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About Estartit

Situated on the Costa Brava, Estartit is a small seaside resort on the north-east coast of Spain.
Small but perfectly formed, Estartit attracts thousands of visitors every year who come to enjoy the sun, sand and sangria, and a wealth of things to see and do on the ´Wild Coast´ of Spain.
Estartit is located in Girona province, which is part of the community of Catalonia, and the town stretches from Cala Montgó in the southern part of the Bay of Roses, to the Ter river estuary in the Bay of Pals. The town stretches 3km east to west, and includes the nearby hills of Roca Maura and Torre Moratxa.

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The Medes Islands Catalonia Spain

Just 1km offshore lies the Medes Islands, which is a world famous diving paradise made up of several uninhabited islands. These islands have been protected by Natural park status and are home to many unusual species of flora and fauna which live above and below the water line.

Tourism in the Costa Brava and in Estartit bought a large influx of visitors to the region in the 1960s, and the area continued to grow and develop into one of Spain´s most popular holiday destinations. Hotels, apartments and camp sites now surround Estartit, and this once sleepy fishing village has evolved into a lively Costa Brava resort.
Estartit is particularly popular with golfers, divers and sailors, and there are many golf courses, dive sites and sailing schools in and around the town. Estartit is 140km from Barcelona, 40km from Girona and 40km from Figueres. The nearest airport is Girona/Costa Brava Airport, which is just 50km from Estartit.

Things to do in Estartit

Most daytime activities in Estartit take place near the beachfront, and you can also take time to explore the rugged coastline close to the town, plus the old Spanish villages which are dotted around the countryside.

If you are planning a hiking, walking or cycling holiday in Spain, Estartit is the perfect place to come, and the region boasts a rich variety of landscapes, rocky coves and fertile plains. Horse riding is also a popular pastime in and around the town, and several riding centres can be found close to the town.

Catalonia golf

Catalonia is also home to some of the best golf courses in Europe, including two which are within easy reach of Estartit. The Emporda course is one of the most spectacular courses in Spain, and the club can be found between Torroella and Pals. The Golf Club of Pals is also popular, and it is set in pine forest close to the sea.

Torroella de Montgri attracts many culture vultures, and the major landmark of this town is the hilltop castle which dates back to the 13th century. The castle can be reached via a long path which starts at Carrer Fatima, and takes about an hour. The walk is worth it just for the views alone.
The town of Torroella de Montgri has narrow, old, winding streets and an impressive Gothic church which was built in the 14th century. Pals, to the south of Estartit is also a superb stopping off point for visitors who want to explore the ´real Spain.´

Estartit offers a wealth of international restaurants, including British fish and chips, Spanish paella and superb seafood, and even Chinese and Japanese restaurants. Try the Catalan restaurants for local specialities.

Estartit hotels

If you decide to stay in Estartit, you will find a wealth of hotels, apartments and camp sites in and around the town. You can find cheap hotels in Estartit, five-star luxury hotels and several guest houses and hostals to suit all tastes and budgets. Estartit is the perfect resort for a family holiday with sun, sand and sangria at reasonable prices.

Galicia things to do

The Auditorium of Galicia is an excellent venue for concerts and exhibitions built by Spanish architect Julio Cano Laso. Guided by a pergola crafted from steel and glass, we now make our way back to the old quarter of Santiago, to be exact to Calle de San Francisco, whose entrance is preceded on the right by the monastery of the same name.

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According to tradition, the Monastery of San Francisco was founded by St Francis himself on the occasion of his pilgrimage to Santiago in the 13th century. The Neo-classical style church dates from the second half of the 18th century, whereas the monument to St Francis of Assisi, situated in the vicinity of this street was sculpted by Galician artist Asorey in the first third of the present century. Calle de San Francisco, flanked on one side by the Faculty of Medicine (erected from 1910 to 1928) and the Hostal de los Reyes Catolicos, leads us back to the Plaza del Obradoiro.

