Coordinates: 42°52′50″N 8°32′40″W / 42.880602°N 8.544377°W / 42.880602; -8.544377

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The cathedral was expanded and embellished with additions in the 16th, 17th and 18th centuries.
The cathedral was expanded and embellished with additions in the 16th, 17th and 18th centuries.


==Exterior of the Cathedral==
==Façades==
[[Image:SantCompostela11.jpg|thumb|Statues of David and Solomon on the flight of steps]]
[[File:Santiago GDFL catedral 050318 38.jpg|thumb|Overview of the cathedral complex.]]
At the front of the cathedral, a golden scallop [[scallop| shell]] adorns the altar. A steady stream of pilgrims still queue there to kiss the shell, as another sign of homage.


Each of the facades form with their respective squares great urban places. The Baroque facade of the Obradoiro was performed by Casas Novoa, also baroque is the Acibechería, work by Ferro Caaveiro and Fernández Sarela and modified by Ventura Rodríguez, the Praterías, built by the Master Esteban in 1103, and especially the Pórtico da Gloria, primary work of Romanesque sculpture, completed by Master Mateo in 1188.
===Western façade===
The western façade (or Fachada da Praza do Obradoiro) is flanked by two medieval towers, 76 m high. The left tower (''Torre da Carraca'') shows a statue of Zebedee, father of St. James; the right tower (''Torre das Campás'') shows the statue of Maria salome, his mother. The façade was built in Late [[Baroque style]] (the [[Churrigueresque]] style) by Fernando Casas y Nóvoa between 1738 and 1750. The gable in the centre shows a statue of St. James the Great, with below his two disciples Athanasius and Theodomir, dressed as pilgrims. They are flanking a representation of the tomb of St. James, with above the star that led to its discovery.
[[Image:SantCompostela04.jpg|thumb|left|upright|Top gable of the western façade]]
The cathedral's facade gains from forming part of an extended architectural composition on the ''Praza do Obradoiro'' (lit. Workshop Square), a grand square surrounded by public buildings.


===Pórtico da Gloria===
The ground rises to the cathedral, which is reached by a magnificent quadruple flight of steps, flanked by statues of [[David]] and [[King Solomon|Solomon]].
[[File:The Portico de la Gloira, Santiago de Compostela.jpg|thumb|Reproduction of the Pórtico da Gloria in the Victoria and Albert Museum in London.]]


The Pórtico da Gloria of the Cathedral of Santiago de Compostela is a Romanesque [[portico]] by [[Master Mateo]] and his workshop at the request of King [[Ferdinand II of León]], who donated for this purpose one hundred [[Spanish maravedí|maravedís]] annually between 1168 and 1188, when the latter consisting inscribed in stone in the cathedral as its completion. On April 1, 1188 placed the lintels of the portico and the conclusion of the set was delayed until 1211, at which time the temple was consecrated by the presence of [[King Alfonso IX of León]].
Access to the staircase is through some fine wrought-iron gates, and in the centre, on the level of the Plaza, is the entrance to a [[Romanesque style|Romanesque]] chapel, the ''Igrexa Baixa'' ("Lower Church"), constructed under the portico and contemporary with the cathedral.


The portico has three arches that correspond to each of the three naves of the church, supported by thick [[Pier (architecture)|piers]] with pilasters. The central arch is the largest (twice than each side), is the only one who has [[Tympanum (architecture)|tympanum]] and is divided by a central column, the [[mullion]], with the figure of [[James, son of Zebedee|Saint James]]. Vertically, the lower band is formed by the bases of the columns, decorated with fantastic animals, the middle strip consists of columns supporting the statues of the [[Apostles]] and attached the upper arches crowning the three doors. The sculpture is intended as an [[iconographic]] representation of different symbols taken from the [[Apocalypse]] of St. [[John the Apostle|John]] and other texts of the Old Testament.
To the north and south, and in a line with the west front, are dependent buildings of the 18th century, grouping well with it.


===Tympanum===
Those to the south contain a light and elegant arcade to the upper windows, and serve as a screen to the late [[Gothic architecture|Gothic]] cloisters, built in 1533 by Fonseca, afterwards [[Archbishop of Toledo]]. They are said to be the largest in Spain. The north side of the cathedral is in the rich Spanish [[Baroque style]] called Churrigueresque. This is the palace of Gelmirez, originally from the 12th century.
[[File:Pantocrator del pórtico de la Gloria en Santiago de Compostela.jpg|thumb|left|[[Christ Pantocrator|Pantokrator]]'s [[Tympanum (architecture)|tympani]] Pórtico da Gloria.]]


