Metropolitan Archcathedral Basilica of Santiago de Compostela | |
---|---|
Religion | |
Affiliation | Catholic |
District | Santiago de Compostela |
Rite | Roman Rite |
Leadership | Archbishop Francisco José Prieto Fernández |
Location | |
Location | Santiago de Compostela, Galicia, Spain |
Geographic coordinates | 42°52′50″N08°32′40″W / 42.88056°N 8.54444°W |
Architecture | |
Type | Metropolitan Archcathedral-Basilica |
Style | Romanesque, Gothic, Baroque |
Groundbreaking | 1075 |
Completed | 1211 |
Specifications | |
Direction of façade | West |
Capacity | 1,200 |
Length | 100 m (330 ft) |
Width | 70 m (230 ft) |
Height (max) | 75 m (246 ft) |
Spire(s) | 2 |
Official name: Santiago de Compostela (Old Town) | |
Criteria | i, ii, vi |
Designated | 1985 [1] |
Reference no. | 320bis |
Official name: Catedral Igrexa Catedral Metropolitana | |
Designated | 22 August 1896 |
Reference no. | (R.I.) - 51 - 0000072 - 00000 [2] |
Website | |
catedraldesantiago.es |
The Santiago de Compostela Arch cathedral Basilica (Spanish and Galician: Catedral Basilica de Santiago de Compostela) is part of the Metropolitan Archdiocese of Santiago de Compostela and is an integral component of the Santiago de Compostela World Heritage Site in Galicia, Spain. The cathedral is the reputed burial place of Saint James the Great, one of the apostles of Jesus Christ. It is also among the remaining churches in the world built over the tomb of an apostle, the other ones being St Peter's Basilica in Vatican City, St Thomas Cathedral Basilica in Chennai, India and Basilica of St. John in Izmir, Turkey.
The archcathedral basilica has historically been a place of pilgrimage on the Way of St James since the Early Middle Ages and marks the traditional end of the pilgrimage route. The building is a Romanesque structure, with later Gothic and Baroque additions.
According to the legend, the apostle Saint James the Great brought Christianity to the Iberian Peninsula. [3] [4] However, in Acts 12 it is written that James was killed on order of Herod in Jerusalem.
According to legend, the tomb in Santiago was rediscovered in AD 814 by Pelagius the Hermit, after he witnessed strange lights in the night sky above the Libredon forest. 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 was the first pilgrim to this shrine. This was followed by the first church in AD 829 and then in AD 899 by a pre-Romanesque church, ordered by king Alfonso III of León, [5] which caused the gradual development of this major place of pilgrimage. [6]
In 997 the early church was reduced to ashes by Al-Mansur Ibn Abi Aamir (938–1002), army commander of the caliph of Córdoba. St James' tomb and relics were left undisturbed. The gates and the bells, carried by local Christian captives to Córdoba, were added to the Aljama Mosque. [7] 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.[ according to whom? ] 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 1211 in the presence of king Alfonso IX of Leon. [8] [9]
According to the Codex Calixtinus the architects were "Bernard the elder, a wonderful master", his assistants 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 city became an episcopal see in 1075 and the church its cathedral. Due to its growing importance as a place of pilgrimage, it was raised to an archiepiscopal see by Pope Callixtus II in 1120. A university was added in 1495.[ citation needed ]
It has been proposed that the peculiar lantern towers of several churches in the Duero valley (Zamora, Plasencia, Toro, Évora) were inspired by the Romanesque dome of Santiago, substituted by a Gothic one in the 15th century. [10] The cathedral was expanded and embellished with additions in the 16th, 17th and 18th centuries.
Each of the façades along with their adjoining squares constitute a large urban square. The Baroque façade of the Praza do Obradoiro square was completed by Fernando de Casas Novoa in 1740. Also in baroque style is the Acibecharía façade by Ferro Caaveiro and Fernández Sarela, later modified by Ventura Rodríguez. The Pratarías façade, built by the Master Esteban in 1103, and most importantly the Pórtico da Gloria, an early work of Romanesque sculpture, were completed by Master Mateo in 1188.
