{"id":13198,"date":"2026-08-20T11:53:19","date_gmt":"2026-08-20T09:53:19","guid":{"rendered":"https:\/\/nueva.sanmigueldearalar.org\/the-enamel-altarpiece\/"},"modified":"2026-08-26T12:12:04","modified_gmt":"2026-08-26T10:12:04","slug":"the-enamel-altarpiece","status":"publish","type":"page","link":"https:\/\/sanmigueldearalar.org\/en\/the-enamel-altarpiece\/","title":{"rendered":"The enamel altarpiece"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"13198\" class=\"elementor elementor-13198 elementor-12785\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-56ea5d67 elementor-section-height-min-height elementor-section-items-stretch elementor-section-boxed elementor-section-height-default\" data-id=\"56ea5d67\" data-element_type=\"section\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t\t\t<div class=\"elementor-background-overlay\"><\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div data-custom-animations=\"true\" data-ca-options=\"{&quot;addChildTimelines&quot;:false,&quot;animationTarget&quot;:&quot;:scope &gt; .elementor-widget-wrap &gt; .elementor-element &gt; .elementor-widget-container, :scope &gt; .elementor-widget-wrap &gt; .elementor-section &gt; .elementor-container &gt; .elementor-column &gt; .elementor-widget-wrap &gt; .elementor-element:not(.lqd-el-has-inner-anim) &gt; .elementor-widget-container, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-lines .lqd-lines .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-words .lqd-words .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-chars .lqd-chars .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-ld_custom_menu .lqd-fancy-menu &gt; ul &gt; li&quot;,&quot;ease&quot;:[&quot;power4.out&quot;],&quot;initValues&quot;:{&quot;y&quot;:&quot;50px&quot;,&quot;opacity&quot;:0},&quot;animations&quot;:{&quot;y&quot;:&quot;0px&quot;,&quot;opacity&quot;:1}}\" class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-64ede07b\" data-id=\"64ede07b\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6bed69bb elementor-widget elementor-widget-hub_fancy_heading lqd-el-has-inner-anim\" data-id=\"6bed69bb\" data-element_type=\"widget\" data-settings=\"{&quot;split_type&quot;:&quot;chars, words&quot;,&quot;enable_split&quot;:&quot;true&quot;}\" data-widget_type=\"hub_fancy_heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\n\t\t<div id=\"ld-fancy-heading-6aa2a7ba95893\" class=\"ld-fancy-heading pos-rel mask-text\">\n\t\t\t<h1 class=\"ld-fh-element d-inline-block pos-rel  elementor-heading-title lqd-highlight-custom lqd-highlight-custom-1 lqd-split-chars h1\"  data-inview=\"true\" data-transition-delay=\"true\" data-delay-options=\"{&quot;elements&quot;:&quot;.lqd-highlight-inner&quot;,&quot;delayType&quot;:&quot;transition&quot;}\" data-split-text=\"true\" data-split-options='{\"type\":\"chars, words\"}'> <mark class=\"lqd-highlight\"><span class=\"lqd-highlight-txt\"  >The altarpiece<\/span><span class=\"lqd-highlight-inner\"><svg class=\"lqd-highlight-brush-svg lqd-highlight-brush-svg-1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"235.509\" height=\"13.504\" viewBox=\"0 0 235.509 13.504\" aria-hidden=\"true\" preserveAspectRatio=\"none\"><path d=\"M163,.383a13.044,13.044,0,0,1,1.517-.072,3.528,3.528,0,0,1,1.237-.134q.618.044,1.237.044a.249.249,0,0,1-.1.178.337.337,0,0,0-.1.266q3.092.088,6.184-.044T178.953.4l-.206-.088a12,12,0,0,0,4.123,0,13.467,13.467,0,0,1,5.772,0q1.443-.178,2.68-.266A5.978,5.978,0,0,1,193.8.4,16.707,16.707,0,0,1,198.01.045q2.164.088,4.844.088-.618.088-.824.134L201.412.4a3.893,3.893,0,0,0,2.061,0,5.413,5.413,0,0,1,1.649-.356q.618.088,1.134.178a9.762,9.762,0,0,0,1.544.09,17,17,0,0,1,3.092-.266q1.649,0,3.5.178,2.886.088,5.875.044t5.875-.222q0,.088.206.088h.412a21.975,21.975,0,0,0,2.577.889A12.458,12.458,0,0,1,232.12,2.18a3.962,3.962,0,0,1,1.031.622A3.349,3.349,0,0,1,234.8,3.825a5.079,5.079,0,0,1,.618,1.111q.412.534-1.031.98-1.031.444-.618.98a2.09,2.09,0,0,1,.206.889q0,.444.825.889.618.8-.206,1.245l-1.237.534q-1.443-.088-2.68-.134a17.255,17.255,0,0,1-2.267-.222,3.128,3.128,0,0,0-.928-.044,3.129,3.129,0,0,1-.928-.044q-2.267-.178-4.432-.266T217.7,9.476q-1.649-.088-2.886-.088a17.343,17.343,0,0,1-2.474-.178q-3.916,0-7.73-.088t-7.73-.266l-12.471-.178q-6.287-.088-12.883-.088h-1.958q-.928,0-1.958.088h-2.061q-1.031,0-2.061-.088-2.68-.088-5.256-.134t-5.256.044h-5.462q-2.577,0-5.462.088-4.535.088-8.76.178t-8.554.088q-2.886.088-5.875.088t-5.875.088q-1.443.088-2.886.134t-3.092.044q-4.741.178-9.791.312t-9.791.312q-2.267.088-4.329.088T78.77,10.1q-4.329.266-8.863.49t-9.276.49q-1.237.088-2.68.134a24.356,24.356,0,0,0-2.683.224q-2.68.178-5.462.312t-5.668.4q-2.474.266-4.741.312t-4.741.044q-1.031-.088-1.958-.134a9.684,9.684,0,0,1-1.958-.312,12.5,12.5,0,0,0-1.443-.312q-.825-.134-1.856-.31-2.886.356-6.39.666t-6.8.845a26.709,26.709,0,0,1-2.886.356,20.758,20.758,0,0,1-9.482-.889Q.232,11.962.026,11.25T1.263,9.917q0-.266.825-.266a13.039,13.039,0,0,0,2.886-.444A17.187,17.187,0,0,1,7.86,8.672q3.092-.266,6.184-.8,1.649-.178,3.3-.312t3.5-.312q4.123-.354,8.039-