La vella, Vic (Spain)

La Vella is one of the iconic big-headed figures (capgrossos) featured in the Festa Major of Vic, symbolizing the city’s deep-rooted festive traditions. Created in 1864, she represents one of the three historic groups that animate the celebrations alongside the Merma and the Nen. Known for her distinctive appearance and her playful role in the festivities, she holds whips traditionally used to scare children during parades, adding a touch of mischievous fun to the event.

To honor her 150th anniversary in 2014, a bronze monument was erected, depicting her seated on a stone pedestal with her characteristic whips in hand. The inscription reads La vella més vella de totes les velles de la ciutat (“The oldest old woman of all the old women in the city”), reflecting her lasting cultural significance. This enduring symbol of Vic's heritage was crafted by renowned artist Manel Casserras i Solé (1957-2015).

The Church of Sant Pere in Besalú (Spain)

The Church of Sant Pere in Besalú (Spain).

The Church of Sant Pere in Besalú is a landmark deeply tied to the town’s medieval history. Originally founded in 977 as part of a Benedictine monastery, the church we see today was completed in the 12th century and stands as a remarkable example of Romanesque architecture. Situated in the heart of the old town, it features a single nave with a semicircular apse and a striking bell tower that dominates the skyline.

Sant Pere was once part of a thriving monastic complex that played a vital role in the spiritual and cultural life of the region. Its architectural simplicity is balanced by its precise craftsmanship, reflecting the aesthetic values of the Romanesque period. The church’s enduring presence makes it an important site for understanding the religious and artistic legacy of Besalú and Catalonia as a whole.

The interior of the Church of Sant Pere in Besalú (Spain).

Are Gen-Z Girls Connecting with Córdoba’s Past?

Four Gen-Z girls visiting Córdoba. (Temporary image)

Four Gen-Z girls visiting Córdoba, posing for selfies in front of the city’s iconic Mezquita. However, in an era where social media often takes precedence over history, I can’t help but wonder if they’re missing out on the deeper stories behind the great buildings they’re seeing—if they’re so caught up in selfies and likes that the rich past of Córdoba fades into the background. Anyway, it are great confident girls enjoying themselves.

At your service—with pride and attitude (Silves, Portugal)

This is Silves, my town. Its streets are its heartbeat. Every corner tells a story. I refuse to let it fade.

Keeping Silves clean is for me not just a job; it’s a promise to its past and its future.

At your service—with pride and attitude.

Eternal Love and Tragedy: The Tale of King Pedro I and Inês de Castro (Monastery of Alcobaça, Portugal)

King Pedro I of Portugal’s tomb in the Monastery of Alcobaça (Portugal).

Inês de Castro’s tomb in the Monastery of Alcobaça (Portugal).

King Pedro I of Portugal, often called "Pedro the Just", ruled from 1357 to 1367. He is remembered not only for his governance but for his tragic love story with Inês de Castro, a tale that has become one of Portugal's most famous legends.

Pedro fell deeply in love with Inês de Castro, a noblewoman from Galicia, while still married to another woman, Constança of Castile. After Constança's death, Pedro openly continued his relationship with Inês, but their love was considered scandalous and politically dangerous. Inês’ family ties to the Castilian nobility raised fears among the Portuguese court of undue influence.

In 1355, King Afonso IV, Pedro's father, ordered Inês’ execution in an attempt to end the affair. She was brutally murdered while Pedro was away. Stricken by grief and fury, Pedro rebelled against his father, leading to a brief civil war. After ascending the throne, Pedro claimed that he had secretly married Inês, declaring her his lawful queen. He even ordered the exhumation of her body and, according to legend, compelled the court to swear allegiance to her by kissing her hand.

Pedro ensured their love story would endure by commissioning matching tombs in the Monastery of Alcobaça. The tombs, intricately carved with scenes of their lives and love, lie facing one another so that, as legend says, they can look at each other for eternity. The inscription on Pedro's tomb reads, "Até ao fim do mundo" ("Until the end of the world"), symbolizing their eternal bond. Visitors to the monastery can still see these tombs today, a testament to one of history's most poignant love stories.

La Seu Vella, LLeida (Spain)

La Seu Vella, LLeida (Spain).

