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).

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.