Especially important in understanding the role of León within medieval Christian

practices is recognizing its significant dedication to Saint Mary. The cathedral holds the name of

Santa Maria with clear representation of Holy Mary along it. However, the city of León did not

stand alone in its religious role. By this period much of northern Spain had already been

reconquered by Christian kings, establishing grand religious sites and implementing Christian

practices. The role of the cathedral must be looked at through a wider scope, encompassing other

areas in Spain and out to the rest of the Latin Christian world. In observing this, the Galician

Cathedral of Santiago de Compostela should be considered. As the final destination on the

Camino de Santiago, a pilgrimage route spanning from various areas in France to the

northwestern city of Santiago in Spain, this cathedral was often regarded as the most important

of the time.1 However, this status can only be true if interpreted through the perspective of those

who already hold such value to the site. Within Spain, cities such as Burgos and León also

functioned as important stops for pilgrims, containing relics of important religious figures and

dedication to the practice of Christianity. León Cathedral was influenced by these other great

Spanish cathedrals but from the extension of the path, also contained clear French styles and

imagery. Through time, it became a cathedral unique to its own city, presenting elements of

Leonese culture, history, and religion through its iconography.

The Gothic role of Holy Mary is clearly shown within León Cathedral, and the most

prominent depiction lies on the central portal of the west front. Here, a sculpture of Mary rests as

the trumeau figure (Fig. 1). Significantly larger than its surrounding sculpture, it is clear that she

stands as the central figure of the portal. However, her presence in this position of the portal is

1
Salvador y Conde José, El Libro De La peregrinación a Santiago De Compostela, 261.
not often seen in other Gothic structures in the context of the Final Judgement tympanum scene

(Fig. 2).2 The usual program of the Final Judgment portal places Christ in adult form as the

figure of the trumeau. At León, the Virgin and the Child take this place. This depiction of Holy

Mary reflects a later medieval representation of the Virgin in iconography, showing a clear

difference from the sculpture of the early Middle Ages. While still stiff and posed like a jamb,

her features are soft and relaxed as she holds the Child in her left arm. She is decorated as a

queen, wearing a crown and heavy drapery, which emphasizes her importance and power in the

Christian world. In observing Mary’s presence, her role with the cathedral should also be

considered.

Fig. 1. The Virgin and the Child trumeau figure, central portal of western façade, Leon Cathedral.

2
Deknatel, Frederick B. 1935. “The Thirteenth Century Gothic Sculpture of the
Cathedrals of Burgos and Leon.” 335.
Fig. 2. The Final Judgment tympanum, central portal of west façade.

Shortly after the cathedral was consecrated, Alfonso X, El Sabio, reigned as King of

Castille, with León included as one of his territories, from 1221-1284. During this time, he and

his court wrote the Cantigas de Santa Maria, a collection of 420 poetic songs in the medieval

Galician-Portuguese. While the language itself is largely unknown, its use has been studied in the

context of medieval liturgical and societal traditions. The cantigas are centered on the subject of

the miracles of Saint Mary, with every tenth song being a hymn in praise of her. Saint Mary was

highly respected within Spain, as evident from this collection, and her miracles were often

related to certain themes of sin, witchcraft, and the devil. This collection provides information

regarding both Mary’s role within Spanish religious beliefs and the greater society, where

traditional stories and themes are presented as an art dedicated to the Blessed Virgin.3 These

poems became critical within Leonese Christian practices, with King Alfonso X remaining as a

key influence to the development of the cathedral.

3
Alfonso, Songs of Holy Mary of Alfonso X, the Wise: A Translation of the Cantigas De
Santa María, xii.
 In his 1935 dissertation on the Sculpture of Burgos and Leon, art historian Frederick B.