After the conquest of the Muslim city of Larida in 1149 by the Catalan counts Ramon Berenguer IV of Barcelona and Ermengol VI of Urgell, the need arose to build a cathedral. In 1203 the first stone was placed, though construction continued into the 15th century, resulting in the church, cloister, bell tower, and Canonical House. The Gothic period and early 16th century marked its peak of splendor.

The following centuries brought challenges. During the Catalan Revolt of 1640, La Seu Vella was used as a hospital and armory. In 1707, during the War of the Spanish Succession, it was closed for worship by order of Philip V and converted into military barracks. Its interiors were altered, and much of its heritage was lost or damaged.

Further destruction occurred during the Peninsular War in 1810. Although declared a historic-artistic monument in 1918, it suffered again during the Civil War in 1936 when it became a concentration camp and remained military barracks until 1948. Only then did restoration efforts begin.

Today, La Seu Vella stands as a symbol of Catalonia's enduring history. Its bell tower, cloister, and preserved interiors reflect centuries of architectural and cultural evolution, serving as a powerful testament to resilience and artistic legacy.

Siege of Lleida (Lerida) in 1707, by Gabriel Bodenehr (1720).

Afonso’s Conquest of Santarém in 1147 (Portugal)

The conquest of Santarém in 1147 by Afonso Henriques as depicted on 18th century azulejo tiles in the Alcobaça Monastery.

Afonso Henriques is the founder and first king of Portugal. He is a figure whose legacy is inextricably tied to the nation's early struggles for independence. His reign, which spanned from 1139 to 1185, was defined by his unyielding ambition and strategic brilliance, particularly in the face of the Moorish presence on the Iberian Peninsula.

Among the most celebrated of Afonso's military exploits was his daring conquest of Santarém in 1147, a bold move that played a pivotal role in securing Portugal’s future. The city, a Moorish stronghold situated along the Tagus River, was a prize of immense strategic value. Its fortifications made it a formidable obstacle, but Afonso, ever the tactician, saw an opportunity to expand his kingdom and weaken Moorish control in the region.

In March of that year, Afonso gathered a small but fiercely loyal force—just 250 soldiers, each chosen for their courage and skill. Under the cover of darkness, they approached the city, armed with nothing more than scaling ladders—escalas—which they used to scale the high, impregnable walls. The silence of their movements was key to the success of the mission, as they crept unnoticed past the city’s guards.

Once atop the walls, the small band of men overpowered the defenders in a swift and silent assault, opening the gates to allow the main forces to flood in. By the time dawn broke, Santarém had fallen into Afonso's hands, a stunning victory that displayed not only his military genius but also his unrelenting determination to carve out a kingdom of his own.

This victory was more than just a military achievement; it was a statement of Afonso's resolve and vision for Portugal's future. The fall of Santarém shifted the balance of power in the Reconquista and solidified Afonso's reputation as a leader capable of achieving the impossible. Just months later, he would go on to capture Lisbon, further cementing his control over key territories and paving the way for Portugal's formal independence.

The significance of Santarém's capture cannot be overstated. It was a defining moment in Afonso's campaign to break free from the Kingdom of León and Castile, ultimately leading to Portugal's recognition as an independent kingdom through the Treaty of Zamora in 1143. This victory, along with his subsequent successes, laid the foundation for the nation that would eventually become the Portugal we know today.

Today, Santarém remains a historic city, its legacy forever entwined with the daring spirit of Dom Afonso I, whose conquest of the city remains a proud and enduring chapter in Portuguese history.

Santarém, Portugal.

Alcobaça, Portugal.

La Fiesta de los Reyes Magos (Spain)

La Fiesta de los Reyes Magos, the 'Cabalgata’ of Cadiz (Spain).

In Spain, Three Kings' Day ("Día de los Reyes Magos") is a significant celebration that marks the visit of the three wise men—Melchior, Gaspar, and Balthazar—to the baby Jesus, bringing him gifts. It holds great cultural and religious importance and is often considered a continuation of the Christmas festivities.

On the evening of January 5th, vibrant parades known as "cabalgatas" take place across the country. These parades feature elaborate floats, music, and the distribution of candy to spectators, delighting both children and adults.

The following morning, children eagerly wake up to discover gifts left by the three kings, provided they have behaved well; otherwise, they may receive a symbolic lump of coal, often made of sugar.