The Obradoiro square in front of the façade alludes to the workshop (Galician : obradoiro) of stonemasons who worked on the square during the construction of the cathedral. In order to protect the Pórtico da Gloria from deterioration caused by weather, this façade and towers have had several reforms since the 16th century. In the 18th century it was decided to build the current Baroque façade, designed by Fernando de Casas Novoa. It has large glazed windows that illuminate the ancient Romanesque façade, located between the towers of the Bells and of the Ratchet. In the middle of the central body is St. James and one level below his two disciples Athanasius and Theodore, all dressed as pilgrims. In between, the urn (representing the found tomb) and the star (representing the lights Hermit Pelagius saw) between angels and clouds. The tower on the right depicts Mary Salome, mother of St. James, and the tower on the left depicts his father Zebedee. The balustrade on the left side depicts St. Susanna and St. John and the one on the right depicts St. Barbara and James the Less. [11]
A stair allows entrance to the façade. The stair was made in the 17th century by Ginés Martínez and it is of Renaissance style inspired by Giacomo Vignola of Palazzo Farnese. It is diamond-shaped with two ramps that surround the entrance to the old 12th century Romanesque crypt of the Master Mateo, popularly called the "Old Cathedral". [12]
Between the existing plane of the façade of the Obradoiro and the old Romanesque portal (Pórtico da Gloria) there is a covered narthex.
This façade has become a symbol of the cathedral and the city of Santiago de Compostela. As such, it is the engraving on the back of the Spanish euro coins of 1, 2 and 5 cents.
The façade of the Silverware (Pratarías in Galician) is the southern façade of the transept of the cathedral of Santiago de Compostela; it is the only Romanesque façade that is preserved in the cathedral. It was built between 1103 and 1117 and elements from other parts of the cathedral have been added in subsequent years. [13] The square is bound by the cathedral and cloister on two sides. Next to the cathedral is the Casa do Cabido.
It has two entrance doors in degradation with archivolts and historical tympanums. The archivolts are attached over eleven columns, three are of white marble (middle and corners) and the rest of granite. In the center are the figures of twelve prophets and the Apostles on the sideline. On the tympanums is a large frieze separated from the upper body by a strip supported by grotesque corbels; on this floor are two windows decorated with Romanesque archivolts. [13]
In the central frieze is Christ, with various characters and scenes. On the right six figures belong to the Stone choir of Master Mateo that were placed in the late 19th century. The original provision of the iconographic elements was invalidated since in the 18th century numerous images were introduced recovered from the dismantled Acibecharía façade. [14] A central medallion shows the Eternal Father (or Transfiguration) with open hands and on the top surface there are four angels with trumpets heralding the Final Judgment. [13]
In the tympanum of the left door is Christ tempted by a group of demons. To the right is a half-dressed woman with a skull in her hands, which could be Eve or the adulterous woman. This figure is not praying on her knees but is sitting on two lions. The jambs are Saint 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 his clothes, and playing what appears to be a rebec, personifies the triumph over evil and is an outstanding Romanesque work, sculpted by Master Esteban. The creation of Adam and Christ's blessing is also shown. Many of these figures come from the Romanesque façade of the north or do Paraíso (current façade of the Acibecharía) and were placed on this façade in the 18th century. [13] [15]
In the tympanum of the right door there are several scenes from the Passion of Christ and the Adoration of the Magi. In one of the jambs is the inscription commemorating the laying of the stone:
Registration follows the Roman calendar, according to the computation of the Spanish era, corresponding to July 11, 1078. An image, unidentified, of a fox eating a rabbit and, against this, a badly dressed woman with an animal in her lap. Supported on the wall of the tower Berenguela appear other images representing the creation of Eve, Christ on a throne, and the Binding of Isaac. [13]
The façade "da Acibecharía" (Galician name derived from the jet gemstone) is in the Praza da Inmaculada or Acibecharía, draining the last section of urban roads: French, Primitive, Northern and English through the old gate Franxígena or Paradise door. The Romanesque portal was built in 1122 by Bernardo, treasurer of the temple. This portal was demolished after suffering a fire in 1758; some sculptural pieces that were saved were placed on the façade das Pratarías. The new façade was designed in Baroque style by Lucas Ferro Caaveiro and finished by Domingo Lois Monteagudo and Clemente Fernández Sarela in the neoclassical style in 1769, although it retained some traces of the baroque. [16]
