El Greco’s The Burial of Count Orgaz: Art, Legend, and Meaning
The Burial of Count Orgaz: El Greco’s Masterpiece (1586-1588)
Undoubtedly, The Burial of Count Orgaz is considered El Greco’s masterpiece. The contract for the work clearly specified what should be represented. According to legend, when the body of Gonzalo Ruiz de Toledo, the Lord of Orgaz (who was not truly a count but a lord), was to be buried, a miracle occurred: Saint Stephen and Saint Augustine descended from heaven to inter him. El Greco, however, transforms this medieval legend into a realistic reconstruction of a funeral from his own era.
Depicting a Requiem Mass
All requirements of a requiem mass are meticulously depicted in the painting:
- Six funeral candles
- A processional cross held by the sacristan
- The subdeacon, seen from behind, celebrating with black vestments for the requiem
Also present are members of the three religious orders (Franciscans, Dominicans, and Augustinians) who attended the funerals of nobles in the sixteenth century. El Greco offers a portrait gallery of figures from his era, including himself and his son.
Two Realms: Earthly and Heavenly
The canvas is clearly divided into two distinct zones: an earthly realm and a heavenly realm.
The Earthly Funeral Scene
The lower zone depicts the miraculous funeral. At the center, Saint Stephen (whose robes depict a scene of his own martyrdom) and Saint Augustine, with a white beard, hold the knight’s body, partially covered with golden armor. A large group of contemporary figures, arranged with a marked isocephaly, attend the funeral. Although the miracle dates to the fourteenth century, El Greco portrays contemporary Toledan figures.
Prominently, and addressing the audience, Jorge Manuel, the painter’s son, points with his left hand to the astonishing event unfolding before our eyes. Also looking at the viewer, a portrait of the painter himself can be found. The costumes of these figures belong to the sixteenth century.
The Heavenly Ascent
Linking the two realms is the figure of an angel who carries the Count’s soul, transporting it upwards to the heavenly sphere. This celestial realm is recreated by turbulent clouds forming the backbone of the divine figures. The soul is received by Christ, who centers the composition, accompanied by the Virgin Mary and Saint John the Baptist. On the left are David, Moses, and Noah (identified by their attributes), and above them, Saint Peter with the keys. On the right are saints acting as intercessors for the soul of the deceased. Also included in this group is a portrait of King Philip II.
Artistic Elements and Composition
While the distribution of figures in the lower section follows a more traditional arrangement, the upper section exhibits marked differences between various levels, creating unsettling figures—a hallmark of Mannerism. A clear chromatic contrast exists between both planes; the earthly realm is generally dominated by dark tones.
Notable are the precise framing of facial expressions by the white ruffs and white lace sleeves, from which hands protrude, inviting the viewer to focus on the painting’s theme. Splendid golden yellows adorn the garments of the saints, contrasting with the vibrant red robe of the Virgin. The treatment of the figures also contrasts: realism is much more pronounced in the earthly plane, while the celestial sphere exhibits a degree of dematerialization.
Regarding movement, while the earthly scene is dominated by stillness, the upper section displays much more movement and dynamism. This is achieved primarily through the turbulent clouds and the contortions of the figures, which serve to accentuate this effect.
Symbolism and Counter-Reformation Message
The work carries a clear exemplary intention. Gonzalo Ruiz de Toledo, a distinguished citizen of noble lineage, contributed to enriching the city through charitable donations to religious institutions, including the Augustinian order. For this act, God rewarded him.
The nobles, some of whom turn their faces towards the vision of Paradise, learn the lesson conveyed by the knight: the heavenly benefits of venerating saints and the efficacy of good works—one of the fundamental tenets of Counter-Reformation doctrine.