Marta, what does the altarpiece depict?
It is an altarpiece dedicated to the feast of 1 November. Even though the feast had existed for centuries, depictions of it in art were rare. This work creates a kind of synthesis, drawing on earlier models such as the Last Judgements. It depicts the celestial order: at the top, the angels; below them, prophets and apostles; and further down, the saints, including both clergy and laypersons. In the centre we find the Virgin flanked by angels playing music, while the lower section features the patron of the altarpiece, most likely a Benedictine monk associated with the Sant Cugat Monastery.
Why is All Saints so rarely depicted in art?
During the Romanesque period, the predominant themes were the Apocalypse and the Last Judgement, with depictions of the damned and the blessed. An image devoted entirely to the inhabitants of heaven had not yet been developed. This changed with the rise of the altarpiece as the altar’s central element. With the proliferation of altars honouring saints and feast days from the liturgical calendar, altarpieces dedicated to All Saints began to emerge. It is a relatively late phenomenon within mediaeval iconography.
Do we know who commissioned this altarpiece?
The only clue are the heraldic shields present in the work, which bear the figure of a bird. This has traditionally been associated with Abbot Jaume de Montcorb, although there are chronological issues, as the painter Pere Serra had likely already passed away during his abbacy. Another hypothesis is that the patron belonged to the Corbera family, an important lineage during that period. However, we are still lacking documentary evidence.
Could the patron have been a woman?
In this case, no. The figure depicted at the feet of the Virgin is male and dressed as a monk. It was common for patrons to appear in altarpieces, seeking divine intercession. This act reflects the custom of founding altars and endowments to ensure masses for one’s own soul and that of one’s family.
Does this research fall within your habitual line of work?
This research originated from a commission by Catalunya Sacra, a project which promotes ecclesiastical heritage. I was asked to deliver a lecture on this altarpiece, and from there, I began to study it in greater detail. My area of expertise lies in Marian iconography, and while my work focuses mainly on sculpture, this project has allowed me to explore new avenues. My hope is to discover a document that allows us to date the commission or payment of the altarpiece more precisely or confirm the patron’s identity. But documentary research is not always easy.
Who was Pere Serra?
He was one of the leading painters in Barcelona in the late 14th century. He came from a family of painters and had a very long career, spanning from 1362 to 1408. He is heir to the Italianising Gothic style, introduced by Ferrer Bassa following his contact with Italy. This style brings a more lifelike quality to the figures and introduces, albeit in nascent form, depth and perspective.
How does this style differ from the International Gothic?
The International Gothic is characterised by its elegance, lavish materials, meticulous detail and aristocratic aesthetic. It is the style embraced by the great European courts – from Paris to Prague, as well as Barcelona and Milan – and became a common language between the late 14th and early 15th centuries. This movement ultimately paved the way for the Renaissance.
The tickets for the exhibition sold out quickly. How do you interpret this?
This could be due to several factors: the limited space, the public’s interest in heritage or the fact that virtually the entire altarpiece is preserved in its original location. It is one of the few altarpieces by Pere Serra that remain largely in their original context, within the same monastery. That gives it added value.
To conclude, what significance does this altarpiece hold within Catalan culture?
It is one of the most notable examples of Catalan Gothic painting, due both to its creator and distinctive iconography. Altarpieces dedicated to All Saints are rare, which makes this one particularly noteworthy. It is also key to understanding the history of the Sant Cugat Monastery, as it helps us date the construction of its chapels and the layout of its altars. It is, in short, a landmark piece from both an artistic and historical perspective.