At the top of the façade is an 18th-century statue of St. James, with two kings in prayer at his feet: Alfonso III of Asturias and Ordoño II of León. In the centre is the statue of Faith. [17] [18]
The façade of the cathedral that overlooks the Plaza de la Quintana has two gates: the Porta Real (royal gate) and the Porta Santa (holy gate). The construction of the Porta Real, baroque, was begun under the direction of José de Vega y Verdugo and by José de la Peña de Toro in 1666, and was completed by Domingo de Andrade in 1700, who built some of the columns that span two floors of windows, a balustrade with large pinnacles, and an aedicula with an equestrian statue of Saint James (now disappeared), well adorned with decorative fruit clusters and large-scale military trophies. The kings of Spain entered the cathedral through this door, hence its name, and the royal coat of arms on its lintel. [13] [19]
The holy door (Porta Santa) or Door of Forgiveness (Porta do Perdón) is the closest to the steps. It is usually closed with a fence and opened only in a Jacobean holy year (years when Saint James' Day, 25 July, falls on a Sunday). It was one of the seven lesser gates and was dedicated to St. Pelagius (for whom is named a convent just opposite). On this door niches contain the image of James, with his disciples Athanasius and Theodore at his side. On the bottom and sides of the door were placed twenty-four figures of prophets and apostles (including St. James) coming from the old stone choir of Master Mateo. Inside this door through a small courtyard is the true Holy Door, which enters into the ambulatory of the apse of the church. [13] [20]
The early towers in the main façade of the cathedral were Romanesque (current façade of the Obradoiro). They are called the Torre das Campás, which is situated on the side of the Epistle (right) and Torre da Carraca, to the side of the Gospel (left). The two have a height of between 75 and 80 metres. [21]
The first part of the tower was built in the 12th century, but in the 15th century several modifications were made and King Louis XI of France donated in 1483 the two largest of the thirteen bells. [22]
Due to a tilt that was detected in its structure between the 16th and 17th centuries, the towers had to be reinforced with buttresses, between 1667 and 1670. The towers housing the bells were made by José de la Peña de Toro (1614–1676) in a baroque style, and completed by Domingo de Andrade. The architecture of the towers has a great effect in perspective with its vertical lines and the sequencing of its floors. [23] [24]
It is located to the left of the façade del Obradoiro, and was built – like its partner – on the opposite side of an earlier tower of the Romanesque period. It was designed by Fernando de Casas Novoa in 1738, imitating the bell towers by Peña de Toro and Domingo de Andrade in the 17th century: baroque decorations adorned all kinds of ornamentation that provided a unifying architecture across the façade. [23]
The Clock Tower, also called Torre da Trindade or, Berenguela, is at the intersection of the Pratarías square and the Quintana Square. Traditionally, construction was thought to begin in 1316, at the request of Archbishop Rodrigo del Padrón as a defence tower. After his death his successor, Archbishop Bérenger de Landore, continued work on it, though these dates are questioned by some authors. [22] When he became main master of the cathedral, Domingo de Andrade continued with its construction and between 1676 and 1680 raised it two floors higher; the use of various structures achieved a harmonious and ornamental design, with a pyramid-shaped crown and a lantern as a final element, with four light bulbs permanently lit. It rises to 75 m (246 ft). [24]
In 1833, a clock was placed on each side of the tower by Andrés Antelo, commissioned by the Archbishop Rafael de Vélez . As part of its mechanism it has two bells, one, at the hour, called Berenguela, and a smaller one marking the quarter hours. These two were cast in 1729 by Güemes Sampedro. Berenguela has a diameter of 255 cm (100 in) and a height of 215 cm (85 in), weighing approximately 9,600 kg (21,200 lb), and the smaller weighs 1,839 kg (4,054 lb) with a diameter of 147 cm (58 in) and a height of 150 cm (59 in). Both original bells cracked, forcing their replacement. The current replicas were cast in Asten (Netherlands) by the Eijsbouts house in 1989 and were placed in the cathedral in February 1990. [25] [26]
During a Jacobean Holy Year, pilgrims may enter the cathedral through the holy door (Porta Santa) to gain a plenary indulgence. [27] During a holy year, the lantern of the Berenguela Tower is lit throughout the year. otherwise it stays unlit. The light acts as a lighthouse to guide pilgrims to the cathedral during the holy years. [28]
The cathedral is 97 m (318 ft) long and 22 m (72 ft) 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. It is the largest Romanesque church in Spain and one of the largest in Europe.