Deknatel observes the placement of the Virgin at León Cathedral, comparing it to other Spanish

sites and French sites, claiming that “the irregularity of the Virgin’s position in relation to the rest

of the iconography remains inexplicable” (335).4 While there may not be similar representations

of Mary within the context of the Final Judgment on other portals, that is exactly what makes her

placement on the trumeau so unique to Leonese beliefs and practices. This 13th century

placement of Mary in the center of the portal directly dedicates the cathedral to her, honoring her

power and presence. In the context of King Alfonso’s Cantigas, Mary’s positioning may serve a

liturgical and cultural purpose within León. Miracles of Holy Mary are described and chronicled

in these songs, showing her healing power and painting a convincing image of the savior of

Christianity. Cantiga 79 tells how Holy Mary caused the young girl who was frivolous to become

sensible and took her with Her to Paradise.5 In this account, the girl, named Musa, was visited by

Holy Mary thirty days prior to her death, who told Musa about the marvelous experiences she

could obtain through following Her and leaving behind her past lifestyle. As Musa dies of a

fever, Holy Mary returns, asking her to follow Her, and she does so willingly, with God taking

her spirit to be with those of the other saints and finding her without fault and sin. Accounts like

these are a common motif throughout the collection and emphasize a Spanish heritage. Cantiga

119 tells about a miracle She “performed in Spain for a man whom a great band of devils

captured to put to torture with the disbelievers” (Fig. 3).6 The man was set to die the next day and

4
Deknatel, Frederick B. 1935. “The Thirteenth Century Gothic Sculpture of the
Cathedrals of Burgos and Leon.” 335.
5
Alfonso, Songs of Holy Mary of Alfonso X, the Wise: A Translation of the Cantigas De
Santa María, 104.
6
Alfonso, Songs of Holy Mary of Alfonso X, the Wise: A Translation of the Cantigas De
Santa María, 147.
because of his actions against others during his lifetime, he was to be taken with the devil and be

tortured. As the devils took him into a brawl, Holy Mary appears and spares him from harm, with

the account describing the man as being left to the Holy Queen. She tells him that through

putting his faith in Her Son and Her, his soul will be sent to God. After he died, angels carried

him away, revealing the trust and belief he put in Mary that gave him saving. Holy Mary serves

as a messenger of God, leading sinners to salvation through following Her. Perhaps the

placement of Mary at the portal can be seen as a metaphor, meaning that through entering the

cathedral and dedicating oneself to Christ, they, too, can be saved. Her position serves as a guide

in the Christian path – a path held within León Cathedral and a path that León rests as a stop on.

Fig. 3. A manuscript of the Cantigas, showing the influence of the devil and death within the

collection.

Through considering the Cantigas, Mary’s positioning with the Final Judgment

tympanum scene is not entirely inexplicable. Rather, it can be understood through the songs of

praise, which emphasize guidance to Christianity through following Her. There is a great concern

with the Day of Judgment in these songs, such as Cantiga 240, declaring that “all sinners will
praise Holy Mary, for they have great reason.”7 Written in repetitive form, repeating this phrase,

the cantiga ends with a promise that the Lord will pardon Christians for Mary’s love, advancing

her role as a savior. In the figure, Mary stands above a serpent, representing sin.8 This strategic

detail can also be contextualized with Cantiga 240, regarding Mary’s role in controlling sinners.

By placing the snake in such proximity to Mary, it shows her close relation to the sinners, with

an emphasis on her saving of them. They praise her in return, and through that praise, it is

accounted that the Lord will pardon them for Her love on Judgment Day, keeping Christians

protected in their afterlife. On the figure, in her arms, Christ is depicted as the Child, which

aligns with the emphasis of Father, Son, and Virgin in the Cantigas. Cantiga 422 places these

figures in connection with the Day of Judgment, asking Holy Mary to pray to her Son on behalf

of her followers.9 Through this petitioning, King Alfonso asks that Mary remember the moments

and struggles of Her Son so that through her prayers, He will save the believers and take them to

Paradise with Him. The songs serve both an expressive and liturgical function within the court of

Alfonso X, with this song being a petition and message directed towards Mary. She is spoken to

like a liaison between the Lord and the people, demonstrating the deep connection the people of

medieval León felt towards her. The subject of Judgment was incredibly important in their

religious beliefs and worship, and the cantigas prove the great concern surrounding death and the

afterlife. The choice to depict Mary and the Child rather than Christ developed from more than a

7
Alfonso, Songs of Holy Mary of Alfonso X, the Wise: A Translation of the Cantigas De
Santa María, 290.
8
Deknatel, Frederick B. 1935. “The Thirteenth Century Gothic Sculpture of the
Cathedrals of Burgos and Leon.” 335.
9
Alfonso, Songs of Holy Mary of Alfonso X, the Wise: A Translation of the Cantigas De
Santa María, 508-509.
visual preference; it developed as a reflection of Leonese religious beliefs and practices

regarding the miracles of Saint Mary and the importance of the Final Judgement.