Families also gather to enjoy a traditional "Roscón de Reyes," a ring-shaped sweet bread adorned with candied fruits. Hidden inside the roscón are small surprises: a toy and a bean. The person who finds the toy is crowned king or queen for the day, while the one who finds the bean traditionally assumes the responsibility of providing the roscón the following year.

King Philip II of Spain's desk at the Monasterio de San Lorenzo de El Escorial (Spain)

King Philip II of Spain's desk at the Monasterio de San Lorenzo de El Escorial (Spain).

After completion of the Monasterio de San Lorenzo de El Escorial in 1584, King Philip II of Spain worked from his office there till his death in 1598. During these years in the Escorial, Philip II made some of the most significant decisions that shaped the destiny of Spain and its vast empire. His reign from the Escorial was marked by a blend of religious, political, and military strategies aimed at consolidating Spanish hegemony in Europe and beyond.

One of Philip II’s most defining decisions was the continuation of the Spanish Armada’s preparations against England, culminating in the ill-fated 1588 naval campaign. This endeavor was driven by a combination of religious zeal to restore Catholicism in Protestant England and strategic considerations to curb English interference in Spanish interests.

Philip II also played a pivotal role in managing Spain’s territorial empire, including the administration of the Americas, the Spanish Netherlands, and various Italian states. His decisions on colonial expansion and the protection of trade routes from piracy ensured Spain's economic dominance, albeit strained by military expenses.

Religious orthodoxy remained central to his rule, with Philip enforcing the decrees of the Council of Trent. He strengthened the Spanish Inquisition to maintain Catholic purity, making Spain the bulwark of Counter-Reformation Europe. His rule also saw the completion of the Escorial itself, reflecting his belief in the unity of church and state.

Furthermore, Philip navigated complex European alliances and conflicts, including wars with France and revolts in the Netherlands. His policies aimed at suppressing Protestant uprisings while maintaining Spain's influence across the continent.

Philip II’s governance from the Escorial thus encompassed critical decisions that influenced European geopolitics, religious dynamics, and global exploration. His legacy remains deeply intertwined with the history of early modern Europe and the enduring image of the Escorial as a symbol of imperial grandeur and devout kingship.

Philip II of Spain (1565). Museo del Prado, Madrid

Monasterio de San Lorenzo de El Escorial (Spain).

Historic Parade Roermond (The Netherlands) #2

The Battle of Belchite (Spain)

The ruins of Belchite.

The Battle of Belchite was a pivotal and harrowing episode of the Spanish Civil War, fought between August 24 and September 7, 1937. Situated in the province of Zaragoza in northeastern Spain, Belchite became the focus of a Republican offensive aimed at diverting Nationalist forces away from their northern campaigns. The battle was characterized by intense urban warfare, relentless bombardments, and heavy casualties on both sides. What began as a strategic military operation ended in the near-total destruction of the town, leaving behind a legacy of devastation and a powerful symbol of the war's brutality. The ruins of Belchite stand today as a haunting reminder of the conflict and the deep divisions that scarred Spain during this turbulent period.

Old village of Belchite,
the young shepherds no longer roam there,
the jotas (songs) our fathers sang
will no longer be heard.

Written on the door of the San Martín de Tours church in Belchite in 1937 by one of the last victims of the battle.

Los amantes de Teruel, Teruel (Spain)

Los Amantes sculpture on the Escalinata Staircase in Teruel (background adapted).

Early in the 13th century, in the ancient city of Teruel, Spain, lived two young souls bound by an intense and forbidden love: Diego de Marcilla and Isabel de Segura. Though they shared a deep affection, fate wove a tapestry of obstacles that kept them apart.

Diego came from a noble but impoverished family, while Isabel was the daughter of a wealthy merchant. Her father demanded a suitor of means, dismissing Diego's love as folly. Desperate to prove his worth, Diego pleaded for five years to seek fortune and return a wealthy man. Isabel’s father reluctantly agreed, though doubt lingered in his heart.

Diego rode off to fight in distant lands, his heart fueled by love and ambition. He faced countless perils, gaining fame, gold, and honor. Meanwhile, Isabel endured lonely days, her hope dimming with each passing year. On the last day of the promised five years, Diego had not yet returned.

Believing him dead, Isabel's father arranged her marriage to a wealthy nobleman. On the evening of the wedding, a weary and battle-scarred Diego arrived in Teruel, his heart pounding with anticipation. But joy turned to despair when he learned of Isabel’s marriage.

