The altar canopy from Tost, an exceptional work
One of the peculiarities of the altar canopy from Tost is that practically all the elements (front beam, central panel and crestwork) that constituted this altar canopy have survived. Unfortunately, during the Civil War the two lateral beams were lost. They were also painted with simple geometrical motifs, as can be seen from the photographs taken by Adolf Mas in 1921 of Mn. Gudiol’s museum installation. It should, however, be pointed out that the surviving crestwork is of a later date than the rest of the elements. This can be deduced not only from the style of the piece, but also from the different techniques employed, as will be explained in the final section of this exhibition. In addition, on the upper face of the beam can be seen the remains of a joint designed to hold the original crestwork.
As will be seen in the next section, the early altar canopy perfectly matched the dimensions of the triumphal arch of the church, which was consecrated in 1040. It was probably produced in the first third of the 13th century, around 1220, since it reflects the so-called ‘1200 style’, Anglo-Norman in origin, that can be seen in Catalonia (Liber Feudorum Maior), Aragon (Sixena) and Castile (Arlanza). This international
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influence would have been channelled through a local workshop, probably located in La Seu d’Urgell or its bishopric, which would also have been responsible for the painted panels in Orós or the altar canopy from Tavèrnoles. The activity of the workshop may well have been the result of a decision, by the Diocese of Urgell, to renew the altar decorations following the systematic destruction and profanation of local liturgical furnishings, between 1195 and 1196, carried out by the Viscount of Castellbò, the Counts of Foix and the Cathars.
What we do not know, however, is why shortly afterwards, in the mid-13th century, the Romanesque crestwork was replaced with a new one. On it appears a representation of the Holy Supper that makes use of an iconographic system very similar to that used in the frescos of the Chapel of Santa Caterina in La Seu d’Urgell (MEV 9001) and in a heavily Byzantine style, close to that of the so-called ‘first Master of Sant Pau de Casserres’ (Berguedà). This insistence on the theme of the Eucharist seems to reflect the still ongoing struggle against the Albigensians that was being waged by the Bishop of Urgell, Ponç de Vilamur (1230-1257). |