Fig. 4. Central portal of south façade, portal of San Froilán.

The theme of finality and death is represented thoroughly along the faces of the cathedral.

While the Final Judgement scene is depicted along the central portal of the western façade, the

Apocalypse is shown at the central portal of the southern façade (Fig. 4). In the triple program of

the southern façade, the theme of death is dedicated in all three portals with a focus on San

Froilán in the center, his death on the right, and the Death on the left. San Froilán served as

bishop of León in the early tenth century and would after his death be canonized as the patron

saint of Lugo and León in Spain. In honoring his work and accomplishments regarding

Christianity in medieval Spain, King Ordoño II put the Saint to rest in the Cathedral of León, still

early in construction at the time.10 Centuries later, the southern façade would be dedicated to

10
Valdés Fernández, Manuel. Una Historia Arquitectónica De La Catedral De León,
110.
him, representing San Froilán as an important figure within the Leonese diocese and history of

the cathedral. He is placed as the trumeau figure on this face of the cathedral and is surrounded

by jambs of the biblical Magi and the Virgin and the Child.11 An elaborate sculptural program

appears in the tympanum and archivolts of this central portal, filled with vegetal motifs and

angels and kings of the Old Testament.12 The central image is of Christ in Majesty, portraying

Jesus as a wise medieval King, dressed in the decorative crown of royalty and flowing, detailed

drapery. He is depicted in a grand form, fully grown, which creates a contrast with the depiction

of the Child with the Virgin seen on many other parts of the cathedral. This version of Christ is

typical in depictions of the Apocalypse, emphasizing his power and role as a leader of

Christianity. In the context of this scene, the Elders of the Apocalypse are commonly seen within

sculptural programs, especially those of French structures of the twelfth century.13 However,

there are also cathedrals within Spain that depict this scene. It can be encountered in the

Sarmental portal at Burgos, which is likely where León sook inspiration from. Along the Camino

de Santiago, pilgrims traveled from France to northwestern Spain, carrying influences of the

grand cathedrals of Champagne, Reims, and Chartres into medieval Spanish cities that were key

11
Llamazares, Fernando. La Catedral De León: Claustro y Museo, 20.

Buitrago, Alicia González de “LOS ANCIANOS DEL APOCALIPSIS:

12

REPRESENTACIONES MUSICALES EN LA FACHADA MERIDIONAL DE LA

CATEDRAL DE LEÓN,” 787.
Buitrago, Alicia González de. “LOS ANCIANOS DEL APOCALIPSIS:
13

REPRESENTACIONES MUSICALES EN LA FACHADA MERIDIONAL DE LA

CATEDRAL DE LEÓN,” 783.
stops along the Path.14 These travelers did not bring only influences, though, and in fact brought

master masons and architects to work in Spain. From Burgos to León, these French ideas and

styles transferred, and combined with traditional Spanish elements, formed the sculptural

program of the Apocalypse now present at León Cathedral.

Fig. 5. Tympanum and Archivolts of the central portal, south façade.

An interesting subject regarding the Apocalypse scene in the tympanum and archivolts is

how the Elders of the Apocalypse are depicted (Fig. 5). Records from the royal court and clergy

indicate that the design of the tympanum scene was done by the same master of the Final

Judgement tympanum on the western façade and that the archivolt program was established by

the same master who had constructed the jamb figures of the portal.15 This distinction can be

observed through details in the vegetation and themes of the two parts. The tympanum features a

supernatural perspective with angels and winged animals perched on rather leafy and bush-like

vegetation. In the archivolts, the Elders of the Apocalypse are stacked atop each other and

