Based on the principle that theatre is an art of the image, we study the theatre of Gil Vicente (active between c.1502 and 1536), bringing it closer to the visual arts of his time.

The artistic context of Vicente’s time is analysed, as well as the social conditions of the artists, the way in which power reproduced their image, and the taste and reception of the works. Points of contact between theatrical production and fine arts production in the great urban, civil and religious festivals are studied, namely the Royal Entry of 1521 in Lisbon and the Corpus Christi processions.

In the second part of the dissertation, the iconological reading of Breve Sumário da História de Deos is developed, using its own methodology. A restoration of the characterisation of the figures, actions and space represented in this auto is rehearsed. We therefore propose a survey of Vicente’s theatre from an iconographic perspective, which will add substantial information to the study of the spectacular component of his theatre and go beyond the literary approach that has been taken to his autos.