The next stage of our tour takes us down Avenida de Rajoy, a narrow street that leads off to the right of the University Vice Chancellor's Office (Rectorado de la Universidad) and which offers a marvellous view of the Cathedral. This road brings us out into EI Campo de San Clemente, from where a flight of steps leads up to Plaza de Rodrigo del Padron. Standing at the far side of this square is the Rosalia de Castro Secondary School building, erected in the early 17th century in Plateresque style, which was commissioned by Archbishop Sanclemente to house the Colegio Mayor or university residence that was to bear his name. The main facade of the school building looks out onto La Alameda, without doubt the best park to be found in Santiago.

As we walk around La Alameda, which has a perimeter of around one kilometre, we are afforded a variety of interesting perspectives of the town. Thus, for instance, from the Paseo de la Herradura (also called Paseo de los Leones), a promenade dating from 1853, there is a spectacular panorama of the old town, whilst from the Paseo de las Palmeras, a walkway featuring a monument to poet Rosalia de Castro and a fir tree planted by Eva Peron in 1947, we are greeted by a view of the southern University campus, one which takes in the Faculties of Chemistry, Physics, Mathematics, Pharmacy, Biology, Law, along with several Schools, three University Residences, and a series of sports complexes and other facilities. Within the grounds of La Alameda we find two churches, the 12th century Romanesque Church of Santa Susana, set amidst oak trees at the very heart of the park, and the 18thcentury Baroque Church of EI Pilar, itself lying at the edge of the park, opposite the Mendez Nunez Gardens.

Lying at a distance of between 1 and 6 kilometres from the centre of Santiago are the following points of interest: Colegiata de Sar. Founded in the first half of the 12th century, this originally Romanesque collegiate church is renowned for the leaning piers separating its nave and aisles. The inclination of these members is to be explained by the flexible nature of the clayey soil on which the church was erected. Indeed, in the 16th century part of the nave vault came tumbling down, and later on in the 18th century massive buttresses were built against the church exterior. A number of mural paintings have been discovered in the walls of the central apse (there being three apses in total) and still surviving today is one of the sides of the Romanesque cloister, the remainder of which was reconstructed in Baroque style in the 18th century. The visitor to the church can also take in a monographical museum.

The Monastery of Conjo Galicia

Former Monastery of Conjo. Having been established in the 12th century, this monastery preserves very little of its original Romanesque fabric (certain sections of the cloister), since it was completely rebuilt church and all from the 17th to the 18th century. Up until the 15th century, it was run by a community of Benedictine monks, whereupon it was taken over by Mercedarians. In the second half of the 19th century, the Archbishop of Santiago, Cardinal Paya y Rico arranged for a mental hospital to be set up here, one which would serve the whole of Galicia. Pazo de San Lorenzo de Trasouto. This pazo or rural ancestral home lies on the site of the former homonymous Franciscan monastery that was founded in the 13th century at the edge of an oakwood. Having undergone alterations in the 17th and 18th centuries, nowadays it belongs to the Duchess of Soma. In what was the monastery church there is an interesting retable and two beautiful sepulchres featuring 16thcentury Plateresque statues depicting figures in prayer.

Monte Pedroso. From up on top of this hill we are afforded a superb view of the whole of Santiago and its environs, our field of view stretching out as far as 30 kilometres in some directions. Monte del Gozo (Mount of Joy). This is the hill from which the pilgrims arriving at Compostela on the French Route caught their first glimpse of the town. On the occasion of the Holy Year 1993, this site was to witness the construction of the John Paull! Pastoral Centre, as well as a boarding house and a camping site to cater for pilgrims and tourists alike, the latter having a capacity for 5,000 campers. There is also an openair theatre that can hold up to 20,000 spectators. Lying in the vicinity of Monte del Gozo is the Congress and Exhibition Centre, along with several hotel establishments.

Great places to go in Santiago de Compostela Spain

Setting off along Calle Cardenal Paya, we reach Plaza de Mazarelos, a square that in times gone by was replete with shops selling meat. Another feature of the square is the Puerta de Mazarelos, the only surviving gate of the seven that once formed part of the town walls. Looking through the gate, we can see the Convent of the Mercedarias Descalzas (Discalced Mercedarians), which was built beyond the town walls on the orders of Archbishop Giron in the second half of the 17th century. Displaying an early Baroque style, the convent facade features a beautiful group sculpture portraying the Annunciation.

