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Abstract Art historians have long been interested in the Portal del Mirador of the cathedral of Majorca. While the account books provide a wealth of information on the identities of the artists who worked on the Portal, several issues still need to be reexamined. This article conducts an in-depth reassessment of the artistic culture of Guillem Sagrera. Against the most widely held opinions, which relate Sagrera’s style to that of Claus Sluter and trends in Burgundy, the author stresses the need to relocate the Majorcan’s formative itinerary and place it in the context of artistic strands and exchanges whose nerve center was in Paris. However, the attribution of the Mirador Madonna to Sagrera is definitively ruled out in favor of the Florentine school and specifically Niccolò di Pietro Lamberti.
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