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depicted seated at the marriage supper with burning cressets in their left hands. The
Bridegroom figure (Christ) is all but gone however his hand can be seen extending over the table. On the other side of the scene are the five Foolish Virgins. The Foolish Virgins are not clothed in the intricate dalmatics as the Wise Virgins, and they do not wear crowns. Instead, they don coifs that are arranged in folds over their hair. Also unlike the Wise Virgins, the five Foolish Virgins hold their cressets inverted with oil vessels hanging from them. Beneath the virgins is a pattern described as “medallions of beasts.” A young figure is also pictured sitting upon a church with the head encircled by a nimbus (
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the age of the frescoes have been presented taking into account stylistic trends of the tenth through the twelfth centuries AD and renovations that took place on the church during those time periods as well. The Museum where the frescoes currently reside dates them to be from the end of the eleventh century to the beginning of the twelfth. Due to the fresco's age, it is probable that the
Southern apse from Pedret is one of the oldest of all
219:). There is a discrepancy as to whether the figure is male or female, and to the object that is held in the figure’s hand. Suggestions have been wand, lily or palm. What can be agreed upon is that this image is a personification of the church. Trace figures of the Archangel Gabriel and the Virgin Mary were once reported, but have since faded entirely although the inscription SCA (Sancta) MARIA was recorded. An image of the
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and tunics with close-fitting sleeves that are worn below the open-fitted sleeves of the dalmatics. The
Virgins are crowned with bridal crowns resting on caps and are seen wearing spiral earrings. The crowns resemble those found in Rome during the sixth century. Originally, all five Wise Virgins were
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The apse's dimensions are 325 x 315 x 320 cm, and it contains several images although the most prominent one is a fragmentary image of the Wise and
Foolish Virgins parable found in Matthew 25:1-13. Three of the five Wise Virgins' heads have been removed due to historic construction on the church
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due to specific construction elements such as the horse-shoe arches, which divide the nave and give entrance to the apses, as well as the insulation of the apses themselves. However, an additional description of
Mozarabic has been given as well to describe the architectural style. Various theories on
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keeps the decoration of the central apse. Taken together they present an important apocalyptic series in which the subject of the Church is related to the coming of the Day of
Judgement in a way that is not frequent, centering on the parable of the wise and foolish Virgins in the southern apsidiole.
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These frescoes are attributed to have created by Circle of the Master Pedret and are said to be examples of the early
Catalan school. Stylistically their frescoes are linked to similar Italian artwork and show signs of early Byzantine iconography as well as illusionism. The parable of the Wise and
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holding the infant Jesus was also present but was covered with mortar during repairs. There is a fret pattern below the illustrated figures along with simulated drapery present. The apse's window is also decorated with a geometric pattern.
249:. In the parable, those who are wise and have kept their torches lit are received by the Bridegroom, whereas those who are foolish and who have let their torches become extinguished have been excluded from Paradise. This is in reference to
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where only those who are prepared will be able to enter the Lord's house. This particular parable seems to have become extremely popular around the eleventh century. Personification of the Church appears to be influenced by
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painting from late 11th century or the beginning of the 12th century, which was acquired during the 1919-1923 campaign of the Junta de Museus. The artwork originated from the southern
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with a spread similar to that of
Lombardic Romanesque architecture. The work of Italian painters, then, accompanied the architecture and soon had important repercussions.
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The composition of this painting is fresco transferred to canvas and the artwork is attributed to the
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At the end of the eleventh century, the
Romanesque mural painting of northern
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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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building; however, all figures seem to be wearing similar embroidered
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The Romanesque in Catalonia, The Art of Medieval Spain A.D. 500-1200
258:, whereas reference to the ten virgins is found in other liturgies.
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The Medieval Treasures of the Museu Nacional D'Art de Catalunya
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ensemble, which stylistically comes close to the paintings of
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The clearest example of this Lombardy-related painting is the
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Pijoan, J., "A Rediscovered School of Romanesque Frescoes",
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keeps the two side apses from Sant Quirze de Pedret and the
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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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373:Castiñeiras, Manuel; Camps, Jordi (2008).
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902:List of artists from the MNAC collection
324:The Romanesque Mural Paintings of Pedret
302:The Burlington Magazine for Connoisseurs
734:Mural Paintings from the Herrera Chapel
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815:Ramon Casas and Pere Romeu on a Tandem
727:Jean-Claude Richard, abbé of Saint-Non
672:Nativity and Saint John the Evangelist
505:YouTube MNAC-Southern apse from Pedret
376:Romanesque art in the MNAC collections
440:. Museu Nacional d'Art de Catalunya.
49:End of 11th/beginning of 12th century
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584:Erill la Vall Descent from the Cross
198:Museu DiocesĂ i Comarcal in Solsona
304:, April 1911, p. 72-73, XIX, XCVII
98:and is currently exhibited in the
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822:Confidant from the BatllĂł House
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40:Circle of the Master of Pedret
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679:Altarpiece of the Saints John
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360:, Princeton, 1951, p. 161-163
342:A History of Spanish Painting
57:Fresco transferred to canvas
857:Woman in Hat and Fur Collar
665:Altarpiece of Saint Barbara
189:Romanesque wall paintings.
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741:Saint Peter and Saint Paul
693:Saint Augustine Altarpiece
16:Romanesque fresco painting
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563:Southern apse from Pedret
151:Saint-Lizier in Couserans
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22:Southern apse from Pedret
686:Virgin of the Consellers
570:Apse of Santa Maria Àneu
598:Altar frontal from AviĂ
500:MNAC Google Art Project
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928:11th-century paintings
700:Resurrection of Christ
605:Paintings from Arlanza
410:. MNAC. 1 March 2009.
157:), preserved in situ.
147:Sant Pere in El Burgal
850:Portrait of My Father
755:Immaculate Conception
135:Sant Quirze de Pedret
96:Sant Quirze de Pedret
938:Romanesque paintings
658:Virgin of the Angels
612:The Christ from 1147
801:The Spanish Wedding
748:Madonna of Humility
358:Romanesque Frescoes
143:Santa Maria in Àneu
149:, and to those of
102:collection at the
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417:978-84-8043-200-9
390:978-84-8043-196-5
256:Mozarabic liturgy
164:, located in the
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470:. Retrieved
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394:. Retrieved
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288:MNAC Website
251:Judgment Day
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776:Saint Agnes
472:3 September
453:3 September
423:3 September
396:3 September
228:Composition
205:Description
126:arrived in
922:Categories
808:Desolation
769:Saint Paul
367:References
182:Visigothic
85:Romanesque
885:A Romance
843:Cala Forn
468:. Lunwerg
221:Theotokos
212:dalmatics
128:Catalonia
108:Barcelona
92:apsidiole
70:Barcelona
895:See also
240:Analysis
178:Cerdanya
166:Pyrenees
62:Location
187:Catalan
118:History
836:Paloma
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176:, and
162:Pedret
155:France
145:, and
88:fresco
36:Artist
262:Notes
170:Berga
124:Italy
112:Spain
106:, in
83:is a
474:2012
455:2012
442:ISBN
425:2012
412:ISBN
398:2012
385:ISBN
381:MNAC
217:halo
192:The
174:BagĂ
77:The
54:Type
46:Year
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