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Other noteworthy elements of the square are the large building that nowadays houses the Faculty of Journalism (a mid-18th century Baroque structure commissioned by Archbishop Yermo Santiba Flez in order to serve as a Jesuit-run House of Exercises) and the memorial statue of Jose Montero RIos, the illustrious late 19thearly 20th century jurist and politician who was born here in Santiago.

Still standing in the adjacent Plaza de la Universidad is the former School of the Society of Jesus, along with the church that belonged to it. Having originally been erected in the second half of the 16th century, both were to be reconstructed in Baroque style in the 18th century and subsequently undergo Neoclassical alterations in the 19th. At present the school building houses the Faculty of History and Geography, whereas the church, which has recently been restored, is used as a venue for cultural events of a singular nature.

Next, our walk around the streets of Santiago takes us down Calle del Castro, graced by a statue of King Alfonso II (a gift from the town of Oviedo), and out into what is one of the most interesting parts of town, namely the Plaza del Mercado or Market Square, which lies between the Church of San Felix and that of San AgustIn. The origin of the Church of San Felix is to be traced back to the hermitage of Pelagius, the man who in the early 9th century saw the luminous signs revealing the location of the Apostle's tomb.

The Church of San Agustin, a mid-17th century structure, belongs to a monastery of the same name which, originally run by Augustinian friars, was later taken over by the Jesuits Architecturally speaking, the market building itself dates from the middle of the present century and was erected over a section of the old town walls. Consequently, from certain points of the market one can enjoy an interesting view from what amount to be genuine miradores or lookout posts. Among the elements encompassed by the view are:

Calle de la Virgen de la Cerca, a street running concentrically to the said wall; the 19th century Neoclassical Colegio de la Ensenanza, a school for young ladies commissioned by Archbishop Muzquiz; and, rising up in the distance, on a hillock reached by means of the narrow, steeply climbing Calle de las Trampas, the Convent of Belvis. The latter institution was founded in the early 14th century by Dona Teresa Gonzalez. Having been completely rebuilt in the 18th century, nothing remains today of its original fabric. Nevertheless, the convent has a chapel erected in honour of Our Lady of the Portal, who is greatly worshipped by the people of Santiago. Leaving Plaza del Mercado behind us, our tour takes us on around the Plazuela de San Agustin, the square lying at the feet of the church of the same name.

Next, we carry on along Rua Traviesa, where we find the late 18th century Baroque Church of Nuestra Senora del Camino, and finally come out into Rua de Casas Reales. Outstanding features of the latter are the early19th century Neoclassical Church of Las Animas, whose nine remarkable altars portray the Passion of Christ, and a series of Gothic (15th century) and Baroque houses.
Walking on up this street, we come to Plaza de Cervantes, formerly known as Bread Square owing to the fact that it once contained a number of shops selling both bread and other agricultural products. Standing on one side of the square is the Church of San Benito which, founded in the 12th century, was totally reconstructed in the course of the 18th.

Inside the church is a beautiful Gothic doorway tympanum depicting the Adoration of the Magi. Leaving Plaza de Cervantes by Calle de la Azabacheria, the street once lined with jet-craftsmen's workshops, we then turn into Calle de la Troya (second on the right), where we come across a building bearing the same name. This is Casa de la Troya, a former students' inn that provides the setting for Following the road around to the left, we come out into Calle de San Roque, a street that takes its name from the chapel and hospital founded here in the 15th century in order to invoke the protection of St Roque against epidemic diseases and to provide care for the sufferers of the latter, respectively.

Every year since then, the town of Santiago and the cathedral chapter have ceremoniously renewed their vow to the saint at the chapel, expressing their gratitude for his heavenly protection. As far as the hospital is concerned, it would appear that soon after it had come into operation thanks largely to he support of Archbishop Francisco Blanca, it became a centre dedicated to the treatment of venereal diseases, a function it served right up until the middle of this century. The hospital facade features the coat of arms of its founder and the statues of Cosme and Damian, the healing saints.

