Deposit of the Asorey's family in the Museo do Pobo Galego

Sketch in plaster



Group of Piety. Here Asorey is clearly influenced by the Romanesque and more specifically the Pórtico de la Gloria, but also by the geometry imposed by cubism. The group is designed as a cross; in the definitive work of Christ changes the orientation from right to left.

The figure of Mary is frontal and seated. Unites his hands at the altitude of the chest divided for the fold of his robe; composition clearly linked to the figure of St. James, this one is supported in the Tao of the Pórtico de la Gloria. Angeles fly on the Virgin.
Appear symbols with the sun and moon settling into space, another resource Romanesque and more specifically, the tympanum.

The recumbent Christ is another example of primitivism, the shroud is displayed by two angels from the columns of the canopy, doing to go through the rigid the space. The face is popular type, the anatomy is expressionist with parallels and the selection of cloths, which are increased in the final work because of the polychrome.

The final work consists of a front with arcades on columns of black granite shaft of La Esclavitud and capitals of white stone of Vigo, with a red stone background of the Faramello. For the table used white stone of Castrelos, obtaining a polychrome in which is "represented" Galicia.

The altar is flanked by two pairs of reddish shafts, stone of Porriño, finished with capitals decorated with vegetable elements which evoke the Pórtico de la Gloria. Too the angels remember us to the youth with instruments of the Passion of the Pórtico of Compostela for his faces, clothes and the detail of the pearls. The fine white stone contrasts with the darkness of the blackish stone of La Esclavitud, composing the upper
arch. The three masts sepia stone of the Faramello give greater chromaticism to the group and serve of framework at the group of "La Piedad".

On the altar's table there are four columns of gray granite of Pontemaceira and white of Pontevedra; again it remembers us to the Pórtico in of reliefs front to the polished surface of bottom.

Another antecedent to the center column is the tree of Jesse, but with modifications figurative: in the base, Jesse is replaced by Suevia, who works at a loom: again represent to the matriarchy, the mother Galicia presiding the life of towns and villages. In the vegetable decoration appears symbols of "Fortune and darnel" represented by a male figure, the Galician sailor. On this set appears the personification of Death: the dying man associated to life with the testament, represented by a prophet with roll and biretta, while the religion promises immortality. The figure is marked by pathos, the moribund head turns melancholic into the beyond, while the cloths cling to the body like a shroud. This group in turn is crowned with a figure of
women (cross-shaped) carrying the last anointing jar.

The finish is a capital where the naked soul enjoys bliss between two angels whose elliptical silhouette reminiscent of the Romanesque mandorlas: the laterals represent the return of the emigrant to the homeland through of symbolic elements of Jacobean tradition as the boat or oxcart for load the bodies, led by two figures clearly postcubist inspiration.