.712t8.039-.622q9.478-.8,18.758-1.338,2.68-.178,5.153-.356t4.741-.356q2.474-.178,5.05-.356T75.88,3.24h1.34a4.829,4.829,0,0,0,1.34-.178q2.267-.178,4.329-.222t4.329-.134a7.256,7.256,0,0,1,2.267,0,3.459,3.459,0,0,0,1.031-.088,6.009,6.009,0,0,1,2.37-.266,14.745,14.745,0,0,0,2.783-.088q1.649,0,2.474.088a1.308,1.308,0,0,1,.185.011,1.226,1.226,0,0,1,.33-.1,3.656,3.656,0,0,0,.515-.088,4.433,4.433,0,0,1,2.886.266q.412-.088,1.031-.178l1.237-.178q.412,0,1.031.044a5.761,5.761,0,0,0,1.237-.044q2.886-.088,5.772-.044a53.829,53.829,0,0,0,5.772-.222,9.505,9.505,0,0,1,1.34-.088h1.34a4.428,4.428,0,0,1,.821-.258l.825-.178a15.178,15.178,0,0,1,1.855.444,3.028,3.028,0,0,1,1.031-.534,4.039,4.039,0,0,1,1.443-.178,6.158,6.158,0,0,1,1.649.178,5.05,5.05,0,0,0,2.267.268q1.855-.088,3.813-.134T138.13,1.2q1.031,0,2.164-.044t2.37-.044q-.206-.088.412-.534h3.092q.412,0,.309.266t.928,0a5.845,5.845,0,0,1,1.443,0,31.833,31.833,0,0,0,5.359.088,21.471,21.471,0,0,1,6.8.178,5.236,5.236,0,0,0,1.031-.4q.412-.222.825-.4a.694.694,0,0,1,.137.07Z\" transform=\"translate(0 0.002)\"\/><\/svg><\/span><\/mark><\/h1>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-de725f1 elementor-widget elementor-widget-hub_fancy_heading\" data-id=\"de725f1\" data-element_type=\"widget\" data-widget_type=\"hub_fancy_heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\n\t\t<div id=\"ld-fancy-heading-6aa2a7ba96331\" class=\"ld-fancy-heading pos-rel\">\n\t\t\t<p class=\"ld-fh-element d-inline-block pos-rel  lqd-highlight-classic lqd-highlight-grow-left p\"  > The sanctuary\u2019s presbytery is dominated by the enamel altarpiece of Saint Mary.<\/p>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-17fe3ba elementor-section-content-middle elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"17fe3ba\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-inner-column elementor-element elementor-element-232cf502\" data-id=\"232cf502\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-1df4ba75 elementor-widget elementor-widget-ld_button\" data-id=\"1df4ba75\" data-element_type=\"widget\" data-widget_type=\"ld_button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\n\t\t\t<a\n\t\t\t\tclass=\"elementor-button btn btn-solid btn-lg btn-icon-right btn-hover-reveal btn-has-label\" data-localscroll=\"1\" data-localscroll-options=\"{&quot;scrollBelowSection&quot;:true}\" href=\"#\"\t\t\t>\n\t\t\t\t\t\t\t\t\t<span data-text=\"3D ALTARPIECE\" class=\"btn-txt\">\n\t\t\t\t\t\t3D ALTARPIECE\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"btn-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"lqd-icn-ess icon-md-arrow-round-forward\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-443f8ef elementor-section-content-middle elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"443f8ef\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div data-custom-animations=\"true\" data-ca-options=\"{&quot;addChildTimelines&quot;:false,&quot;animationTarget&quot;:&quot;:scope &gt; .elementor-widget-wrap &gt; .elementor-element &gt; .elementor-widget-container, :scope &gt; .elementor-widget-wrap &gt; .elementor-section &gt; .elementor-container &gt; .elementor-column &gt; .elementor-widget-wrap &gt; .elementor-element:not(.lqd-el-has-inner-anim) &gt; .elementor-widget-container, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-lines .lqd-lines .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-words .lqd-words .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-chars .lqd-chars .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-ld_custom_menu .lqd-fancy-menu &gt; ul &gt; li&quot;,&quot;duration&quot;:1800,&quot;delay&quot;:180,&quot;ease&quot;:[&quot;power4.out&quot;],&quot;initValues&quot;:{&quot;y&quot;:&quot;60px&quot;,&quot;opacity&quot;:0},&quot;animations&quot;:{&quot;y&quot;:&quot;0px&quot;,&quot;opacity&quot;:1}}\" class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-f7f84f0\" data-id=\"f7f84f0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d634f8c elementor-widget elementor-widget-hub_fancy_heading\" data-id=\"d634f8c\" data-element_type=\"widget\" data-widget_type=\"hub_fancy_heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\n\t\t<div id=\"ld-fancy-heading-6aa2a7ba98552\" class=\"ld-fancy-heading pos-rel\">\n\t\t\t<h2 class=\"ld-fh-element d-inline-block pos-rel  elementor-heading-title lqd-highlight-classic lqd-highlight-grow-left h2\"  > Enamelled altarpiece<\/h2>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-96f7e56 elementor-widget elementor-widget-text-editor\" data-id=\"96f7e56\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>The presbytery of the Sanctuary of Aralar is dominated by the enamel altarpiece of Saint Mary, a unique masterpiece of medieval European enamelling. It was originally an altar frontal and was probably given to the sanctuary by Bishop Pedro de Par\u00eds, or Pedro de Artajona. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-387c20c elementor-widget elementor-widget-html\" data-id=\"387c20c\" data-element_type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"sketchfab-embed-wrapper\"> <iframe title=\"Enamelled Altarpiece of Saint Miguel of Aralar\" frameborder=\"0\" allowfullscreen=\"\" mozallowfullscreen=\"true\" webkitallowfullscreen=\"true\" allow=\"autoplay; fullscreen; xr-spatial-tracking\" xr-spatial-tracking=\"\" execution-while-out-of-viewport=\"\" execution-while-not-rendered=\"\" web-share=\"\" width=\"100%\" height=\"550\" src=\"https:\/\/sketchfab.com\/models\/20f2568dcd714084ae9ef1f05fcc2590\/embed?autostart=1&annotations_visible=1&annotation_cycle=3\"> <\/iframe> <\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-5ccd5d1 elementor-section-content-middle elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"5ccd5d1\" data-element_type=\"section\" id=\"construccion\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div data-custom-animations=\"true\" data-ca-options=\"{&quot;addChildTimelines&quot;:false,&quot;animationTarget&quot;:&quot;:scope &gt; .elementor-widget-wrap &gt; .elementor-element &gt; .elementor-widget-container, :scope &gt; .elementor-widget-wrap &gt; .elementor-section &gt; .elementor-container &gt; .elementor-column &gt; .elementor-widget-wrap &gt; .elementor-element:not(.lqd-el-has-inner-anim) &gt; .elementor-widget-container, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-lines .lqd-lines .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-words .lqd-words .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-hub_fancy_heading .lqd-split-chars .lqd-chars .split-inner, :scope &gt; .elementor-widget-wrap &gt; .elementor-widget-ld_custom_menu .lqd-fancy-menu &gt; ul &gt; li&quot;,&quot;duration&quot;:1800,&quot;delay&quot;:180,&quot;ease&quot;:[&quot;power4.out&quot;],&quot;initValues&quot;:{&quot;y&quot;:&quot;60px&quot;,&quot;opacity&quot;:0},&quot;animations&quot;:{&quot;y&quot;:&quot;0px&quot;,&quot;opacity&quot;:1}}\" class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-ab04477\" data-id=\"ab04477\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-64f23de elementor-widget elementor-widget-ld_accordion\" data-id=\"64f23de\" data-element_type=\"widget\" data-widget_type=\"ld_accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\n\t\t<div class=\"accordion accordion-sm accordion-side-spacing accordion-title-bg-transparent accordion-body-shadow accordion-heading-has-shadow accordion-active-has-shadow\" id=\"accordion-6aa2a7ba9b188\" role=\"tablist\" aria-multiselectable=\"true\">\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"accordion-item panel  active\">\n\n\t\t\t\t<div class=\"accordion-heading\" role=\"tab\" id=\"heading-1051\">\n\t\t\t\t<h4 class=\"accordion-title  tabindex=\"-1\">\t\t\t\t\t<a class=\"\" role=\"button\" data-toggle=\"collapse\" data-bs-toggle=\"collapse\"\n                    tabindex=\"0\"\n\t\t\t\t\tdata-parent=\"#accordion-6aa2a7ba9b188\" data-bs-parent=\"#accordion-6aa2a7ba9b188\" href=\"#collapse-1051\" data-target=\"#collapse-1051\" data-bs-target=\"#collapse-1051\"\n\t\t\t\t\taria-expanded=\"true\" aria-controls=\"collapse-1051\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-title-txt\">A 12th-century treasure<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-expander\"><i class=\"fa fa-chevron-down\"><\/i><i class=\"fa fa-chevron-up\"><\/i><\/span>\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/h4>\t\t\t\t<\/div>\n\n\t\t\t\t<div id=\"collapse-1051\" class=\"accordion-collapse collapse  show\" data-bs-parent=\"#accordion-6aa2a7ba9b188\" role=\"tabpanel\" aria-labelledby=\"heading-1051\">\n\n\t\t\t\t<div class=\"accordion-content\">\n\t\t\t\t\t<p>Over time, different hypotheses have been put forward concerning the date on which the enamel altar frontal of Saint Miguel of Aralar was made. Some authors(Burgui and Marcotegui) were guided by the inscription on the scroll, or phylactery, held by an angel, in which they believed they could read the date 1028. They therefore proposed that year as its date of creation and attributed its donation to Sancho Garc\u00e9s III \u201cthe Great,\u201d King of Navarre at the time.<br\/>Others considered it earlier: Arigita dated it to the 6th century. Still others placed it later, at different points during the 12th and 13th centuries, including Huici and Juaristi, G\u00f3mez Moreno, Lojendio, and Uranga and \u00cd\u00f1iguez.<br\/>More recently, following a detailed study carried out in 1982, Marie Madeleine Gauthier, a research professor at France\u2019s National Centre for Scientific Research, provided what appear to be the most plausible findings, dating its creation to the beginning of the final quarter of the 12th century. Today, medieval goldsmithing specialist Lourdes de San Jos\u00e9 Llongueras is investigating the details of this treasure\u2019s connection with the masters of Limoges and concurs with Mme Gauthier.     <\/p><p><img decoding=\"async\" class=\"size-full wp-image-12897 alignleft\" src=\"https:\/\/nueva.sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/Una-joya-del-siglo-XII.webp\" alt=\"A 12th-century treasure\" width=\"180\" height=\"265\"><br>\u201cThe artistic configuration of the features that characterize this work of southern enamelling, renowned among the ten thousand examples now catalogued and classified,\u201d Gauthier writes, \u201cmakes it possible to date its production between 1175 and 1185.\u201d At that time, Sancho VI \u201cthe Wise\u201d reigned in Navarre, while Pedro de Artajona, better known as Pedro de Par\u00eds, held the episcopal see. It may be thought that both were directly involved in the creation of this singular work of art, during a period of cultural and artistic flourishing in the kingdom. The Romanesque Cathedral of Pamplona was still being embellished, monasteries such as La Oliva, Iratxe and Irantzu were beginning their development, and towns such as Estella were flourishing.  <\/p>\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"accordion-item panel \">\n\n\t\t\t\t<div class=\"accordion-heading\" role=\"tab\" id=\"heading-1052\">\n\t\t\t\t<h4 class=\"accordion-title  tabindex=\"-1\">\t\t\t\t\t<a class=\"collapsed\" role=\"button\" data-toggle=\"collapse\" data-bs-toggle=\"collapse\"\n                    tabindex=\"0\"\n\t\t\t\t\tdata-parent=\"#accordion-6aa2a7ba9b188\" data-bs-parent=\"#accordion-6aa2a7ba9b188\" href=\"#collapse-1052\" data-target=\"#collapse-1052\" data-bs-target=\"#collapse-1052\"\n\t\t\t\t\taria-expanded=\"false\" aria-controls=\"collapse-1052\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-title-txt\">Apostles, Magi and Saints<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-expander\"><i class=\"fa fa-chevron-down\"><\/i><i class=\"fa fa-chevron-up\"><\/i><\/span>\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/h4>\t\t\t\t<\/div>\n\n\t\t\t\t<div id=\"collapse-1052\" class=\"accordion-collapse collapse \" data-bs-parent=\"#accordion-6aa2a7ba9b188\" role=\"tabpanel\" aria-labelledby=\"heading-1052\">\n\n\t\t\t\t<div class=\"accordion-content\">\n\t\t\t\t\t<p><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-12891\" src=\"https:\/\/nueva.sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/frontal.webp\" alt=\"Altarpiece frontal\" width=\"1100\" height=\"712\"><\/p><p>Beneath the six arches in the upper row, three on either side of the central oval, are six apostles, depicted barefoot and wearing tunics and cloaks enamelled in green and blue. Each holds a book enamelled in red, except for the apostle nearest the centre on the left, who holds a key, the identifying attribute of Saint Peter.<\/p><p>In the lower row, on the left, are the three Magi, each holding a golden cup. On the right are an angel standing on a cloud, a woman with a halo of sanctity, and a richly dressed man wearing a cap and holding a sceptre. The most widely accepted interpretation identifies this as the scene of the Annunciation(the Archangel Gabriel and the Virgin Mary) with the third figure being Saint Joseph. <\/p><p>Above the central motif, four figures representing four apostles appear on separate rectangular plaques. They are similar in dress and garments to the figures in the arcading described above, but smaller in scale. On either side of this group are sixteen medallions depicting scenes of combat between fantastical animals and vegetal motifs. <\/p><p>All the figures depicted on the altarpiece, except for the three Magi and the possible donor king, have halos of sanctity around their heads. The Christ Child, the apostles and the two angels are shown barefoot; however, the Virgin, in both depictions, the Magi and Saint Joseph are shown wearing shoes. The positioning of the heads in the different figures is particularly curious. While the Virgin and Child in the central motif \u201clook\u201d straight ahead, several other figures have their heads turned and gaze in different directions, creating striking effects in the altarpiece\u2019s present overall arrangement. For example, the first of the three Magi has his head turned to the left and therefore appears to look outward, beyond the altarpiece, rather than towards the centre, where the Child to whom he logically offers his gift is located. Likewise, the Virgin in the Annunciation has her head turned, but not, as might be expected, towards the angel on her left; instead, she looks towards Saint Joseph. The angel, meanwhile, also has his head turned, but in the opposite direction from Mary.     <\/p><p>Analysis carried out during the restoration work that began in 1982 revealed, through nail marks and other traces on the wooden support, that at some point before 1765 the twelve figures of similar size had been arranged differently. The six apostles occupied the upper and lower arcades on the right-hand side, while the figures of the Annunciation and the donor king, likewise arranged, filled the upper arcade on the left, and the Magi, in a different order, occupied the lower-left arcade. That may not have been the original arrangement either, and there is insufficient evidence to establish the composition intended by the altarpiece\u2019s makers. Nevertheless, it is reasonable to think that the artists deliberately made their work more complex, and thereby displayed their skill and mastery, by differentiating each figure\u2019s form and individualising its garments, gestures and, especially, distinctive head. They likely did so to convey that the pieces were interconnected and formed a coherent whole. It is hard to imagine that a work as carefully crafted and exquisite as this frontal was intended to produce the somewhat incongruous effects visible in its present arrangement.   <\/p>\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"accordion-item panel \">\n\n\t\t\t\t<div class=\"accordion-heading\" role=\"tab\" id=\"heading-1053\">\n\t\t\t\t<h4 class=\"accordion-title  tabindex=\"-1\">\t\t\t\t\t<a class=\"collapsed\" role=\"button\" data-toggle=\"collapse\" data-bs-toggle=\"collapse\"\n                    tabindex=\"0\"\n\t\t\t\t\tdata-parent=\"#accordion-6aa2a7ba9b188\" data-bs-parent=\"#accordion-6aa2a7ba9b188\" href=\"#collapse-1053\" data-target=\"#collapse-1053\" data-bs-target=\"#collapse-1053\"\n\t\t\t\t\taria-expanded=\"false\" aria-controls=\"collapse-1053\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-title-txt\">Enamel craftsmen of Limoges<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-expander\"><i class=\"fa fa-chevron-down\"><\/i><i class=\"fa fa-chevron-up\"><\/i><\/span>\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/h4>\t\t\t\t<\/div>\n\n\t\t\t\t<div id=\"collapse-1053\" class=\"accordion-collapse collapse \" data-bs-parent=\"#accordion-6aa2a7ba9b188\" role=\"tabpanel\" aria-labelledby=\"heading-1053\">\n\n\t\t\t\t<div class=\"accordion-content\">\n\t\t\t\t\t<div id=\"collapseTree\" class=\"panel-collapse collapse in\"><div class=\"panel-body\"><p><img decoding=\"async\" class=\"size-full wp-image-12901 alignleft\" src=\"https:\/\/nueva.sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/Orfebres-esmaltadores-de-Limoges.webp\" alt=\"Orfebres esmaltadores de Limoges\" width=\"240\" height=\"210\">The same diversity of opinion found regarding the date of the altarpiece also appears among authors from different periods when determining its origin. Scholars such as Uranga and \u00cd\u00f1iguez, and G\u00f3mez Moreno, maintain that it was made in the Silos school, because of its resemblance to the medieval enamelled casket preserved in the Museum of Burgos, originating from the Abbey of Santo Domingo de Silos. Others, such as Lojendio, believe that it was made in Limoges. The most recent interpretation, also put forward by Marie Madeleine Gauthier, attributes the altarpiece to a team of goldsmiths and enamel craftsmen established in Pamplona to create the work at the express commission of King Sancho the Wise and Bishop Pedro de Par\u00eds. The goldsmith\u2019s workshop must have included metallurgists, founders, engravers and carpenters, as well as the highly specialised work of an enamel master from Limoges, who may have brought blocks of glass coloured intense green, red or turquoise with copper oxides, as well as others made opaque in yellow with antimony and in white with tin. Other materials used were highly valuable, including gold, copper, mercury, glass and coloured crystals, some of which may have been brought from far away, such as rock crystal from the African Atlas Mountains.     <\/p><p>The altarpiece comprises a group of 37 enamel panels. The main figure, the Virgin and Child, occupies the central oval, or mandorla, and is complemented by the four symbols of the Evangelists. On either side, twelve arches are arranged symmetrically, in two rows of three on each side, framing a further twelve enamel figures. Between the arches are reliefs of buildings representing the Heavenly Jerusalem. At the top are four smaller figures and sixteen circular medallions, including the spaces of the other two that were not recovered after the 1979 theft. Various semi precious gemstones complete the ensemble.    <\/p><p>The enamel pieces are made using the champlev\u00e9 technique, meaning that liquid enamel was applied to tiny cells formed in copper sheets. The enamel work in the various figures is complemented by chiselled feet and hands, as well as by the projecting relief of the chiselled heads, made of gilded copper with enamelled eyes, giving the whole an extraordinary sense of depth. The exquisite enamelling work combines colours beautifully, using different shades of blue alongside green, white, black and red.  <\/p><\/div><\/div>\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"accordion-item panel \">\n\n\t\t\t\t<div class=\"accordion-heading\" role=\"tab\" id=\"heading-1054\">\n\t\t\t\t<h4 class=\"accordion-title  tabindex=\"-1\">\t\t\t\t\t<a class=\"collapsed\" role=\"button\" data-toggle=\"collapse\" data-bs-toggle=\"collapse\"\n                    tabindex=\"0\"\n\t\t\t\t\tdata-parent=\"#accordion-6aa2a7ba9b188\" data-bs-parent=\"#accordion-6aa2a7ba9b188\" href=\"#collapse-1054\" data-target=\"#collapse-1054\" data-bs-target=\"#collapse-1054\"\n\t\t\t\t\taria-expanded=\"false\" aria-controls=\"collapse-1054\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-title-txt\">Alteration of the frontal in the 18th century<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-expander\"><i class=\"fa fa-chevron-down\"><\/i><i class=\"fa fa-chevron-up\"><\/i><\/span>\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/h4>\t\t\t\t<\/div>\n\n\t\t\t\t<div id=\"collapse-1054\" class=\"accordion-collapse collapse \" data-bs-parent=\"#accordion-6aa2a7ba9b188\" role=\"tabpanel\" aria-labelledby=\"heading-1054\">\n\n\t\t\t\t<div class=\"accordion-content\">\n\t\t\t\t\t<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12790\" src=\"https:\/\/nueva.sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/retablo-esmaltado.webp\" alt=\"enamelled Altarpiece of Saint Miguel of Aralar\" width=\"1814\" height=\"1155\" srcset=\"https:\/\/sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/retablo-esmaltado.webp 1814w, https:\/\/sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/retablo-esmaltado-1536x978.webp 1536w\" sizes=\"(max-width: 1814px) 100vw, 1814px\" \/><\/p><p>In the 18th century, the prior of Belate, Juan Lorenzo de Irigoyen y Dutari, who later became Bishop of Pamplona, oversaw the cleaning of the frontal. In 1765, the frontal was taken to Pamplona, where the silversmith Jos\u00e9 de Jirau cleaned its enamels, gemstones and other elements, and reassembled it \u201cas before, with its new surrounding moulding.\u201d This information, provided by Go\u00f1i Gaztambide, resolves the confusion created by Arigita\u2019s claim that the silversmith Manuel Beramendi had restored the frontal. Beramendi only produced an engraving of it. It also clarifies that the arrangement remained unchanged, with no pieces removed or added, and that only the moulding surrounding the work was incorporated. This is supported by a document from 1666 commissioning a wooden altarpiece from Jos\u00e9 de Huici e Ituren, which was to house the frontal, \u201cfitting into it the altarpiece now found in the said chapel, which is an apostolate with an image of the Mother of God,\u201d apparently confirming that the frontal already had the same arrangement it has today.     <\/p><p>The frontal returned to Aralar on the shoulders of eight men, who carried it from Zamarce. It was no longer placed in the Sanctuary chapel but was set into an altarpiece in the presbytery of the central nave. This action is recorded in the inscription at the base of the frontal: \u201cThis precious Altarpiece of gilded and enamelled metal sheets, with its image of the Virgin of the Tabernacle of Pamplona Cathedral, to which this Sanctuary of Saint Miguel is attached, was formerly kept in the darkness of its chapel. It was removed from there and cleaned in Pamplona, and so that its sight might inspire devotion, it was placed in this main chapel in the year 1765.\u201d  <\/p>\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"accordion-item panel \">\n\n\t\t\t\t<div class=\"accordion-heading\" role=\"tab\" id=\"heading-1055\">\n\t\t\t\t<h4 class=\"accordion-title  tabindex=\"-1\">\t\t\t\t\t<a class=\"collapsed\" role=\"button\" data-toggle=\"collapse\" data-bs-toggle=\"collapse\"\n                    tabindex=\"0\"\n\t\t\t\t\tdata-parent=\"#accordion-6aa2a7ba9b188\" data-bs-parent=\"#accordion-6aa2a7ba9b188\" href=\"#collapse-1055\" data-target=\"#collapse-1055\" data-bs-target=\"#collapse-1055\"\n\t\t\t\t\taria-expanded=\"false\" aria-controls=\"collapse-1055\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-title-txt\">The Virgin and Child<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-expander\"><i class=\"fa fa-chevron-down\"><\/i><i class=\"fa fa-chevron-up\"><\/i><\/span>\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/h4>\t\t\t\t<\/div>\n\n\t\t\t\t<div id=\"collapse-1055\" class=\"accordion-collapse collapse \" data-bs-parent=\"#accordion-6aa2a7ba9b188\" role=\"tabpanel\" aria-labelledby=\"heading-1055\">\n\n\t\t\t\t<div class=\"accordion-content\">\n\t\t\t\t\t<div id=\"collapseTree\" class=\"panel-collapse collapse in\"><div class=\"panel-body\"><p>The central motif contains a theophany of the Incarnation, formed by the frontal image of the crowned Virgin Mary, seated and holding the Christ Child on her lap. The Child adopts a majestic pose, wearing a crown, blessing with his right hand and holding the Holy Scriptures in his left. Mary supports the Child with her hands at his left shoulder and right knee, with the Child\u2019s head at the level of the Virgin\u2019s breast. Both wear tunics in different shades of green and blue, their folds rendered in gold. Other notable elements include the alpha and omega on either side of the Virgin\u2019s head, the Star of the Epiphany depicted beneath the alpha, the artistic footstool on which Mary\u2019s feet rest, the cylindrical cushion supporting the Virgin\u2019s back and visible at both ends, and the decorative Greek key patterns that form the oval, the arch on which the Virgin is seated, and her halo of sanctity.   <\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12893 aligncenter\" src=\"https:\/\/nueva.sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/limoges.webp\" alt=\"Central image of the altarpiece: the Virgin Mary with the Christ Child\" width=\"800\" height=\"1391\"><\/p><p>The oval is completed at its four corners, forming a rectangle, by four enamel plaques representing the Tetramorph, or symbols of the four Evangelists. Arranged from left to right and from top to bottom, they are Saint Matthew, an angel; Saint John, an eagle; Saint Mark, a winged lion; and Saint Luke, a winged ox. The angel holds a scroll, or phylactery, bearing the signs AIO:SB, in which various scholars have sought, with contradictory results, clues to the date and authorship of the altarpiece. Father Tom\u00e1s de Burgui interpreted them as Anno Christi 1028, while Arigita believed they identified the work\u2019s creator. The latest and most widely accepted interpretation was proposed by Isidoro Ursua Irigoyen in an article published in the Government of Navarre\u2019s journal Pr\u00edncipe de Viana in 1992. He argued that they represent the abbreviated name of Christ between the Alpha and Omega, an allusion to the Book of Revelation.    <\/p><\/div><\/div>\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"accordion-item panel \">\n\n\t\t\t\t<div class=\"accordion-heading\" role=\"tab\" id=\"heading-1056\">\n\t\t\t\t<h4 class=\"accordion-title  tabindex=\"-1\">\t\t\t\t\t<a class=\"collapsed\" role=\"button\" data-toggle=\"collapse\" data-bs-toggle=\"collapse\"\n                    tabindex=\"0\"\n\t\t\t\t\tdata-parent=\"#accordion-6aa2a7ba9b188\" data-bs-parent=\"#accordion-6aa2a7ba9b188\" href=\"#collapse-1056\" data-target=\"#collapse-1056\" data-bs-target=\"#collapse-1056\"\n\t\t\t\t\taria-expanded=\"false\" aria-controls=\"collapse-1056\">\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-title-txt\">The 1979 Theft and Recovery<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"accordion-expander\"><i class=\"fa fa-chevron-down\"><\/i><i class=\"fa fa-chevron-up\"><\/i><\/span>\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/h4>\t\t\t\t<\/div>\n\n\t\t\t\t<div id=\"collapse-1056\" class=\"accordion-collapse collapse \" data-bs-parent=\"#accordion-6aa2a7ba9b188\" role=\"tabpanel\" aria-labelledby=\"heading-1056\">\n\n\t\t\t\t<div class=\"accordion-content\">\n\t\t\t\t\t<div id=\"collapseTree\" class=\"panel-collapse collapse in\"><div class=\"panel-body\"><div id=\"collapseSix\" class=\"panel-collapse collapse in\"><div class=\"panel-body\"><p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12905 alignleft\" src=\"https:\/\/nueva.sanmigueldearalar.org\/wp-content\/uploads\/2025\/08\/Robo.webp\" alt=\"Theft of Parts of the Altarpiece\" width=\"180\" height=\"220\">On the night of 25 to 26 October 1979, a gang of thieves acting on the orders of the notorious international art trafficker Erik \u201cthe Belgian\u201d stole the enamelled frontal. Several people had hidden in the church\u2019s confessionals during the afternoon and, during the night, forced open the glass display case installed in 1965 to protect the enamelled frontal. They then tore the 39 enamel pieces from their wooden support, one by one, along with several columns and arches from the surrounding decoration. <\/p><p>The theft devastated the sanctuary\u2019s custodians and caused profound sorrow among those devoted to the sanctuary and throughout society at large. The authorities of Navarre mobilised to pursue any lead that might result in the recovery of Aralar\u2019s principal artistic treasure. Police specialists in art thefts developed the theory that the perpetrators might belong to an international gang and had most likely crossed the French border on the night of the theft to evade the Spanish police.  <\/p><p>In 1980, the Pr\u00edncipe de Viana Institution, the cultural body of the Provincial Council of Navarre, led by architect Fernando Red\u00f3n, prepared a documentary dossier on the stolen altarpiece. It contained numerous photographs of its individual pieces and details, as well as texts in Spanish and English, titled The Robbery of the Retable of Saint Miguel of Excelsis in Navarre. Distributed through Interpol to police offices in more than twenty countries, it targeted those where illegal trafficking in ancient works of art was most prevalent.<\/p><p>The first results of the investigation came on 5 March 1981, when French police seized twenty small pieces from the altarpiece in Paris. They confiscated them from Spanish citizen Carlos Paz Ibaseta as he was placing them in his car. His arrest also led to the arrests of Jos\u00e9 Antonio Ponz G\u00f3mez and Madrid antiquarian Ignacio Rodr\u00edguez Flores. Once their authenticity had been confirmed, the pieces, the four small figures from the upper section and sixteen of the eighteen medallions that crown the altarpiece, were brought to the Museum of Navarre on 26 May 1981 by Jes\u00fas Mal\u00f3n, the Provincial Deputy for Culture. The discovery opened the door to optimism about the complete recovery of the enamelled frontal.     <\/p><p>On 11 July of the same year, a joint operation by the Italian and Spanish police resulted in the recovery of the altarpiece\u2019s principal pieces and the arrest of several members of the gang known as the \u201cMarseilles clan.\u201d<\/p><p>The enamel pieces were handed over to the Spanish Embassy in Rome and flown to Madrid on 20 November. There, they were received by the Minister of Culture, I\u00f1igo Cavero, who handed them over at Barajas Airport to Juan Manuel Arza, President of the Provincial Council of Navarre. Arza then transported them, in the same three red suitcases in which they had arrived from Rome, in the boot of his official car to the Museum of Navarre. In the following days, crowds of visitors passed through Room 31 of the Museum of Navarre, where the recovered treasures were temporarily displayed: fifteen enamel pieces, namely the central mandorla of Santa Mar\u00eda del Sagrario, the four Evangelist symbols, five apostles, two Magi, the two Annunciation panels and the donor king, as well as sixteen small columns. Only two enamel pieces, an apostle and a Magus, and two circular medallions remained missing to complete the ensemble.   <\/p><p>In the following months, after the arrest in Barcelona on 28 January 1982 of Eric \u201cthe Belgian,\u201d an international art trafficker, the leads for finding the remaining pieces pointed to the Belgian city of Ghent. The Spanish Embassy in Belgium recovered the enamel plaque depicting an apostle on 8 March, and it was handed over to the Provincial Council of Navarre in Madrid on 9 June that same year. In April 1986, the only remaining figure, a Magus, was recovered in the French city of Montpellier.  <\/p><p>Following the recovery of most of the pieces, a full restoration was carried out at the Museum of Navarre. Before the frontal returned to the sanctuary, an exhibition on medieval enamels from Navarre was held, with the altarpiece as its principal work. It was displayed in Madrid in April 1982, at the inaugural exhibition of the Caja de Ahorros de Navarra exhibition hall, and in the following months in Pamplona and Tudela. <\/p><p>Once the restoration was completed, the altarpiece was displayed again at the Museum of Navarre from 26 March to 7 April 1991. On 20 May that year, it was permanently reinstalled in the Sanctuary. Rom\u00e1n Felones, the Navarre Government\u2019s Minister of Culture, Jes\u00fas Mar\u00eda Ome\u00f1aca, the Archbishopric\u2019s delegate for Sacred Art, Inocencio Ayerbe, the Sanctuary\u2019s minister, and municipal representatives of Uharte Arakil attended the modest but joyful ceremony marking the handover and return to the Sanctuary of its principal object of worship, the enamelled altarpiece of Santa Mar\u00eda, a masterpiece of medieval enamelling made as an altar frontal in the 12th century. <\/p><p>The gaps still visible in the altarpiece, marking the absence of two medallions and six small sections of gilded arcading, are the only pieces that were not recovered. They are the fortunately minor trace of the ordeal suffered by this magnificent frontal between 1979 and 1982, events that kept lovers of the sanctuary and Navarrese art in suspense. They also helped ensure that this true treasure, now displayed behind robust bulletproof glass, is valued and appreciated as it deserves.<\/p><p>On 30 December 1996, the Government of Navarre declared the Romanesque enamel altar frontal from the Sanctuary of Saint Miguel of Aralar a Cultural Interest Asset by Regional Decree, recognising it as one of the most important works of medieval European enamelling.<\/p><\/div><\/div><\/div><\/div>\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>The altarpiece The sanctuary\u2019s presbytery is dominated by the enamel altarpiece of Saint Mary. 3D ALTARPIECE Enamelled altarpiece The presbytery of the Sanctuary of Aralar is dominated by the enamel altarpiece of Saint Mary, a unique masterpiece of medieval European enamelling. It was originally an altar frontal and was probably given to the sanctuary by [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":13199,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-13198","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/pages\/13198","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/comments?post=13198"}],"version-history":[{"count":6,"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/pages\/13198\/revisions"}],"predecessor-version":[{"id":13529,"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/pages\/13198\/revisions\/13529"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/media\/13199"}],"wp:attachment":[{"href":"https:\/\/sanmigueldearalar.org\/en\/wp-json\/wp\/v2\/media?parent=13198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}