Puerta del Camino Santiago de Compostela

Skirting the Hospital of San Roque on its right is Calle de las Ruedas, a street that takes us down to the place known as Puerta del Camino, so-called because it is the site of the town wall gate through which the most important section of the Camino or Pilgrim's Route once passed, the section that has since come to be known as the Castilian or French Route. Spreading out to our left as we stand at Puerta del Camino is a group of monumental buildings. First of all, there is the Galician Centre for Contemporary Art, recently built by Portuguese architect Alvaro Siza.

Secondly, we have the Monastery of Santo Domingo de Bonaval (whose main building and church both belong to the 18th century Baroque, even though the former preserves an east end from a 14th century Gothic church). Nowadays the monastery houses the Municipal Museum (exhibiting, amongst other things, objects from the no longer existing Hospital de los Reyes Catolicos, for instance a portrait of Charles IV by Goya), the Museum of the Galician People (an ethnographical institution with rooms devoted to activities related to the sea and other traditional trades) and, in one of the church chapels, the Pantheon of industrious Galicians (holding the tombs of Rosalia de Castro, Ramon Cavanillas, Domingo Fontan, Alfredo Branas, Castelao). Finally, there is a large park which, likewise remodeled by the architect Siza, combines the former orchard belonging to the monastery of Santo Domingo with what had been the local cemetery from 1947 until the middle of this century.

We leave the above area by taking Calle de Ramon del Valle Inclan, which leads us back to Calle de San Roque. On this occasion we turn right into this road and follow it down to the end, where we find, facing each other on opposite sides of the street, the Convent of Santa Clara and that of EI Carmen. The first of these convents, lying on our right, is run by nuns of the Order of St Clare and is believed to have been founded in the 13th century by queen Violante, the wife of Alfonso X the Wise; its present-day building, however, is 18th century Baroque.

The second belongs to a community of Discalced Carmelite nuns and was itself established in 1753 by the venerable Mother Maria Antonia de Jesus. Setting off down Avenida de Coimbra, the avenue that starts right in front of the Convent of Santa Clara, we join Avenida de Juan XXIII, which is lined on either side behind large garden areas by buildings belonging to the University, the area as a whole being referred to as the northern campus (including the Faculties of Economics and Business Studies and Modern Languages, along with the School of Nursing and the Primary School Teachers' Training College). The said landscaped area, which goes under the name of Parque de Vite or Parque del Burgo de las Naciones, is commanded by a building of large dimensions partially encircled by a small artificial lake.

Santiago de Compostela places to see

Calpilla del Santo Cristo de Burgos

This chapel was founded in the second half of the 17th century by Archbishop Pedro Carrillo y Acuna, who, being as he was from Burgos, dedicated it to the famous Santo Cristo or Blessed Christ, an image so devoutly venerated in his home town, a replica of which is seen to preside the mid 18th century main altar. The most outstanding architectural feature of the chapel is its Neoclassical portal. Next we come to two doorways, the first of which decorated in a BaroquePlateresque style leads the visitor down to the so-called Old Cathedral. The second doorway takes us up to the gallery or triforium.

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Portico de la Gloria Santiago

Regarded as a veritable masterpiece of Romanesque sculpture, this doorway was built by Master Mateo in the period spanning the years 1166 and 1188 Having been designed to serve as a porticoed entrance to the cathedral, it comprises three arches, a central one and two side ones that correspond to the cathedral nave and aisles. Dominating the central arch tympanum is the figure of Christ surrounded by the four Evangelists, each of whom can be identified by means of their respective symbols, namely the eagle (St John), the writing desk (St Matthew), the bull (St Luke) and the lion (St Mark). Appearing on either side of the latter is a group of figures in prayer representing the people of God, beneath which there are eight angels carrying the instruments of the Passion.