Consumed by grief, Diego went into Isabel’s chamber that night. Trembling with emotion, he begged for one final kiss to ease his tormented soul. Bound by her vows, Isabel refused, though tears streamed down her face. Heartbroken, Diego collapsed at her feet and died.

The next day, the city buzzed with the shocking news of Diego's death. Overwhelmed by guilt and sorrow, Isabel insisted on attending his funeral. As she approached Diego's body, she bent down and tenderly kissed his cold lips. Her broken heart could endure no more—she fell dead beside him.

Moved by such a tragic display of love, the people of Teruel buried the lovers side by side. To this day, their shared tomb in the Church of San Pedro stands as a timeless monument to enduring love, proving that even in death, true hearts remain forever united.

King Ferdinand VII visiting the mummies of the Lovers of Teruel, April 1814.

The Meuse

The Meuse at Charny-sur-Meuse (France).

O timeless Meuse, flowing proud and free,
A ribbon of life through land and history.
From your highborn springs in Gaulish soil,
To the Dutch plains where your waters toil,
You carve a path both steady and bold,
A witness to stories long untold.

Through verdant valleys and mist-clad hills,
Your gentle current quietly thrills,
Whispering secrets of centuries past,
Of Roman ships and kingdoms vast.
You’ve seen the rise of empires grand,
And washed the feet of many a land.

In Ardennes’ heart, your waters gleam,
Reflecting the forest's ancient dream.
You wind through towns, both old and new,
Caressing citadels and skies so blue.
Namur and Liège you cradle with care,
A muse to artists, poets, and prayers.

Oh Meuse, your banks have borne the weight
Of battles fought and changing fate.
Yet still you flow, serene, unshaken,
By wars and times when hope was forsaken.
You carry on, through night and day,
A symbol of life’s eternal sway.

Barges float, and swans take flight,
Beneath your gaze, so calm, so bright.
You nurture fields and vineyards sweet,
And kiss the soil beneath our feet.
Oh Meuse, your waters pure and clear,
Bring peace and joy to all who are near.

So let us raise our voice in praise,
To you, dear Meuse, in endless ways.
For in your depths, we find our past,
And hope that nature’s gifts will last.
O mighty river, proud and true,
Our hearts, like your waters, belong to you.

Echoes from Linhares da Beira (Portugal)

The Belgium family in Linhares da Beira.

On a sunny morning in Linhares da Beira, a charming medieval village tucked into the Portuguese mountains, we found ourselves at a small terrace overlooking the terracotta rooftops and rolling hills. The warm December sun bathed the granite streets in golden light.

It was there that we met a friendly Belgian family that live in the beautiful historic city of Linhares da Beira. They were enjoying plates of fresh diospiro (a sweet, orange fruit with a smooth skin and a honey-like flavor) and some local beers, their faces alight with contentment. After exchanging pleasantries, we quickly ended up in a warm conversation.

"We fell in love with this place some years ago," one of them shared, gesturing toward the stone cottages scattered along the winding streets. “Many of these houses are owned by foreigners now — Dutch, Belgian, Brits, and some Germans. These old houses are not appreciated any more by the Portuguese, but still the heart of the village is still deeply Portuguese.”

They nodded thoughtfully. "We were drawn here not just by the beauty but by the simplicity of life. Everything is affordable — from fresh produce at the market to local wine. And the weather... well, it’s perfect almost year-round."

As we admired the nearby castle, the conversation continued. "The Portuguese system is incredibly social. They take care of their people, especially the elderly. There’s home care, meal delivery, and a genuine sense of community support. It’s something you don’t see everywhere.”

We mentioned how surprising it was to see such a well-functioning system in a remote village. "Healthcare here is excellent and practically free. Whether you need a routine check-up or something serious, it’s all covered. It’s a level of security that lets you really enjoy life.”

Our gaze drifted toward the quiet village square. A lone elderly woman slowly crossed the cobblestone path. “It’s hard to believe this village once had over 1,200 people. Now it’s about 300. But in a way, that makes it even more special — a place where time seems to stand still.”

Linhares da Beira (Portugal).

The Church of Sant Vicenç in Besalú (Spain)

The Church of Sant Vicenç in Besalú.