The arrangement of the [[Tympanum (architecture)|tympanum]] is based on the description of [[Christ]] that makes the Evangelist John in ''Revelation'' (Chapter 1.1 to 18). In the center, shows the [[Christ Pantocrator|Pantocrator]], with the image of Christ in Majesty, showing the hands and feet the wounds of [[Crucifixion of Jesus|crucifixion]]. Surrounding Christ, the [[tetramorph]] with the figures of the four [[Four Evangelists|Evangelist]]s with their attributes: left, top St. [[John the Apostle|John]] and the eagle and down St. [[Luke the Evangelist|Luke]] with the ox, on the right, above St. [[Saint Matthew|Matthew]] on the hood of the tax collector and down St. [[Mark the Evangelist|Mark]] and the lion.
This façade is illustrated on the [[Spanish euro coins]] of 1c., 2c. and 5c.


On both sides of the evangelists, behind Mark and Luke, are four [[angel]]s on each side with the instruments of the Passion of Christ. Some are, without touching them directly, the cross and crown of thorns (left) and lance and four nails (right), another the column in which he was whipped and the jar with which washed [[Pontius Pilate]]. Above the heads of these angels, two large groups of souls of the blessed, forty in all. In the [[archivolt]] of the central tympanum are seated the elders of the ''Apocalypse'', each holding a musical instrument, such as preparing a concert in honor of God.
[[Image:Cathedral square Santiago de Compostela.jpg|thumb|Northern façade]]


===Northern façade===
===Mullion===
[[File:Parteluz de l pórtico de la Gloria.jpg|thumb|125px|upright|[[Mullion]] with the figure of Santiago.]]
The northern façade leads into the ''Praza da Immaculada''. Here ended the Way of St. James, coming from France, ending at the Francigena (also called Gate of Paradise), the Romanesque portal built in 1122 by Bernard, treasurer of the church. This gate was demolished in the 17th century.
⚫
On top of the façade stands a statue of St. James from the 18th century, with two kings at his feet in a praying position : Alfonso II the Great (866-910) and [[Ordoño II of León]] (873-924). In the centre stands the statue of Faith.


in the mullion seated figure of St. James with a pilgrim's swagger stick, as patron of the basilica. St. James appears with a scroll which contains written ''Misit em Dominus'' (the Lord sent me). The column just above his head with a [[Capital (architecture)|capital]] which represent the [[Temptation of Christ|temptations of Christ]] on three of its sides, facing the inside of the temple, pray two kneeling angels. At the foot of the saint is another capital with the figures of the Trinity|Holy Trinity]]. Under the Apostle represents the [[tree of Jesse]], the name given to the family tree of Jesus Christ from [[Jesse]], father of King [[David]], is the first time that this subject is represented in religious iconography in the Iberian Peninsula. The column rests on a base where there is a figure with beard to his chest (perhaps an image of [[Noah]]) and two lions. At the foot of the central column at the top inside looking towards the main altar of the cathedral, is the kneeling figure of the himself Master Mateo, holding a sign that is written ''Architectus''. This image is popularly known as «Santo dos croques» by the ancient tradition of students from hitting their heads against the figure for wisdom, a tradition that was adopted later by pilgrims, although steps are being taken to limit access to try to stop the deterioration that is why the work has suffered.
===Eastern façade===
The eastern façade at the ''Praza da Quintana'' offers a completely different view. It has two main portals: the Holy Door and the Royal Door. The Holy Door opens only during a [[Holy Year]], the year when 25 July (the saint's day of St. James) falls on a Sunday. It is accessible during those years via a smaller gated door, dedicated to St. Pelayo (St. Paio) (discoverer of the tomb of St. James). This privilege of holding a Holy Year dates from the 12th century and was granted by [[Pope Callixtus II]] in 1119 and confirmed with the papal bull "''Regis Aeterni''" by [[Pope Alexander III]] in 1179. This privilege elevated Santiago de Compostela to the same saint status as Rome and Jerusalem.


===Jambs===
This Baroque façade was built by Fernandez Lechuga in 1611, reusing the statues of the prophets and the patriarchs sculpted by Master Mateo. Again one finds above the door statues of St. James and his two disciples.
[[File:Apóstoles del Pórtico de la Gloria.jpg|thumb|left|upright|Apostles of the [[Door jamb|jambs]] of the Pórtico da Gloria.]]


In the columns of the central door and two side doors are represented apostles, prophets and other figures, with their iconographic attributes. All are topped with its own [[Capital (architecture)|capital]] which represent different animals and human heads with leaf motifs. All figures were multicolored and with his name on the books or scrolls they hold in their hands.
The Royal Door derives its name from the royal escutcheon above the door.
[[Image:SantCompostela82.jpg|thumb|Southern façade]]


The four pillars of the portico are based on strong foundations which represent various groups of animals and human heads with beards. For some authors, these figures are images of [[demon]]s, and symbolize the weight of glory (the portico in this case) crushes [[sin]]. Other sources give an apocalyptic interpretation, with wars, famine and death (represented by the beasts), situations that can only be saved by human intelligence (the heads of older men).
===Southern façade===
The southern façade is situated at the ''Praza das Praterias'' where, in times past, silver jewels were sold. This square is confined on two sides by the cathedral and the monastery. Adjacent is the city hall in the Rajoy palace. On the right side is the Baroque Clock Tower (''Torre del Reloj'') by Domindo de Andrade, dating from the 17th century. On the left is the Treasure Tower.