The Portico of Glory ("Pórtico da Gloria" in Galician) of the Cathedral of Santiago de Compostela is a Romanesque portico by Master Mateo and his workshop commissioned by King Ferdinand II of León. To commemorate its completion in 1188, the date was carved on a stone and set in the cathedral, and the lintels were placed on the portico. Finalising the complete three-piece set took until 1211, when the temple was consecrated in the presence of King Alfonso IX of León. [8] [9]
The portico has three round arches that correspond to the three naves of the church, supported by thick piers with pilasters. The central arch, twice as wide as the other two, has a tympanum and is divided by a central column—a mullion—containing a depiction of Saint James. Vertically, the lower part is formed by the bases of the columns, decorated with fantastic animals, the middle portion consists of columns adorned with statues of the Apostles, and the upper part supports the base of the arches crowning the three doors. The sculpture is intended to serve as an iconographic representation of various symbols derived from the Book of Revelation and books of the Old Testament. [29]
The arrangement of the tympanum is based on the description of Christ that John the Evangelist makes in Revelation (Chapter 1 v 1 to 18). In the centre, the Pantocrator is shown, with the image of Christ in Majesty, displaying in his hands and feet the wounds of crucifixion. Surrounding Christ is the tetramorph with the figures of the four Evangelists with their attributes: left, top St. John and the eagle and below St. Luke with the ox; on the right above, St. Matthew on the hood of the tax collector and below St. Mark and the lion. [30]
On both sides of the evangelists, behind Mark and Luke, there 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 through which Pontius Pilate proclaimed his innocence. 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, as if preparing a concert in honor of God. [30]
In the mullion, the figure of Saint James is seated with a pilgrim's staff, as a patron of the basilica. St. James appears with a scroll which contains written Misit me Dominus (the Lord sent me). The column just above his head with a capital which represents the temptations of Christ. On three of its sides, facing the inside of the temple, two kneeling angels pray. At the foot of the saint there is another capital with the figures of the Holy Trinity. Under the Apostle there is a representation of the tree of Jesse, the name given to the family tree of Jesus Christ from Jesse, father of King David; this 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, there is the kneeling figure of the Master Mateo himself, holding a sign on which is written Architectus. This image is popularly known as Santo dos Croques [31] from the ancient tradition of students 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 stem deterioration from which the work has suffered.
In the columns of the central door and two side doors, the apostles are represented, as well as prophets and other figures with their iconographic attributes. All are topped with its own capital which represents different animals and human heads with leaf motifs. The names of all the figures are on the books or scrolls held 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 historians, these figures are images of demons and symbolize the weight of glory (the portico in this case) crushing sin. Other sources give an apocalyptic interpretation, with wars, famine and death (represented by the beasts) with situations that can only be saved by human intelligence (the heads of older men).
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 archangel Michael and Christ. For others, they are Christ-Judge and an angel or may indicate God the Father and God the Son. To the right of these heads, Hell is represented with figures of monsters (demons) that drag and torture the souls of the damned. On the left is Heaven with the elect, with figures of angels with children symbolizing the saved souls. [32] [33]
The arch of the left door depicts scenes from the Old Testament, with the righteous awaiting the arrival of the Savior. In the center of the first archivolt is God the Creator who blesses the pilgrim and holds the Book of Eternal Truth; to his right are Adam (naked), Abraham (with the index raised), and Jacob. With them are two figures that could be Noah (new father of humanity saved through the Flood) and Esau or Isaac and Judah. To the left of God are Eve, Moses, Aaron, King David and Solomon. In the second archivolt, the top, ten small figures represent the twelve tribes of Israel. [30]
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 can kiss the saint's mantle via a narrow passage behind the altar.
In the choir aisle the lattice work and the vault of the Mondragon chapel (1521) stand out. 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.
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.