The Church of Sant Vicenç in Besalú, dating to the 12th century with origins in 977, showcases Romanesque and transitional Gothic styles. Notable features include its three naves, intricate door carvings, and a Gothic tomb of Pere de Rovira, who brought Saint Vicenç’s relics in 1413. It also houses a reliquary of the True Cross, gifted in 1923.

The Apocalypse Tapestry, Château d’Angers, Angers (France)

The Apocalypse Tapestry.

The Apocalypse Tapestry, displayed in the Château d’Angers, is a monumental masterpiece of medieval art and one of the largest surviving tapestries from its era. Created between 1377 and 1382, it was commissioned by Louis I, Duke of Anjou, during the turbulent backdrop of the Hundred Years’ War (1337–1453). The tapestry intertwines the spiritual narrative of the Book of Revelation with the political anxieties and aspirations of its time, reflecting both religious themes and contemporary historical struggles.

The tapestry was conceived during a period of intense conflict. The Hundred Years’ War between England and France brought widespread devastation, with famine, plague, and social unrest exacerbating the turmoil. For Louis I, the tapestry served not only as an artistic commission but also as a political statement, asserting divine justice and the inevitability of triumph over chaos. By portraying the vivid apocalyptic imagery from the Bible, Louis aligned himself with the righteous forces of salvation, perhaps as a reflection of his faith and an appeal for divine favor in a fractured and uncertain world.

Originally spanning over 140 meters and consisting of 90 scenes, the tapestry illustrates the prophetic visions of Saint John as described in the Book of Revelation. Of these, 71 panels have survived, organized into six sections, each corresponding to major events and themes from the text.

The tapestry’s apocalyptic imagery resonated deeply with the struggles of the time. The Four Horsemen, for instance, could easily be interpreted as allegories for the war, pestilence, and famine ravaging France. The fall of Babylon, representing the punishment of evil, may have reflected contemporary hopes for divine vengeance against England. Meanwhile, the tapestry’s conclusion, showing the New Jerusalem, suggested optimism for eventual peace and restoration.

The Apocalypse Tapestry is a testament to the Gothic tradition of storytelling through art. Its intricate designs, vivid colors, and dramatic imagery captivated medieval audiences, serving both as a didactic tool and as a demonstration of Louis I’s wealth and piety. Its survival through centuries of neglect—often cut up and repurposed—underscores its enduring cultural value. Today, displayed in a specially designed gallery in the Château d’Angers, it continues to inspire awe, offering insights into the medieval mindset and the intertwined dynamics of faith, art, and history.

Three scenes explained (as examples):

The Seven Churches.

The Scene of the Seven Churches from the Apocalypse Tapestry of Angers illustrates the opening vision of the Book of Revelation, where Saint John addresses the seven churches of Asia Minor: Ephesus, Smyrna, Pergamum, Thyatira, Sardis, Philadelphia, and Laodicea. Representing real Christian communities in what is now modern Turkey, these churches are depicted as architectural structures, with Christ in divine majesty holding seven stars, symbolizing their angels. This scene conveys themes of divine authority, spiritual guidance, and the call to repentance, resonating with medieval audiences living through the turmoil of the Hundred Years’ War.

The Second Trumpet: The Shipwreck.

The Scene of the Second Trumpet: The Shipwreck from the Apocalypse Tapestry of Angers depicts a dramatic moment from the Book of Revelation, where the second angel sounds a trumpet, causing "something like a great mountain, burning with fire" to be cast into the sea. This event leads to the destruction of a third of the sea, its creatures, and ships, symbolizing divine judgment on commerce and human pride. The tapestry vividly captures the chaos of the scene, with detailed imagery of sinking ships and turbulent waters. For medieval audiences, this served as a stark reminder of the fragility of human endeavors under God’s judgment, resonating with their experiences of war and economic turmoil.

The Myriad Horsemen.

The Scene of the Myriad Horsemen vividly portrays a pivotal moment in the Book of Revelation, where an army of 200 million horsemen unleashes divine judgment upon the earth. These fearsome riders, described as agents of destruction, bring fire, smoke, and sulfur, symbolizing the devastating consequences of sin and divine retribution. The tapestry’s depiction emphasizes the overwhelming power of this apocalyptic force, with intricate details capturing the chaos and terror of the event.

Château d’Angers, Angers (France)

Château d’Angers.