The tympanum is framed by an archivolt representing the 24 elders depicted here playing a series of musical instruments mentioned by St John in the Book of the Apocalypse Supporting the tympanum at its centre is a mullion in the form of a cluster of columns, the top of which is graced by a sedentary or seated image of St James the Apostle, whilst its base features a portrayal of the Tree of Jesse, that is, Christ's human and divine ancestry.

Turning our attention to the columns on either side of the central arch, we will notice, on the right, a series of sculptures depicting St Peter (holding some keys), St Paul, St James, St John (whose symbolic eagle appears at his feet), and on the left, the figures of Moses (with the tables of the Law), Isaiah, Daniel (here young and smiling) and Jeremiah. Without doubt the most noteworthy of the two side arches is the right-hand one, its tympanum featuring at its centre the heads of Our Lord the Father and the Son. Two groups of figures, one on either side of the latter, are seen to represent Heaven angels lovingly carrying the blessed in the folds of their robes and Hell horrible demons torturing the wretched damned. There are two further points of interest regarding the Portico de la Gloria.

Firstly, evidence exists supporting the view that its sculpted ensemble was in fact polychrome; and secondly, standing with its back to the Portico and leaning against the mullion, there is a statue representing none other than the artist responsible for the Doorway, Master Mateo. The latter is commonly known in Galician as santo dos croques or the saint of the knocks, owing to the fact that in ancient times the people of Santiago would bring their children here and knock their heads against the stone crafted by such an outstanding artist, in the hope that, by the magic of touch, the sheer intelligence and genius of Mateo would rub off on their offspring.

As we leave the Portico by its right-hand side arch, we come across another pair of doorways arranged symmetrically to those lying opposite that we have described above. Capilla de las Reliquias (Chapel of the Relics). This chapel is preceded by a vestibule or ante-chamber which it shares with the Chapel of San Fernando, the far wall of which contains the tombstone belonging to Bishop Theodomir of Iria, the discoverer of St James's tomb in the 9th century. The Chapel of the Relics can only be seen by looking through the windows in its doorway.

The chapel altar, built subsequent to the 1921 fire that destroyed the previous one dating from the 17th century, was fashioned from cedar wood in Neogothic style and houses a large number of reliquaries, some of which are true gems of the art of working precious metals. Capilla de San Fernando. Nowadays this chapel is one of the rooms that goes to make up the Cathedral Museum, and as such holds a number of important, valuable exhibits.

Amongst these are the processional monstrance crafted in Plateresque style by Juan de Arfe in the mid-16th century; the lavishly adorned early-18th century Baroque lunula commissioned by Archbishop Monroy in gold and gemstones; the early19th century Imperial style chalice and cruet set in gold and diamonds, a gift from Archbishop Muzquiz; along with a number of trays, Eucharist dishes, medallions (including one of St Christopher embellished with coral) and ornaments. Having thus completed our tour of the cathedral nave, and before we move on to the southern arm of the transept (the one facing Plaza de las Platerfas), we should stop awhile to appreciate the fronts of the two organs that stand opposite each other across the nave.

Being of early 18th-century Baroque style, the latter were paid for by the above-mentioned Archbishop Monroy, a great benefactor, both of the cathedral, the town and the diocese. A stroll around the wellpreserved historical centre of Santiago is a truly unforgettable experience, both as a result of the beauty of the various sights to be be held at each turn and the sheer variety of the latter, all of which form part of what is a living city.

Been founded in 1495 (1995 saw the celebration of its fifth centenary). Under the patronage of Archbishop Alonso de Fonseca, the building remained a hall of residence right up until the mid-19th century, when the Faculties of Medicine and Pharmacy were established here. Nowadays it is home to the University General Library. Visitors have free access to the beautiful cloister to be found inside.

We continue our tour along the Travesfa del Franco, which in turn leads us into Rua del Villar, the most important street in the old town of Santiago, comprising as it does a series of notable houses, most of which are arcaded. This street takes us on to Plaza del Toral, the northern flank of which is lined by the 18th-century Baroque palace belonging to the Marquises of Bendaria. Crowning the palace facade is a statue of the mythological figure Atlas, who is depicted bearing the universe on his shoulders. On leaving Plaza del Toral we set off down Rua Nueva, one of the most outstanding features of which being the 18thcentury Baroque Palace of the Count of Ramiranes, erected on the site previously occupied by the Colegio de San Patricio or St Patrick's College, an institution that was devoted to the education of Irish noblemen. Further along the road we come to the Church of Santa Marla Salome, a 12th century Romanesque structure that has undergone several subsequent additions and alterations.

