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The Romanesque sculpture from Santiago de Compostela’s Puerta de las Platerías, known as the Woman with the Skull, presents questions of origin. Using the competing methods of conceptual design prior to material execution and material priority over a conceptual construct which loom large in the portal’s formation, iconographical and historical content are related. The question of process points to polemical ideas that suspend the Woman between papal design and royal appropriation. Additionally, she is suspended between categorical identities like Luxuria and fanciful product of the chansons de gestes and historical identities like the wife, sister, and daughter of Alfonso VI.

Material and Temporal Ambiguity at Santiago de Compostela: The Case of the South Portal’s Woman with the Skull