===Side doors===
This ''Porta das Prateirias'' one of the best preserved portals. It leads to the south transept. This two-arched Romanesque portal shows us a series of juxtaposed scenes in bas-relief, sculpted between 1112 and 1117. These sculptors came from [[Conques]] (in the French Pyrenees), [[Toulouse]], [[Moissac]], [[Loarre]] and [[Jaca]], resulting in a happy synthesis of their artistic traditions. Parts from the west façade and reliefs from the north portal were probably later integrated in this portal.
[[File:Santiago GDFL catedral 32.JPG|thumb|The [[archivolt]] of the right door is the [[Last Judgment]].]]


The arch of the right door represents the [[Last Judgment]]. The double [[archivolt]] is divided into two equal parts by two heads. Some authors identify these heads with the figures of [[Michael (archangel)archangel Michael]] and Christ, for others they are Christ-Judge and an angel, and other sources indicate that represent God the Father and God the Son. To the right of these heads is represented the [[Hell]], with figures of monsters ([[demon]]s) that drag and torture the souls of the damned. On the left, the [[Heaven]] with the elect, with figures of angels with children symbolizing the saved [[soul]]s.
The two [[tympanum (architecture)|tympanums]] give a disparate impression. The left tympanum shows us the ''Temptation of Christ'' in the desert. It is depicted in different fragments, giving a rather motley impression. On the right side of this tympanum one sees a half-dressed ''Woman Taken in Adultery'' with the skull of her lover in her lap (attributed to the Master of the Platerias). This probably refers to a legend from the [[Knights Templar|Order of the Knights Templar]] or maybe a legend with [[Catharism|Cathar]] origin. The right tympanum shows at its centre the flagellation of Christ; at the left side : the crowning with the Crown of Thorns and the healing of the blind; in the upper part : the Epiphany (rather damaged).


The arch of the left door depicts scenes from the [[Old Testament]], with the righteous await the arrival of the Savior. In the center of the first archivolt is God the Creator who blesses the pilgrim and holding the Book of Eternal Truth, to his right is Adam (naked), Abraham (with the index raised) and Jacob. With them are two figures that could be Noah (new father of mankind to save the Flood) and Esau or Isaac and Judah. To the left of God we see Eve, Moses, Aaron, King David and Solomon. In the second archivolt, the top ten small figures representing the twelve tribes of Israel.
The [[frieze]] shows figures from a ''Transfiguration'' : Christ, Abraham (rather unusual), scenes from the Old Testament and four angels with trumpets.
[Edit] Facade of Obradoiro
[[Image:Santiago de Compostela plan vertical.jpg|thumb|Plan of the cathedral as it was in the 12th century]]
The left [[pier]] shows (starting at the bottom) [[King David]] playing the [[lute]] (attributed to the Master of the Praterias), the ''Creation of Adam'' and ''Christ blessing King David''. These sculptures attest to a high degree of artistic quality, especially Adam with his right hand over his heart. They probably were taken from the ancient Romanesque northern portal and date from the last decade of the 11th century.



At the left side of the [[Vestibule (architecture)|vestibule]] : ''Adam and Eve, driven from Paradise'' (originating from the north portal).
Night view of the facade of the Obradoiro.
The Obradoiro square which gives the facade alludes to the workshop (necktie, in Galician) of stonemasons who worked on the square during the construction of the cathedral. To protect the Portico de la Gloria was suffering from deterioration by the weather, this facade and towers already had several reforms since the sixteenth century. In the eighteenth century it was decided to build the current Baroque façade, designed by Fernando de Casas Novoa. It has large windows that allow light glazed ancient Romanesque façade and is located between the towers of the Bells and Ratchet. In the middle of the central body is St. James and one level below his two disciples Athanasius and Theodore, all dressed in pilgrims. In between, the ballot box (representing the tomb found) and star (representing the lights he saw the hermit Pelayo) between angels and clouds. In the tower on the right is Mary Salome, mother of James, and the tower left their father Zebedee. On the balustrade of the left can be seen to St. Susanna and John and the right of St. Barbara and James the Menor.42

For up to the entrance of the facade is a ladder, made in the seventeenth century by Ginés Martínez, Renaissance style inspired by Jacopo Vignola Farnese Palace, diamond-shaped with two ramps that surround the entrance to the old crypt XII century Romanesque master's Matthew, popularly called "Old Cathedral" .43
Among the existing plane of the facade of the old Obradoiro and Romanesque portal (Portico de la Gloria) is a narthex covered.
This façade has become a symbol of the cathedral and the city of Santiago de Compostela. Proof of representation is the engraving on the back of the Spanish coins of 1, 2 and 5 cents.
[Edit] South facade or the Silversmiths
Main article: Front of the Silversmiths.