Its porticoed facade boasts a Romanesque image of the Blessed Virgin with the Child, at the centre of the arch, and a 15thcentury Gothic group sculpture representing the Annunciation. At this point, Calle de Tras Salome leads us on into Calle las Huerfanas, a street that owes its name to the College founded in the late 16th century by Archbishop Juan de Sanclemente in order to take in the town's orphaned maidens . Dedicated to Our Lady of the Remedies, the college was rebuilt in the early 18th century by Archbishop Monroy. It has its own church, the facade of which is to be seen at the left end of the complex, as we face it.

Places to visit in Santiago de Compostela

This square is reached along a winding lane, Transito de la Quintana, that skirts the cathedral from Plaza de la Azabacheria. Also known as Plaza de los Literarios in memory of the batallion formed by university students to help ward off the French in the Spanish War of Independence (1808), Plaza de la Quintana is arranged into two levels connected by an extremely wide flight of steps. The upper section is called Quintana de Vivos (Quintana of the Living) and the lower one Quintana de Muertos (Quintana of the Dead), owing to the fact that the latter was the town cemetery right up until the late 18th century. Lining the square on each of its sides are the following monumental structures:

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Casa de la Parra Santiago

This small Baroque-style palace, dating from the 17th century, features a flat roof, a continuous balcony supported by corbels, along with a doorway and windows decorated with motifs in the form of bunches of fruit. Up on its roof we see a large chimney typical of those fashioned in its day, finishing as it does in a kind of turret adorned with a false or blind balustrade.

Monasterio de Antealtares Santiago

This monastery ranks as the second oldest building in Santiago, having been founded immediately after the discovery of the remains of St James the Apostle, at a time when work was already underway on the basilica that Alfonso II the Chaste had ordered to be built over the saint's tomb. Ever since its foundation, the monastery has belonged to the Benedictine Order, its building having served its original purpose right up to the present day, except that is for a short period in the late 15th century, during which time its community of monks joined that of the nearby monastery of San Pinario, their place being taken by a unity of nuns.

Once inside the church one can visit the interesting Museum of Sacred Art belonging to the monastery and at the same time get to know some of the interior buildings that go to make up the monastic complex. Canonica. This arcaded building owes its name to the fact that in former times it was the institutional residence of the cathedral canons. This would also explain why it is divided up into several independent living quarters. Built in Baroque style in the 18th century, it replaced an earlier structure which, serving the same purpose, had stood on this site since the early 12th century.

Eastern facade of the Cathedral, also known as the Quintana facade. Constructed in Baroque style in the second the world-renowned Puerta Santa or Holy Door, which is only ever opened during the Holy Years. The door is opened amidst great ceremony on the 31 st December of the year before and is subsequently closed with similar pomp and circumstance on the last day of the Holy Year. The other portal, lying adjacent to the clock tower, is known as the Puerta Real or Royal Door, owing to the remarkable Spanish coat of arms presiding it.

Plaza de las Platerias Santiago

Plaza de las Platerias (Silversmiths' Square) is lined on two of its sides by the Cathedral and is flanked on the other two by the Chapter-house and the Bank of Spain, the latter dating from the middle of this century. At the centre of the lower level of the square stands a fountain, Fuente de los Caballos. Rising up above the fountain horses is an allegory of the town of Santiago in the form of the image of a woman resting on the Apostle's tomb while holding, in her right hand, the star that had signaled the spot where the saint's remains lay.

From this square we can enjoy views of two parts of the Cathedral, namely the Southern facade also known as Platerias facade and a section belonging to the cloister. The former lies on the upper level of the square and is adjoined on its right-hand side by the Clock Tower, which is also referred to as Torre de la Trinidad and Torre de Berenguela. What we have before us here is the oldest facade of the cathedral, since this was where work on the original Romanesque cathedral began in 1075. The lower level of the facade features two portals whose tympana provide a portrayal of scenes from the Life of Christ.

