Teología en Piedra, Madera, y Tapices: Theology in Stone, Wood, and Tapestries

On Saturday, our gracious host Paul and his son Ben (aka: Be-Bo) took Ben and I to Valle de los Caídos: Valley of the Fallen. The official name of the monument is actually The Holy Cross of the Valley of the Fallen. It is monument, cathedral, and crypt in one. The monument was conceived by Francisco Franco, following the Spanish Civil War of 1936-1939, to honor those who had served and died in the war. Construction began in 1941 and ended in 1959, and the monument is absolutely breath-taking as well as haunting.

While I could go into great detail describing the enormous cross outside (150 meters, or just under 500 feet high), the ominous archangels which call all who enter to solemnity, and the two crypts which house those who died in the war, as well as the tomb of Franco himself, I will focus on that which most caught my attention: a series of 8 tapestries hung in the torch-lit hall which served as entry-way into the cathedral itself. From the entry-way to the back of the nave, the entire length is 260 meters (over 800 feet). The vaulted ceiling contrasts polished marble with raw rock-face.

The deliciously intricate tapestries depict the events of the book of Revelation. As I just concluded a course on this book, I darted from tapestry to tapestry, making particular note of the beasts of Revelation 12-13 (The Red Dragon - though it wasn't red in the tapestries - the Beast from the Sea, and the Beast from the Earth). The tapestries which hang there today are actually copies made from 1966-1975. The originals, created in the 16th century by Guillermo Pannemaker, could not withstand the humidity of the dark crypt. When purchased by Felipe II in 1553, 6 were lost in a shipwreck. Thus, the King ordered for the re-making of 6. The collection of 8 was complete in 1562.

Each tapestry is 5.5 meters tall and 8.7 meters wide. Obviously, pictures were forbidden inside the crypt, so the following will have to suffice. Each is jam-packed full of Revelation's narrative and symbolism.

The experience was rather ironic. The crypt focused on an elevated and illuminated, crucified Christ. The ambiance was solemn, and it was an eerie place, emphasized by 8 statues of mourners which led to the cross and 4 mourning angels which surround it, cautioning those who approach. Yet, the hall leading to the cross contained these tapestries, depicting the Parousia - the glorious and triumphant return of Christ at the end of the age! It would seem that the theology of wood and stone has trumped that depicted in tapestry in this dark place.

I was so taken by these tapestries that I sought out the gift shop afterwards and ambitiously bought the guide book for the monument in Spanish. Alas, I may have been too ambitious as the book is filled with terminology with which I am unfamiliar.

Today (Sunday), we attended our second church service in Spain and were again blessed by the warmth of the people, our brothers and sisters in Christ. We also visited The Prado this afternoon, perhaps the topic of another post: Theology in Painting and Sculpture?