca
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361:Castiñeiras, Manuel; Camps, Jordi (2008).
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890:List of artists from the MNAC collection
722:Mural Paintings from the Herrera Chapel
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803:Ramon Casas and Pere Romeu on a Tandem
715:Jean-Claude Richard, abbé of Saint-Non
660:Nativity and Saint John the Evangelist
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283:Comment on Apse of Santa María d'Àneu
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572:Erill la Vall Descent from the Cross
472:, Princeton, 1951, p. 169-170.
326:Technical Aspects from MNAC Catalog
195:The frescoes are attributed to the
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114:from which are now exhibited at
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810:Confidant from the Batlló House
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197:Circle of the Master of Pedret
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667:Altarpiece of the Saints John
565:Apse of Sant Climent de Taüll
250:Church of Santa Maria d'Àneu
68:Fresco transferred to canvas
27:11th – 12th century painting
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653:Altarpiece of Saint Barbara
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729:Saint Peter and Saint Paul
681:Saint Augustine Altarpiece
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551:Southern apse from Pedret
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33:Apse of Santa María, Àneu
674:Virgin of the Consellers
558:Apse of Santa Maria Àneu
488:YouTube MNAC Audio Guide
175:. The third archangel,
586:Altar frontal from Avià
154:Art was coming of age.
921:12th-century paintings
916:11th-century paintings
688:Resurrection of Christ
593:Paintings from Arlanza
398:. MNAC. 1 March 2009.
838:Portrait of My Father
743:Immaculate Conception
941:Romanesque paintings
646:Virgin of the Angels
600:The Christ from 1147
201:San Quirze de Pedret
789:The Spanish Wedding
736:Madonna of Humility
470:Romanesque Frescoes
493:Google Art Project
262:On exhibit at the
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237:Additional photos
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106:of the church of
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764:Saint Agnes
460:3 September
441:3 September
411:3 September
384:3 September
191:Composition
158:Description
910:Categories
796:Desolation
757:Saint Paul
271:References
165:archangels
73:Dimensions
873:A Romance
831:Cala Forn
456:. Lunwerg
231:Prugiasco
120:Barcelona
89:Barcelona
883:See also
227:Lombardy
208:Analysis
204:vision.
169:seraphim
140:Pyrenees
81:Location
219:realism
177:Raphael
134:History
112:frescos
824:Paloma
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215:Anagni
152:Gothic
128:Lleida
47:Artist
223:Magus
173:Berga
118:, in
462:2012
443:2012
430:ISBN
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386:2012
373:ISBN
369:MNAC
144:nave
104:apse
96:The
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