Château d’Angers, located in the city of Angers in western France, is a remarkable fortress with a history dating back to the 9th century. Originally built as a defensive stronghold by the Counts of Anjou, it was transformed into its current imposing form in the 13th century under King Louis IX. Its 17 massive black-and-white striped towers and thick walls made it a key military bastion in medieval France.

Beyond its military role, the château is famous for housing the Apocalypse Tapestry, a monumental 14th-century artwork that vividly depicts scenes from the Book of Revelation. The castle also played a significant role during the Hundred Years' War and later as a residence and administrative center under various French rulers.

Today, the Château d’Angers stands as a symbol of the region’s rich history, blending medieval military architecture with artistic heritage, and continues to attract visitors fascinated by its dramatic past and cultural treasures.

The Sint-Pieterskerk (St Peter's church) in Bertem (Belgium)

The Sint-Pieterskerk in Bertem (Belgium).

The Sint-Pieterskerk in Bertem, Belgium, is a Meuse-Romanesque church with deep historical roots dating back to the 11th century. Built on the remnants of an older structure, it is one of the best-preserved Romanesque buildings in Belgium. Its sturdy, almost fortress-like design reflects the architectural style of the time, with thick walls and small windows. The church has served as a religious center for nearly a millennium and is an excellent example of the Meuse-Romanesque architecture. Some later additions and modifications reflecting the evolving needs of its parishioners.

Throughout its history, the Sint-Pieterskerk witnessed many historical events, from religious reformations to local conflicts, yet it remained a constant in the village’s spiritual life. Its interior houses a unique collection of medieval art, including a beautiful carved baptismal font and religious statues. The graveyard surrounding the church, as well as the crypt, also adds to the historical significance of this remarkable building.

Despite facing the challenges of time and war, the Sint-Pieterskerk has undergone several restorations to preserve its architectural and historical integrity. Today, it remains not only a place of worship but also a testament to the religious and cultural history of the region, offering insight into Belgium’s medieval past.

Château Gaillard, Les Andelys (France)

Château Gaillard, Les Andelys (France).

Richard the Lionheart, known for his courage and strategic brilliance, was not only the king of England but also a warrior and an astute builder. One of his most ambitious architectural achievements was Château Gaillard, a formidable fortress overlooking the Seine River in Normandy. Constructed between 1196 and 1198, this castle was a testament to Richard's determination to protect his Norman territories from the encroaching French crown under King Philip II. Château Gaillard, often called "the Saucy Castle" due to Richard's own description of its defiance, was a marvel of medieval military architecture, blending innovative fortifications with natural landscape advantages to create an almost impenetrable stronghold.

Built at incredible speed, Château Gaillard incorporated advanced defensive techniques, including concentric walls, rounded towers, and strategic placements that made siege difficult. However, its significance extended beyond its structure; it symbolized Richard’s fervor for defending his lands and his legacy as a military leader. Though Richard died in 1199, the castle stood as a lasting reminder of his impact on both architecture and medieval warfare.

Altar Frontal from Sant Martí in Puigbò (Spain)

Altar Frontal from Sant Martí in Puigbò (12th century), MEV, Museu d’Art Medieval, Vic (Spain).

The Altar Frontal from Sant Martí in Puigbò is a beautiful example of Romanesque art from Catalonia, created between 1120 and 1150. The frontal features a geometric style typical of the Romanesque period, reflecting the religious and artistic values of the time. This anonymous work, likely painted by an artist influenced by the renowned Master of the Baldachin from Ribes, combines refined iconography with a popular artistic tradition.

The frontal, originally from the parish church of Sant Martí in Puigbò (located near Puigbò Castle in the Ripollès region), depicts four scenes from the life of Saint Martin, the church’s patron saint. The scenes are arranged in four compartments:

1. Saint Martin on horseback sharing his chlamys (a cloak) with a poor man, a well-known act of charity.

2. The resurrection of a convert, where Saint Martin brings a dead man back to life before he is baptized.

3. The death of Saint Martin, showing his final moments.

4. Two angels taking Saint Martin’s soul to heaven, symbolizing his divine reward.

These scenes are framed by a horizontal Latin inscription that reads: “For being generous with the poor man on Earth, Martin now resides in Heaven.” The work is noted for its bold use of color and simple, expressive figures, typical of the Romanesque style, which was intended to convey religious messages to a largely illiterate audience. The frontal serves both as a decorative and didactic piece, emphasizing Saint Martin's virtues of charity and faith.