In 1919-1923 it was moved, along with other parts of the fresco decoration, to Barcelona,[2] in an attempt to preserve the murals in a stable, secure museum setting.

[2] Its genius lies in the way it combines elements from different Biblical visions (Revelation, Isaiah and Ezekiel) to present the Christ of the Day of Judgement.

Christ appears from the background causing a movement outwards from the centre of the composition, which is presided by the ornamental sense of the outlines and the skilful use of colour to create volume.

The exceptional nature of this work and its pictorial strength have reached out to modernity and fascinated twentieth-century avant-garde artists like Picasso and Francis Picabia.

In the middle, Christ in Majesty inscribed in a mandorla, seated on the arc of Heaven and with the Earth at his feet, blesses with his right hand, while his left holds a book with the inscription EGO SUM LUX MUNDI (‘I am the light of the world’).

The bands of colour in the backgrounds, present in many Catalan Romanesque paintings, could remind us of what is known as Mozarabic illumination in tenth-century Hispanic manuscripts.

Painted on one of the columns of the nave is the church’s inscription of consecration by bishop Ramon de Roda from Ribagorza on 10 December 1123.