14
Salvador y Conde José. El Libro De La peregrinación a Santiago De Compostela, 262.
15
Valdés Fernández Manuel. Una Historia Arquitectónica De La Catedral De León, 110.
surrounded by floral styles of vegetation. They wear fine drapery and each sit on a small throne,

decorated with Gothic elements such as gables and cusps, but most notably, they are shown

playing small instruments. It is necessary to note that these sculptures are not in the best

condition, and that some parts have been destroyed or faded since the time of placement. While

they stand as a very small detail in the grandness of the cathedral, these instruments provide a

history that can reflect the civilizations of the period.16 By looking at the Elders from a musical

perspective, more can be learned about medieval music traditions and the developing Spanish

cultures. The evolution of instruments can also be seen through these sculptures, with influences

of the Mozarabic and English being shown through instrument type and use. Just like in

understanding the spread of Gothic architecture throughout Europe, musical ideas and

innovations were shared across borders, also likely following the Camino de Santiago and

western trade routes.

In the second archivolt, sixteen of the Elders are depicted, with fourteen of them holding

instruments. The other two hold small books, which can be connected to the medieval tradition

of vocal music.17 These sculptures reveal religious practices and functions that occurred within

the cathedral and specific figures can be directly connected to traditions. The eleventh elder

holds a small harp consistent with prior Romanesque traditions in his arms, decorated with

curves and animalistic features. The harp has long been used within ancient musical practices

and carries a liturgical connotation, so its presence along the cathedral is not uncommon. It is,

though, usually depicted in the hands of angels and biblical persons, specifically David, and its

16
Álvarez. 1997. “Ponente: ICONOGRAFÍA MUSICAL Y ORGANOLOGÍA: UN
ESTADO de LA CUESTIÓN,” 771.
17
Buitrago, Alicia González de “LOS ANCIANOS DEL APOCALIPSIS:
REPRESENTACIONES MUSICALES EN LA FACHADA MERIDIONAL DE LA
CATEDRAL DE LEÓN,” 789.
placement with the Elders represents a different musical condition, specific to the scene of the

Apocalypse.18 This harp is part of a greater section of the program, consisting of instruments

without handles, otherwise known as necks. Other families of instruments that appear are those

with necks, with bows, wind instruments, and percussion. This great variety of representation

within the archivolts is significant in that it reveals the wide range of medieval musical

instruments that serve as predecessors to many modern instruments. Information regarding

medieval musical traditions can be found through sculptures such as these, which present

instruments in detailed form because the majority of the original instruments and musical

manuscripts have since been lost.

One representation of this concept can be seen in Elders two and ten, both playing a form

of the vihuela (Fig. 6). This lute-like medieval instrument is often presented in medieval

iconography, showing just how much the period appreciated it. These vihuelas are played with a

bow, and the two Elders are shown with one hand on the neck and the other holding the bow in a

standard position. A key difference between the two is that Elder Two holds the instrument in a

more traditional European style, on the shoulder with the chin resting atop. It is positioned like a

modern violin would be played, revealing the development of musical traditions from this style

of vihuela playing. Elder Ten holds a similar instrument but rests it on his knee, between his legs,

significant of a larger instrument. This style is indicative of an Eastern style of playing, with

practices typical of Arabic and Asian stringed instruments. The difference in positioning of the

instruments also signifies a difference in sounds produced by the two, which suggests the

possibility of polyphonic instrumental music within medieval León. It is then demonstrated that

Buitrago, Alicia González de “LOS ANCIANOS DEL APOCALIPSIS:

18

REPRESENTACIONES MUSICALES EN LA FACHADA MERIDIONAL DE LA

CATEDRAL DE LEÓN,” 791.
music served as a form to transmit evangelical messages and concepts to the faithful, with the

sculptural program reflecting the human nature of liturgical practices and appealing to the greater

population.19

Fig. 6. Elders Two and Ten holding the vihuela con arco in different positions.