Romanesque facade of the Silversmiths.
The facade of the Silverware (Praterías in Galician) is the southern facade of the transept of the cathedral of Santiago de Compostela and is the only Romanesque facade is preserved in the cathedral. It was built between 1103 and 1117 and subsequent centuries have been adding elements from other parts of the catedral.44 The square of the Silversmiths is bounded by the cathedral and cloister on two sides, next to the cathedral is the Casa del Cabildo.
It has two entrance doors with archivolts degradation and historian eardrums. The archivolt are over eleven columns attached, three are of white marble (middle and end) and the rest of granite. In the center are the figures of twelve prophets and the Apostles on the sideline. On the eardrums is a large frieze is separated from the upper body by a strip supported by grotesque corbels, on this floor are two windows that are decorated with archivolts románicas.44


Sculpture of King David, by the master Stephen.
In the central frieze is Christ, with various characters and scenes, in the six figures right you see belong to the choir teacher Matthew stone that were placed in the late XIX.45 The original provision was invalidated iconographic elements since the eighteenth century were introduced numerous images recovered from dismantled Azabacherías facade. In a central medallion shows the Everlasting Father (or Transfiguration) with open hands and bows on the top surface are four angels with trumpets herald the Judgment Final.44
In the tympanum of the door left is Christ tempted by a group of demons. To the right is a half-dressed woman with a skull in his hands, which could be Eve or the adulterous woman, this figure is not praying on his knees but is sitting on two lions. The jambs are St. Andrew and Moses. In the left abutment, the Biblical King David seated on his throne with his legs crossed, translucent through the thin fabric of her clothes, and playing a viola, personifies the triumph over evil and is an outstanding work of the Romanesque, sculpted by Stephen master or teacher of the Silversmiths, 46 also shows the creation of Adam and Christ blessing. Many of these figures come from the north or Romanesque facade of Paradise (current facade of the Azabachería) and were placed in this century facade XVIII.44 47
In the tympanum of the door right are several scenes of the Passion of Christ and the Adoration of the Magi. In one of the jambs, the inscription commemorating the laying of the stone:
ERA / IC / XVI / V IDES / JULLII
Registration follows the Roman calendar, according to the computation of the call was Hispanic, corresponding to July 11, 1078. An image, unidentified, on a fox eats a rabbit and, against this, a badly dressed woman with an animal in her lap, come from elsewhere. Supported on the wall of the tower appear Berengaria other images representing the creation of Eve, Christ on a throne and sacrifice Isaac.44
[Edit] North facade or Azabachería


Facade of Azabachería.
The facade of Azabachería (Acibecharía in Galician) is in the Plaza de la Inmaculada or Azabachería, draining the last stretch French urban roads, Primitive North and English through the old gate or door Francigena Paradise. The Romanesque portal was built in 1122 by Bernard, treasurer of the temple. This gate was demolished after suffering a fire in 1758, some sculptural pieces that were saved were placed on the facade of the Silversmiths. The new was designed in Baroque style by Luke Ferro and finished by Sunday Caaveiro Lois Monteagudo and Fernández Clemente Sarela in neoclassical style, although it retained some traces of the baroque, the year 1769.48
⚫
At the top of the facade is a statue of St. James the eighteenth century, with two kings at his feet in prayer: Alfonso III and Ordoño II. In the center is the statue of the Fe.


==Interior==
==Interior==

Revision as of 18:32, 11 August 2012

Santiago de Compostela Cathedral
The Western façade of the cathedral as seen from the Praza da Obradoiro.
Religion
AffiliationRoman Catholic
DistrictSantiago de Compostela
LeadershipMonsignor Julián Barrio Barrio
Year consecrated1128
Location
LocationSantiago de Compostela, Galicia, Spain
Architecture
Architect(s)Fernando de Casas Novoa
TypeCathedral
StyleRomanesque, Gothic, Baroque
Groundbreaking1075
Completed1211
Specifications
Direction of façadeWest
Capacity1,200
Length100 metres (330 ft)
Width70 metres (230 ft)
Spire(s)2
Official name: Santiago de Compostela (Old Town)
Criteriai, ii, vi
Designated1985[1]
Reference no.320bis
Official name: Catedral Igrexa Catedral Metropolitana
Designated22 August 1896
Reference no.(R.I.) - 51 - 0000072 - 00000 [2]
Website
www.catedraldesantiago.es

Santiago de Compostela Cathedral (Galician: Catedral de Santiago de Compostela) is a Roman Catholic cathedral of the archdiocese of Santiago de Compostela in Galicia, Spain. The cathedral is the reputed burial-place of Saint James the Greater, one of the apostles of Jesus Christ. It is the destination of the Way of St. James, a major historical pilgrimage route since the Middle Ages. The building is a Romanesque structure with later Gothic and Baroque additions.

