Medieval Chromaticism

Many times, when I hear references to the darkness that supposedly characterized that fascinating historical period that has come to be called the Middle Ages, I cannot help but think that it was precisely in that era when the beauty of chromaticism was displayed in most temples, which, comparatively and metaphorically speaking, attracted the faithful in the same way as the little house of candy and chocolate with which the witches, according to the Grinn Brothers, attracted the children in the story of ‘Hansel and Gretel’.

It is true, on the other hand, that there are not many examples of this, especially because, in times past, when much of the spirit of light that animated medieval artisans was lost, another type of rain, more censorious, ascetic and misogynistic, to put it in some way, was stripping them of this added beauty, managing to make an eclipse of pessimism fall on the joy of their primitive aesthetics.

An aesthetic, which was added to the characteristics of a stone, which, in the case of the quarries of ávila, was characterized because its raw material, the berroque, contained large ferruginous veins, which also gave it a pronounced bloody color, very particular, making the buildings have, of course, a very special charisma.

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