Romanesque School. Spain, 13th century

Romanesque school; Spain, 13th century.
“Virgin and Child.”
Carved and polychromed wood.
It has damage to the carving and polychromy.
It has damage caused by wood-boring insects.
Measurements: 104 x 40 x 24 cm.
The remnants of polychromy still visible on the Virgin’s attire reveal a meticulous attention to detail that is also evident in the modeling of the forms, particularly in the Virgin’s face, defined by soft, curved lines. As is customary, the anatomical proportions tend to be elongated, reflecting the artist’s interest in symbolic representation. Iconographically, this carving follows the typology of the “Sede Sapientiae” or “Throne of Wisdom.” Mary, seated facing the viewer, serves as the throne, seat, or seat of honor for Christ, the supreme embodiment of Wisdom; it is also worth noting that the Virgin is depicted wearing a crown, thus presenting herself as the Queen of Heaven. No emotional connection is established between the two figures; rather, the majestic, regal aspect of both figures is emphasized. Mary, for her part, is depicted wearing a long tunic and a cloak that fall in symmetrical folds to the floor. A veil covers her hair, framing her serene and harmonious face. She would originally have held a sphere in her right hand, though in this case it likely alludes to the apple of Original Sin. In Christian exegesis, if Eve was the bringer of sin, Mary is her counterpoint, through whom salvation comes to humankind, thanks to her son, Jesus.
Romanesque sculpture serves primarily didactic purposes, and its images are conceived as a visual narrative that must always be clearly legible. At this time, prior to the pursuit of naturalism that would emerge during the Gothic period, the artistic language was purely conceptual, relying on symbols and conventions accepted by all. In this sense, the anatomy is stylized—representative rather than a reflection of nature—as is the treatment of the face.