Throughout 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. [34] [35]
A dome above the crossing contains the pulley mechanism to swing the "Botafumeiro", which is a famous thurible found in this church. It was created by the goldsmith José Losada in 1851. The Santiago de Compostela Botafumeiro is the largest censer in the world, weighing 80 kg (180 lb) and measuring 1.60 m (5.2 ft) in height. It is normally on exhibition in the library of the cathedral, but during certain important religious holidays it is attached to the pulley mechanism, filled with 40 kg (88 lb) of charcoal and incense. In the Jubilee Years (whenever St James's Day falls on a Sunday) the Botafumeiro is also used 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 (50 mph) and dispensing thick clouds of incense.[ citation needed ]
Santiago de Compostela, simply Santiago, or Compostela, is the capital of the autonomous community of Galicia, in northwestern Spain. The city has its origin in the shrine of Saint James the Great, now the Cathedral of Santiago de Compostela, as the destination of the Way of St. James, a leading Catholic pilgrimage route since the 9th century. In 1985, the city's Old Town was designated a UNESCO World Heritage Site.
James the Great was one of the Twelve Apostles of Jesus. According to the New Testament, he was the second of the apostles to die, and the first to be martyred. Saint James is the patron saint of Spain and, according to tradition, his remains are held in Santiago de Compostela in Galicia.
Ourense is a city and the capital of the province of Ourense, located in the autonomous community of Galicia, northwestern Spain. It is on the Camino Sanabrés path of the Way of St James, and is crossed by the Miño, Barbaña, Loña and Barbañica rivers. It is also known as A cidade das Burgas due to its hot springs, being one of the European cities with the greatest thermal heritage.
An archivolt is an ornamental moulding or band following the curve on the underside of an arch. It is composed of bands of ornamental mouldings surrounding an arched opening, corresponding to the architrave in the case of a rectangular opening. The word is sometimes used to refer to the under-side or inner curve of the arch itself. Most commonly archivolts are found as a feature of the arches of church portals. The mouldings and sculptures on these archivolts are used to convey a theological story or depict religious figures and ideologies of the church in order to represent the gateway between the holy space of the church and the external world. The presence of archivolts on churches is seen throughout history, although their design, both architecturally and artistically, is heavily influenced by the period they were built in and the churches they were designed for.
The Camino de Santiago, or in English the Way of St. James, is a network of pilgrims' ways or pilgrimages leading to the shrine of the apostle James in the cathedral of Santiago de Compostela in Galicia in northwestern Spain, where tradition holds that the remains of the apostle are buried.
The Cathedral of Saint Mary of Burgos is a Catholic church dedicated to the Virgin Mary located in the historical center of the Spanish city of Burgos. Its official name is Santa Iglesia Catedral Basílica Metropolitana de Santa María de Burgos.
The Cathedral of Saint Lazarus of Autun, commonly known as Autun Cathedral, is a Roman Catholic cathedral in Autun and a national monument of France. Famous for its Cluniac inspiration and its Romanesque sculptures by Gislebertus, it is a highlight of Romanesque art in Burgundy. It is the seat of the Bishop of Autun. The Bishop of Autun set forth the construction of St. Lazarus Cathedral as a result of the large movement of pilgrims travelling to Vezelay as they progressed on the pilgrimage route to Santiago de Compostela.
The Botafumeiro is a famous thurible used at the Santiago de Compostela Cathedral, in Spain. Its name comes from the Galician language, where botar means "to eject, to throw away, to expel", and the Latin fume, meaning "smoke".
O Saviñao is a Concello (council) in the province of Lugo, Galicia belonging to the district of Terra de Lemos. The main town for the council is Escairón.
The Hostal dos Reis Católicos, also called the Hostal de Los Reyes Católicos or Parador de Santiago de Compostela, is a five-star Parador hotel, located in the Praza do Obradoiro of Santiago de Compostela, Spain. It is widely considered one of the oldest continuously operating hotels in the world, and has also been called the "most beautiful hotel in Europe".
Saint Mary's Cathedral, better known as Lugo Cathedral, is a Roman Catholic church and basilica in Lugo, Galicia, north-western Spain. The cathedral was erected in the early 12th century in a Romanesque style, with Gothic, Baroque and Neoclassical elements.
The Cathedral of Sigüenza, officially Catedral de Santa María de Sigüenza, is the seat of the bishop of Sigüenza, in the town of Sigüenza, in Castile-La Mancha, Spain. It was declared Bien de Interés Cultural in 1931.
Domingo Antonio de Andrade was a Galician baroque architect, a leading figure in the emergence of Galician Baroque architecture.