Also significant and specific to Spanish musical traditions is the Arabic influence, which

is present in several other instruments that the Elders are seen holding. Elder Five and Elder Nine

play two types of Spanish chordophones, the laúd and guitarra, respectively. The laúd he holds

contains small details, including the short neck and angled pegbox, that present it as a clear

Arabic instrument. This influence can be explained by the Islamic Conquest of Spain through the

Middle Ages, with Arabic traditions weaving into Spanish culture and practices. The guitarra is

shown is interesting in that it has both Arabic elements and more modern western designs. It

appears like the laúd but with a longer neck yet held in the same position. This thirteenth-century

presence of the guitarra easily presents as a predecessor to the fifteenth- and sixteenth-century

lutes of Europe as well as the more modern guitars of the present day. Through showing the

Buitrago, Alicia González de “LOS ANCIANOS DEL APOCALIPSIS:

19

REPRESENTACIONES MUSICALES EN LA FACHADA MERIDIONAL DE LA

CATEDRAL DE LEÓN,” 796.
Elders with instruments, a medieval tradition is created that reflects the real functions of such

instruments within Spain, both in religious and secular functions. What is significant to note is

that the Elders of the Apocalypse had long been shown in artistic programs but were depicted

only with their crowns, not with any instruments.20 Fifth century mosaics show the scene with no

instruments while eleventh-century presentations, varying by area and period, only show the

Elders with one instrument. This change to the thirteenth century program of Leon reflects an

increase in musical traditions and knowledge within the medieval culture, emphasizing the

abundance of instrument styles in Spain. Another scene of the Elders, presented with similar

instruments, is found at the Portal of the Gloria at the Santiago de Compostela, the destination at

the end of the Camino de Santiago.21 This connection poses León as a spot of great importance

along the path, situating it within a greater complex of medieval structures. From the sculptural

program of the Southern Façade, elements of medieval Leonese societal and liturgical practices

can be understood. The religious concern of death and the afterlife is combined with medieval

culture to form the complexities presented in the central portal, allowing for a wider experience

of the cathedral.

León Cathedral holds incredibly complex and detailed sculptural programs, with a

plethora of iconographical representations that reveal details about the Leonese past, medieval

present, and religious future. Through these two portals, located on the west and south facades,

there is a prevalent theme of death that coincides with a faith to the Saint Mary, reflective of

Buitrago, Alicia González de “LOS ANCIANOS DEL APOCALIPSIS:

20

REPRESENTACIONES MUSICALES EN LA FACHADA MERIDIONAL DE LA

CATEDRAL DE LEÓN,” 795.
21
Melczer, William. The Pilgrim's Guide to Santiago De Compostela, 127.
medieval Christian practices and beliefs in Spain. Through approaching these representations

with a wide variety of Leonese and outside influences, these sculptural programs clearly reflect

the incredible respect the faithful of the area felt towards Holy Mary, with death and the afterlife

serving as a motivation to practice the faith. The iconography of León is complex, but with

additional insight on cultural and religious practices, it is not inexplicable, but rather, precisely

indicative of León as a cathedral for the people and their practices.

 Works Cited

Alfonso. Songs of Holy Mary of Alfonso X, the Wise: A Translation of the Cantigas De Santa

María. Translated by Kathleen Kulp-Hill. Tempe, AZ: Arizona Center for Medieval and

Renaissance Studies, 2000.

Álvarez. 1997. “Ponente: ICONOGRAFÍA MUSICAL Y ORGANOLOGÍA: UN ESTADO de

LA CUESTIÓN.” Revista de Musicología 20 (2): 767. https://doi.org/10.2307/20797455.

Deknatel, Frederick B. 1935. “The Thirteenth Century Gothic Sculpture of the Cathedrals of

Burgos and Leon.” The Art Bulletin 17 (3): 243. https://doi.org/10.2307/3045586.

González de Buitrago, Alicia. 1997. “LOS ANCIANOS DEL APOCALIPSIS:

REPRESENTACIONES MUSICALES EN LA FACHADA MERIDIONAL de LA

CATEDRAL de LEÓN.” Revista de Musicología 20 (2): 783.

https://doi.org/10.2307/20797456.

Llamazares, Fernando. La Catedral De León: Claustro y Museo. León, Spain: Ediciones Lancia,

1992.

Melczer, William. The Pilgrim's Guide to Santiago De Compostela. New York, NY: Italica

Press, 1999.

Salvador y Conde José. El Libro De La peregrinación a Santiago De Compostela. Madrid,

Spain: Ediciones Guadarrama, 1971.

Valdés Fernández, Manuel. Una Historia Arquitectónica De La Catedral De León. León, Spain:

Santiago García, 1994.