In parallel with the gradual breakdown of equilibrium coexistence between the Christian and Jewish communities, the Middle Ages developed an iconographic repertoire that, while antijudía propaganda vehicle, it is a reflection of the Christian imagery relating to Judaism. This book deals with the study of the iconography from the analysis of the visual projection in a series of thematic grounds on which the Spanish built the medieval image of Judaism in its most negative aspects: the spiritual blindness (personified allegorically Synagoge in the figure), the charge of deicide (comprising visual arts, coinciding with the dramatic art in the cycles of the Passion), the charge on the desecration of the host (with an interest in the iconography Catalan-Aragonese), the crime of ritual (one of his examples more refined in the case of the Holy Child of La Guardia), or the image of Jews as followers of the Antichrist. Deserves a chapter analyzing the role played by the Marian cult in the construction of Jewish otherness. Within this framework, apart from reviewing the components of the anti Assumptionists drama and iconography, the study addresses the broad and varied repertoire of images that, as with Jewish protagonists, offers enlightenment to Las Cantigas de Alfonso X. In it, still maintaining an ambiguous tone on the show occasionally open to the Jew as the conversion uses a narrative, punctuated by the accusation of deicide, refers to some of the archetypal myths of medieval anti as the Jewish alliance with the devil, infanticide, or the desecration of images.

Paulino Rodríguez Barral (Fonsagrada 1955) has focused its research in the field of medieval iconography. Among his publications are the dedicated to the projection of visual imagery beyond the visual arts in Middle subject of many articles and book justice beyond. Iconography in the Crown of Aragon in the Middle Ages (Valencia, 2007). His activity as a visiting researcher at Georgetown University (Washington, DC) derived from this book that previously have been some advances in specialized journals. It discusses how the Spanish went to the Gothic area of the image confrontation between Christianity and Judaism.