Deep within the hallowed halls of the Museu Nacional d'Art de Catalunya in Barcelona, a captivating yet unsettling exhibition unveils the dark undercurrent of religious art in medieval Spain. Titled "The Lost Mirror: Jews and Conversos in the Middle Ages," the exhibit challenges viewers with a stark portrayal of how artistic expression was weaponized to demonize and marginalize the Jewish population.
Demonization Through Imagery
Imagine a grotesque demon taunting a Jew with a blaring tuba, a synagogue personified with a blindfolded face etched in sorrow, or a scene depicting Jews desecrating the Eucharist. These are just a few of the disturbing images that greet visitors to "The Lost Mirror." Curated by Joan Molina Figueras, the exhibition marks the first large-scale exploration of how art fueled antisemitism in the two centuries leading up to the expulsion of Jews from Spain in 1492.
Beyond Aesthetics: Unveiling the Message
Comprising nearly 70 paintings, sculptures, illuminated manuscripts, and religious artifacts, the exhibition meticulously reveals the deliberate manipulation of Christian art by the Church and the Inquisition. Carefully selected pieces, showcased on walls bathed in an evocative orange hue, unveil the systematic demonization of Jews through potent visual narratives.
A Glimpse of Harmony Lost
Surprisingly, the exhibition begins by highlighting an era of artistic exchange. Early 14th-century Haggadot manuscripts, traditionally used for Jewish rituals, showcase a clear influence of Christian artistic styles. However, this initial period of cultural cross-pollination quickly gives way to a stark display of intolerance.
From Shared Traditions to Sharpened Divisions
As the exhibition progresses, it becomes clear how artwork became a tool for religious propaganda. Numerous paintings and sculptures portray Jews as obstinate and willfully ignorant of Christianity. Anti-Jewish tropes abound, with portrayals of Jews as enemies of Christ, desecrators of the Eucharist, and primary antagonists in the Passion narrative.
The Predella of Jaume Serra
One particularly striking example is the predella of Jaume Serra's "Altarpiece of the Virgin." This single panel fuses two potent anti-Jewish narratives. On one side, a Last Supper featuring a caricatured Judas reinforces the association of Jews with betrayal. Juxtaposed to it is a depiction of the "affaire des Billettes," a 13th-century French libel accusing Jews of attempting to murder Christ through desecration of the Eucharist.
The Rise of the Inquisition
A century before the expulsion, violent pogroms and forced conversions led to the emergence of "conversos" - Jews who outwardly embraced Christianity but faced constant suspicion of secretly practicing Judaism. The Church's anxiety over the sincerity of these conversions fueled the creation of the Spanish Inquisition in 1478. Even after the expulsion, the fear of crypto-Judaism persisted, as evidenced by the somber "Bust of Christ" commissioned by a converso to proclaim his Christian faith.
Art as a Witness to Intolerance
The exhibition culminates in a chilling display of artwork commissioned by the Grand Inquisitor himself. Paintings like "St. Dominic Presiding Over an Auto-da-fé" by Pedro Berruguete served as potent propaganda for the Inquisition, forever branding Jewish life in Spain as a relic of the past.
A Lesson for the Present
"The Lost Mirror" compels viewers to confront the uncomfortable truth of how artistic expression can be used to sow division and hatred. The artworks themselves stand as silent witnesses to a period of cultural decline fueled by religious zealotry. In exploring this dark chapter of history, the exhibition serves as a powerful reminder that tolerance and acceptance are cornerstones of a truly inclusive society.