History

According to legend, the apostle Saint James the Greater brought Christianity to the Celts in the Iberian Peninsula. In 44 AD he was beheaded in Jerusalem. His remains were later brought back to Galicia, Spain. Following Roman persecutions of Spanish Christians, his tomb was abandoned in the 3rd century. Still according to legend, this tomb was rediscovered in 814 AD by the hermit Pelagius, after witnessing strange lights in the night sky. Bishop Theodomirus of Iria recognized this as a miracle and informed king Alfonso II of Asturias and Galicia (791-842). The king ordered the construction of a chapel on the site. Legend has it that the king became the first pilgrim to this shrine. This was followed by a first church in 829 AD and again in 899 AD by a pre-Romanesque church, at the order of king Alfonso III of León, causing the gradual development of a major place of pilgrimage. In 997 this early church was reduced to ashes by Al-Mansur Ibn Abi Aamir (938-1002), army commander of the caliph of Córdoba, Spain. The gates and the bells, carried by Christian captives to Córdoba, were added to the Aljama Mosque. When Córdoba was taken by king Ferdinand III of Castile in 1236, these same gates and bells were then transported by Muslim captives to Toledo, to be inserted in the Cathedral of Saint Mary of Toledo.

Construction of the present cathedral began in 1075 under the reign of Alfonso VI of Castile (1040–1109) and the patronage of bishop Diego Peláez. It was built according to the same plan as the monastic brick church of Saint Sernin in Toulouse, probably the greatest Romanesque edifice in France. It was built mostly in granite. Construction was halted several times and, according to the Liber Sancti Iacobi, the last stone was laid in 1122. But by then, the construction of the cathedral was certainly not finished. The cathedral was consecrated in 1128 in the presence of king Alfonso IX of Leon.

According to the Codex Calixtinus the architects were "Bernard the elder, a wonderful master", his assistant Robertus Galperinus and, later possibly, "Esteban, master of the cathedral works". In the last stage "Bernard, the younger" was finishing the building, while Galperinus was in charge of the coordination. He also constructed a monumental fountain in front of the north portal in 1122.

The church became an episcopal see in 1075 and, due to its growing importance as a place of pilgrimage, it was soon raised to an archiepiscopal see by pope Urban II in 1100. A university was added in 1495.

The cathedral was expanded and embellished with additions in the 16th, 17th and 18th centuries.

Exterior of the Cathedral

Overview of the cathedral complex.

Each of the facades form with their respective squares great urban places. The Baroque facade of the Obradoiro was performed by Casas Novoa, also baroque is the Acibechería, work by Ferro Caaveiro and Fernández Sarela and modified by Ventura Rodríguez, the Praterías, built by the Master Esteban in 1103, and especially the Pórtico da Gloria, primary work of Romanesque sculpture, completed by Master Mateo in 1188.

Pórtico da Gloria

Reproduction of the Pórtico da Gloria in the Victoria and Albert Museum in London.

The Pórtico da Gloria of the Cathedral of Santiago de Compostela is a Romanesque portico by Master Mateo and his workshop at the request of King Ferdinand II of León, who donated for this purpose one hundred maravedís annually between 1168 and 1188, when the latter consisting inscribed in stone in the cathedral as its completion. On April 1, 1188 placed the lintels of the portico and the conclusion of the set was delayed until 1211, at which time the temple was consecrated by the presence of King Alfonso IX of León.

The portico has three arches that correspond to each of the three naves of the church, supported by thick piers with pilasters. The central arch is the largest (twice than each side), is the only one who has tympanum and is divided by a central column, the mullion, with the figure of Saint James. Vertically, the lower band is formed by the bases of the columns, decorated with fantastic animals, the middle strip consists of columns supporting the statues of the Apostles and attached the upper arches crowning the three doors. The sculpture is intended as an iconographic representation of different symbols taken from the Apocalypse of St. John and other texts of the Old Testament.

Tympanum

Pantokrator's tympani Pórtico da Gloria.

The arrangement of the tympanum is based on the description of Christ that makes the Evangelist John in Revelation (Chapter 1.1 to 18). In the center, shows the Pantocrator, with the image of Christ in Majesty, showing the hands and feet the wounds of crucifixion. Surrounding Christ, the tetramorph with the figures of the four Evangelists with their attributes: left, top St. John and the eagle and down St. Luke with the ox, on the right, above St. Matthew on the hood of the tax collector and down St. Mark and the lion.

