Apse of Santa María d'Àneu
| Apse of Santa María, Àneu | |
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| Artist | Circle of the Master of Pedret |
| Year | Late 12th Century - Early 13th Century |
| Type | Fresco transferred to canvas |
| Dimensions | 700 cm × 410 cm (280 in × 160 in) |
| Location | Museu Nacional d'Art de Catalunya, Barcelona |
The Apse of Santa María d'Àneu is a romanesque apse of the church of Santa Maria, Àneu, the transferred frescos from which are now exhibited at Museu Nacional d'Art de Catalunya, in Barcelona. The decoration of the apse of the church of Santa María d’Àneu combines themes and motifs from the Old and New Testaments. Originally painted at the Church of Santa María d’Àneu (La Guingueta d’Àneu, Lleida)
The church of Santa María d'Àneu is located in the upper valley of the Noguera Pallaresa, Pyrenees mountain region. The building once belonged to a Benedictine Monastery, it is divided into a nave 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.
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 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 Gothic Art was coming of age.
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 Jehovah’s chariot are depicted in the lower register, conforming to Ezekiel’s vision. To the right and left are the archangels 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 seraphim, 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 Berga. The third archangel, Raphael, does not appear with the others in the semidome but in the lower section.
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