page_title: Romanesque architecture in Spain
section_title: Anonymity and artists' signatures
hierarchical_section_title: Romanesque architecture in Spain / Artists and professionals / Anonymity and artists' signatures
caption_attribution_description: Deutsch: Detail eines Kapitels des Kreuzgangs im „Monestir de Sant Cugat“ in Sant Cugat del Vallès (Katalonien). English: Detail of a capital of the cloister of the monastery “Monestir de Sant Cugat” in Sant Cugat del Vallès (Catalonia). Català: Detall d'un capitell del claustre del «Monestir de Sant Cugat» a Sant Cugat del Vallès. Español: Detalle de un capitel del claustro del monasterio «Monestir de Sant Cugat» en Sant Cugat del Vallès.
context_page_description: Romanesque architecture in Spain is the architectural style reflective of Romanesque architecture, with peculiar influences both from architectural styles outside the Iberian peninsula via Italy and France as well as traditional architectural patterns from within the peninsula. Romanesque architecture was developed in and propagated throughout Europe for more than two centuries, ranging approximately from the late tenth century until well into the thirteenth century.
  During the eighth century, though Carolingian Renaissance extended its influence to Christian Western Europe, Christian Spain remained attached to the traditional Hispano-Roman and Gothic culture, without being influenced by European cultural movements, until the arrival of the Romanesque.
  Romanesque architecture spread throughout the entire northern half of Spain, reaching as far as the Tagus river, at the height of the Reconquista and Repoblación, movements which greatly favoured the Romanesque development.
context_section_description: Most Romanesque works are anonymous in the sense of lacking a signature or proof of authorship. Even if the work is signed, specialists historians sometimes have difficulty distinguishing whether reference is made to the actual creator or the sponsor of the work. Sometimes however, the signature is followed or preceded by an explanation that clarifies whether it is one or the other person. Arnau Cadell made it clear on the Sant Cugat capital: This is the image of Arnau Cadell sculptor who built this cloister for posterity.
  Rodrigo Gustioz also wanted to be immortalized for his funding of an arch in the Santa Maria de Lebanza: Rodrigo Gustioz made this arc, a man from Valbuena, soldier, pray for him.
  This notice by another sponsor appears on a capital:
  El prior Pedro Caro hizo esta iglesia, casa, claustro y todo lo que aquí está fundado en el año 1185. (in Spanish) 
  Prior Pedro Caro made this church, house, cloister and everything here was founded in 1185.
  In other cases it is the systematic study of the sculpture along with the architecture that has allowed historians to draw conclusions. Thus it is known that in the Lleida Cathedral, Pere de Coma served as master builder from 1190-1220, but during that period there were also several clearly differentiated sculpture workshops. The same study conducted in the Santiago de Compostela Cathedral suggests Master Mateo as the promoter and director of successive workshops which has aspects performed by different hands but under one coherent direction.
  The fact that most Romanesque works have remained anonymous has developed the theory that the artist considered that he was not the right person to place his name on works dedicated to God. However, on one hand, the few civil works that remain are not signed either and on the other hand, such a view is countered by a long list that could be given of artists who sign their works themselves, among which are:
  Raimundo de Monforte, which appears in 1129 documents as contracted to build the Lugo Cathedral.
  Pedro Deustamben, appears on a funeral epitaph in San Isidoro de León as builder of the domes.
  Raimundo Lambard or Lambardo, who worked from 1175 on the Urgell Cathedral.
  Masters Bernardo el Viejo, Roberto and Esteban who worked on the Santiago de Compostela Cathedral.
  Master Pere de Coma, who worked in the late twelfth century on the Lleida Cathedral.
  Master Micaelis, who worked on several churches and chapels in northern Palencia, and left his portrait while working on the portal of San Cornelio & San Cipriano in Palencia.
  The list could be extended with many more names which appeared right on the stone itself by way of signature or on procurement documents, as proof that the intended construction was neither prohibited nor discouraged. What is difficult to distinguish in many cases is the trade of the person signing as they could either be architects, specialized stonemasons or sculptors of selected pieces. All of them were often called Master and all used his craft during the construction according to the wishes and the mandate of the promoters and patrons.
caption: Arnaldo Cadell's signature, in the Sant Cugat Monastery.
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