On both sides of the evangelists, behind Mark and Luke, are four angels on each side with the instruments of the Passion of Christ. Some are, without touching them directly, the cross and crown of thorns (left) and lance and four nails (right), another the column in which he was whipped and the jar with which washed Pontius Pilate. Above the heads of these angels, two large groups of souls of the blessed, forty in all. In the archivolt of the central tympanum are seated the elders of the Apocalypse, each holding a musical instrument, such as preparing a concert in honor of God.

Mullion

Mullion with the figure of Santiago.

in the mullion seated figure of St. James with a pilgrim's swagger stick, as patron of the basilica. St. James appears with a scroll which contains written Misit em Dominus (the Lord sent me). The column just above his head with a capital which represent the temptations of Christ on three of its sides, facing the inside of the temple, pray two kneeling angels. At the foot of the saint is another capital with the figures of the Trinity|Holy Trinity]]. Under the Apostle represents the tree of Jesse, the name given to the family tree of Jesus Christ from Jesse, father of King David, is the first time that this subject is represented in religious iconography in the Iberian Peninsula. The column rests on a base where there is a figure with beard to his chest (perhaps an image of Noah) and two lions. At the foot of the central column at the top inside looking towards the main altar of the cathedral, is the kneeling figure of the himself Master Mateo, holding a sign that is written Architectus. This image is popularly known as «Santo dos croques» by the ancient tradition of students from hitting their heads against the figure for wisdom, a tradition that was adopted later by pilgrims, although steps are being taken to limit access to try to stop the deterioration that is why the work has suffered.

Jambs

Apostles of the jambs of the Pórtico da Gloria.

In the columns of the central door and two side doors are represented apostles, prophets and other figures, with their iconographic attributes. All are topped with its own capital which represent different animals and human heads with leaf motifs. All figures were multicolored and with his name on the books or scrolls they hold in their hands.

The four pillars of the portico are based on strong foundations which represent various groups of animals and human heads with beards. For some authors, these figures are images of demons, and symbolize the weight of glory (the portico in this case) crushes sin. Other sources give an apocalyptic interpretation, with wars, famine and death (represented by the beasts), situations that can only be saved by human intelligence (the heads of older men).

Side doors

The archivolt of the right door is the Last Judgment.

The arch of the right door represents the Last Judgment. The double archivolt is divided into two equal parts by two heads. Some authors identify these heads with the figures of Michael (archangel)archangel Michael and Christ, for others they are Christ-Judge and an angel, and other sources indicate that represent God the Father and God the Son. To the right of these heads is represented the Hell, with figures of monsters (demons) that drag and torture the souls of the damned. On the left, the Heaven with the elect, with figures of angels with children symbolizing the saved souls.

The arch of the left door depicts scenes from the Old Testament, with the righteous await the arrival of the Savior. In the center of the first archivolt is God the Creator who blesses the pilgrim and holding the Book of Eternal Truth, to his right is Adam (naked), Abraham (with the index raised) and Jacob. With them are two figures that could be Noah (new father of mankind to save the Flood) and Esau or Isaac and Judah. To the left of God we see Eve, Moses, Aaron, King David and Solomon. In the second archivolt, the top ten small figures representing the twelve tribes of Israel. [Edit] Facade of Obradoiro


Night view of the facade of the Obradoiro. The Obradoiro square which gives the facade alludes to the workshop (necktie, in Galician) of stonemasons who worked on the square during the construction of the cathedral. To protect the Portico de la Gloria was suffering from deterioration by the weather, this facade and towers already had several reforms since the sixteenth century. In the eighteenth century it was decided to build the current Baroque façade, designed by Fernando de Casas Novoa. It has large windows that allow light glazed ancient Romanesque façade and is located between the towers of the Bells and Ratchet. In the middle of the central body is St. James and one level below his two disciples Athanasius and Theodore, all dressed in pilgrims. In between, the ballot box (representing the tomb found) and star (representing the lights he saw the hermit Pelayo) between angels and clouds. In the tower on the right is Mary Salome, mother of James, and the tower left their father Zebedee. On the balustrade of the left can be seen to St. Susanna and John and the right of St. Barbara and James the Menor.42

For up to the entrance of the facade is a ladder, made in the seventeenth century by Ginés Martínez, Renaissance style inspired by Jacopo Vignola Farnese Palace, diamond-shaped with two ramps that surround the entrance to the old crypt XII century Romanesque master's Matthew, popularly called "Old Cathedral" .43 Among the existing plane of the facade of the old Obradoiro and Romanesque portal (Portico de la Gloria) is a narthex covered. This façade has become a symbol of the cathedral and the city of Santiago de Compostela. Proof of representation is the engraving on the back of the Spanish coins of 1, 2 and 5 cents. [Edit] South facade or the Silversmiths Main article: Front of the Silversmiths.