The Ourense Cathedral is a Roman Catholic church located in Ourense in Galicia. Dedicated to St Martin, it was founded in 550. The first structure was restored by Alonso el Casto. The present mainly Gothic building was raised with the support of Bishop Lorenzo in 1220. Its local patroness is Saint Euphemia. There is a silver-plated shrine, and others of St Facundus and St Primitivus. The Christ's Chapel was added in 1567 by Bishop San Francisco Triccio. It contains an image of Christ, which was brought in 1330 from a small church on Cape Finisterre. John the Baptist's Chapel was created in 1468 by the Conde de Benavente. The Portal of Paradise is sculptured and enriched with figures of angels and saints, while the antique cloisters were erected in 1204 by Bishop Ederonio. The Capilla de la Maria Madre was restored in 1722, and connected by the cloisters with the cathedral. The eight canons were called Cardenales, as at the Cathedral of Santiago de Compostela, and they alone did services before the altar; this custom was recognised as "immemorial" by Pope Innocent III, in 1209. The cathedral, which has undergone an impressive transition of architectural styles of Romanesque, Gothic, Renaissance, Baroque and Neoclassical, was built to a Latin Cross plan. It has been a functional basilica since 1887. The cathedral has a crucifix that is held in great reverence all over Galicia.
The Portico of Glory of Santiago de Compostela Cathedral is a Romanesque portico and the cathedral's main gate created by Master Mateo and his workshop, on the orders of King Ferdinand II of León. The king donated to Mateo one hundred maravedís annually between 1168 and 1188. To commemorate its completion in 1188, the date was carved on a stone set in the cathedral and on the lintel that supports the richly ornamental tympanum. Under the contract made in 1168, if Mateo was to renege on the deal to create the portico at any time, he would have to pay 1,000 gold pieces (aureos). The complete three-piece set took until 1211 to completely finish; when the cathedral was consecrated in the presence of King Alfonso IX of León.
Spanish Romanesque designates the Romanesque art developed in the Hispanic-Christian kingdoms of the Iberian Peninsula in the 11th and 12th centuries. Its stylistic features are essentially common to the European Romanesque although it developed particular characteristics in the different regions of the peninsula. There is no Romanesque art in the southern half of the peninsula because it remained under Muslim rule (Al-Andalus). The examples of Romanesque buildings in the central area of the peninsula are sparse and of the latest period, with virtually no presence south of the Ebro and the Tagus. Most Romanesque buildings can be found in the northern third of the peninsula. Romanesque art was introduced into the peninsula from east to west, so scholars have usually defined regional characteristics accordingly: the "eastern kingdoms" comprising the Pyrenean areas, Catalan Romanesque, Aragonese Romanesque and Navarrese Romanesque, and the "western kingdoms" comprising Castilian-Leonese Romanesque, Asturian Romanesque, Galician Romanesque and Portuguese Romanesque.
The Praza do Obradoiro is main square of the Santiago de Compostela old town, although not placed at the real centre. It lies to the West of the main façade of the Santiago de Compostela cathedral, and thus the Pórtico da Gloria must be crossed to get into the building from the square. It is surrounded by four important buildings, said to represent the four powers of the city: the aforementioned Santiago de Compostela cathedral to the East, Hostal dos Reis Católicos to the North, Pazo de Raxoi to the West and the Colexio de San Xerome to the South. Once being crossed by cars, now is mainly pedestrian as the rest of the old town, with only traffic for taxis and (un)loading delivery lorries.
The Feast of Saint James, also known as Saint James' Day, is a commemoration of the apostle James the Great celebrated on July 25 of the liturgical calendars of the Roman Catholic church and of the Anglican, Lutheran and some other Protestant churches. The Orthodox Christian liturgical calendar commemorates James on April 30.
The Holy Door, also known as the Door of Forgiveness, is located at the rear of the Santiago de Compostela Archcathedral Basilica, in Galicia, Spain, and is opened only during a Jacobean Holy Year. During the Holy Year it remains open so that pilgrims, and others, may enter from the Plaza de la Quintana into the apse of the cathedral. Those who do so may earn a plenary indulgence.
Quintana Square is the main square of Santiago de Compostela, Galicia, Spain. It is formed by the meeting of the south facade of Santiago de Compostela Cathedral, Casa da Parra, Monastery of Saint Pelagius of Antealtares and Casa da Conga.
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