Romanesque facade of the Silversmiths. The facade of the Silverware (Praterías in Galician) is the southern facade of the transept of the cathedral of Santiago de Compostela and is the only Romanesque facade is preserved in the cathedral. It was built between 1103 and 1117 and subsequent centuries have been adding elements from other parts of the catedral.44 The square of the Silversmiths is bounded by the cathedral and cloister on two sides, next to the cathedral is the Casa del Cabildo. It has two entrance doors with archivolts degradation and historian eardrums. The archivolt are over eleven columns attached, three are of white marble (middle and end) and the rest of granite. In the center are the figures of twelve prophets and the Apostles on the sideline. On the eardrums is a large frieze is separated from the upper body by a strip supported by grotesque corbels, on this floor are two windows that are decorated with archivolts románicas.44


Sculpture of King David, by the master Stephen. In the central frieze is Christ, with various characters and scenes, in the six figures right you see belong to the choir teacher Matthew stone that were placed in the late XIX.45 The original provision was invalidated iconographic elements since the eighteenth century were introduced numerous images recovered from dismantled Azabacherías facade. In a central medallion shows the Everlasting Father (or Transfiguration) with open hands and bows on the top surface are four angels with trumpets herald the Judgment Final.44 In the tympanum of the door left is Christ tempted by a group of demons. To the right is a half-dressed woman with a skull in his hands, which could be Eve or the adulterous woman, this figure is not praying on his knees but is sitting on two lions. The jambs are St. Andrew and Moses. In the left abutment, the Biblical King David seated on his throne with his legs crossed, translucent through the thin fabric of her clothes, and playing a viola, personifies the triumph over evil and is an outstanding work of the Romanesque, sculpted by Stephen master or teacher of the Silversmiths, 46 also shows the creation of Adam and Christ blessing. Many of these figures come from the north or Romanesque facade of Paradise (current facade of the Azabachería) and were placed in this century facade XVIII.44 47 In the tympanum of the door right are several scenes of the Passion of Christ and the Adoration of the Magi. In one of the jambs, the inscription commemorating the laying of the stone: ERA / IC / XVI / V IDES / JULLII Registration follows the Roman calendar, according to the computation of the call was Hispanic, corresponding to July 11, 1078. An image, unidentified, on a fox eats a rabbit and, against this, a badly dressed woman with an animal in her lap, come from elsewhere. Supported on the wall of the tower appear Berengaria other images representing the creation of Eve, Christ on a throne and sacrifice Isaac.44 [Edit] North facade or Azabachería


Facade of Azabachería. The facade of Azabachería (Acibecharía in Galician) is in the Plaza de la Inmaculada or Azabachería, draining the last stretch French urban roads, Primitive North and English through the old gate or door Francigena Paradise. The Romanesque portal was built in 1122 by Bernard, treasurer of the temple. This gate was demolished after suffering a fire in 1758, some sculptural pieces that were saved were placed on the facade of the Silversmiths. The new was designed in Baroque style by Luke Ferro and finished by Sunday Caaveiro Lois Monteagudo and Fernández Clemente Sarela in neoclassical style, although it retained some traces of the baroque, the year 1769.48 At the top of the facade is a statue of St. James the eighteenth century, with two kings at his feet in prayer: Alfonso III and Ordoño II. In the center is the statue of the Fe.

Interior

The cathedral is 97 m long and 22 m high. It preserves its original barrel-vaulted cruciform Romanesque interior. It consists of a nave, two lateral aisles, a wide transept and a choir with radiating chapels. Compared with many other important churches, the interior of this cathedral gives a first impression of austerity until one enters further and sees the magnificent organ and the exuberance of the choir. This cathedral, through its monumental dimensions, is the largest Romanesque church in Spain and even one of the largest in Europe.

The Pórtico da Gloria

Pórtico de la Gloria

Perhaps the chief beauty of the cathedral, however, is the 12th century Portico da Gloria, behind the western facade. This Portico da Gloria in the narthex of the west portal is a remains from the Romanesque period. It is a masterwork of Romanesque sculpture built between 1168 and 1188 by Master Mateo at the request of king Ferdinand II of León. The vigorous naturalism of the figures in this triple portal is an expression of an art form, varied in its details, workmanship and polychromy (of which faint traces of colour remain). The shafts, tympana and archivolts of the three doorways which open onto the nave and the two aisles are a mass of strong and nervous sculpture representing the Last Judgment.

The central tympanum gives us an image of Christ in Majesty as Judge and Redeemer, showing His wounds in His feet and hands, accompanied by the tetramorph. He is surrounded on both sides by a retinue of angels carrying the symbols of the Passion. In the archivolt are represented the 24 Elders of the Apocalypse, who are tuning their musical instruments.

Elders tuning the organistrum (in the archivolt)

The column statues represent the apostles with their attribute, prophets and Old Testament figures with their name on a book or parchment. These were all polychromed. Noteworthy is the faint smile of the prophet Daniel looking at the angel of Reims.

Saint James on the middle pier

The middle pier represents Saint James, his face conveying an ecstatic serenity. The text scroll in his hand shows the words Misit me Dominus (the Lord sent me). Below him is the Tree of Jesse (the lineage leading to Christ), while above is a representation of the Trinity. It is customary for the pilgrims to touch the left foot of this statue, signifying that they have reached their destination. So many pilgrims have laid their hands on the pillar to rest their weary bones, that a groove has been worn in the stone.

The lateral portals are dedicated to the rival churches : on the left to the Jews and on the right to the unbelievers.

The right tympanum is divided in three parts and is dedicated to the salvation of the souls. In the centre Christ and St Michael, flanked by Hell (represented by demons) and Heaven (represented by children). The purgatory is shown on the side. The left tympanum shows scenes from the Old Testament.

Demons are represented at the bottom of the pórtico, signifying that Glory crushes sin.

Behind the portico stands the statue of Maestro Mateo, the master architect and sculptor put in charge of the cathedral building programme in the 12th century by Fernando II. It is said that whoever butts their head three times against the statue will be given a portion of Mateo's genius[3] and perhaps enhanced memory. There is usually a long line of visitors waiting to bump their head against the statue.

The sculptures in this portico have been a point of reference for Galician sculpture until the 15th century.

The nave

Nave and choir

The barrel-vaulted nave and the groin-vaulted aisles consist of eleven bays, while the wide transept consists of six bays. Every clustered pier is flanked by semi-columns, three of which carry the cross vaults of the side aisles and the truss of the arched vaults, while the fourth reaches to the spring of the vault. Lit galleries run, at a remarkable height, above the side aisles around the church.

The choir is covered by three bays and surrounded with an ambulatory and five radiating chapels. The vault of the apse is pierced by round windows, forming a clerestory. The choir displays a surprising exuberance in this Romanesque setting. An enormous baldachin, with a sumptuous decorated statue of Saint James from the 13th century, rises above the main altar. The pilgrims are allowed to kiss the saint's mantle via a narrow passage behind the altar.

In the choir aisle one remarks the beautiful lattice work and the vault of the Mondragon chapel (1521). The radiating chapels constitute a museum of paintings, retables, reliquaries and sculptures, accumulated throughout the centuries. In the Chapel of the Reliquary (Galician: Capela do Relicario) is a gold crucifix, dated 874, containing an alleged piece of the True Cross.

Crypt

Relics of St James

The crypt, below the main altar, shows the substructure of the 9th century church. This was the final destination of the pilgrims. The crypt houses the relics of Saint James and two of his disciples : Saint Theodorus and Saint Athanasius. The silver reliquary (by José Losada, 1886) was put in the crypt at the end of the 19th century, after authentication of the relics by Pope Leo XIII in 1884.

In the course of time, the burial place of the saint had been almost forgotten. Because of regular Dutch and English incursions, the relics had been transferred in 1589 from their place under the main altar to a safer place. They were rediscovered in January 1879.

Botafumeiro

The swinging Botafumeiro dispensing clouds of incense

A dome above the crossing contains the pulley mechanism to swing the "Botafumeiro", which is a famous thurible found in this church. This thurible was created by the goldsmith José Losada in 1851. The Santiago de Compostela Botafumeiro is the largest censer in the world, weighing 80 kg and measuring 1.60 m in height. It is normally on exhibition in the library of the cathedral, but during certain important religious high days it is attached to the pulley mechanism, filled with 40 kg of charcoal and incense. In the Jubilee Years, whenever St James's Day falls on a Sunday, the Botafumeiro is also attached in all the Pilgrims' Masses. Eight red-robed tiraboleiros pull the ropes and bring it into a swinging motion almost to the roof of the transept, reaching speeds of 80 km/h and dispensing thick clouds of incense. One explanation of this custom, which originated more than 700 years ago—although incense has been used in Catholic ritual from the earliest times—is that it assisted in masking the stench emanating from hundreds of unwashed pilgrims.[citation needed]

Other burials

See also

Notes

  1. ^ "Santiago de Compostela (Old Town)". Whc.unesco.org. Retrieved 2011-01-10.
  2. ^ "Catedral Igrexa Catedral Metropolitana". Patrimonio Historico - Base de datos de bienes inmuebles (in Spanish). Ministerio de Cultura. Retrieved 9 January 2011.
  3. ^ Lonely Planet: Spain. 4th Ed. 2003

References

  • Text from the articles in the French and Spanish wikipedia
  • Turner, J. - Grove Dictionary of Art - MacMillan Publishers Ltd., 1996; ISBN 0-19-517068-7
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