Thus, the left-hand tympanum depicts The Temptations of Christ in the Desert and an image of the Penance of Mary Magdalene, whereas the right-hand one shows The Capture of Christ on the Mount of Olives, Simon of Cyrene Carrying the Cross, Flagellation, The Crown of Thorns and The Adoration of the Magi.
Above the tympana is a series of sculptures, many of which were brought here from the Northern facade when the latter was replaced, as we have pointed out earlier, in the 18th century. The upper level of the facade features two windows framed by multifoil arches, the structure as a whole being crowned by a 17th century Baroque balustrade.

Inside Santiago Cathedral

Inside Santiago Cathedral St James is depicted in a seated posture in typical pilgrim's attire with a tunic and short cape; in his left hand he holds a long stick or pilgrim's staff, from which hangs a gourd for carrying water. Higher up above this silver ensemble is another statue of St James, on this occasion in polychrome wood and in a standing posture, but likewise dressed in pilgrim's clothing Flanking this statue are the images of two kings who are portrayed on their knees in prayer.

Covering the whole of the high chapel is a solid, sumptuous gilt wood baldachin or canopy supported by a series of massive angels. The canopy bears the Spanish royal coat of arms and yet another representation of the Apostle, this time on horseback, portrayed just as he is said to have appeared at the Battle of Clavijo, sowing terror amongst the Moslem forces, an image known as St James the Moorslayer.

Rising high up above the cathedral crossing is the lantern or dome. Featuring as it does a series of windows and vaults that are clearly Gothic in style, the lantern was built in the 14th century as a replacement for a previous Romanesque structure. A curious device to be seen in is the one that rests on the four corners of the crossing. This is the aisle or passage circles the high chapel. As we turn the ambulatory from the side to side, we notice on our left two passageways giving access to stairways. The first of these leads down to the crypt where the tomb of the Apostle lies, whilst the second takes us up to the camarin or little chamber where one can embrace the statue of St James that presides the high altar.

In the crypt, which was remodeled in the late 19th century and extended a few decades ago, the visitor to the cathedral can contemplate what remains of the tomb of the Apostle and his disciples. This is the very tomb that was discovered by Bishop Theodomir of Iria at the beginning of the 9th century and above which lay the altars of the three successive basilicas that were built between the 9th and the 11 th/12th centuries in order to afford protection for the said sepulchre. Through a doorway opened up at the centre of one of the walls, which is quadrilateral in plan, see an excavated chapel.

The lamp is a reminder of the captain's visit to the cathedral in 1512. Back down in the ambulatory, we come across seven chapels and the Puerta Santa or Holy Door that open out into the outward facing wall.

Capilla del Pilar Santiago

Capilla del Pilar is a 18th century Baroque chapel founded by Archbishop Monroy, whose tomb complete with praying statue and epitaph is the highlight of the wall on the Epistle side. The chapel altar is dedicated to Our Lady of the Pillar (Virgen del Pilar). The chapel is richly and profusely decorated with elements and motifs relating to the tradition of St James. Capilla de Mondragon. A 16th century Plateresque addition to the cathedral, this chapel was founded by the Mondragon family, whose coat of arms embellishes the grillwork closing off the entrance. Crafted from polychrome terracotta, the chapel retable portrays the complete scene of the Descent from the Cross (the work of Corniellis of Holland).

Capilla de San Pedro (St Peter's Chapel). This is one of the original five Romanesque chapels that graced the ambulatory. Its design is that which was shared by all but one of the said chapels, featuring, amongst other elements, a semicircular ground plan, a quadrispherical shellshaped vault and three openings. It also has an 18th century Baroque retable and the,tomb, complete with recumbent statue:of Dona Mencia de Andrade, a lady from Compostela who lived in the 16th century.

Puerta Santa or Holy Door. Having already briefly mentioned this doorway above on referring to Plaza de la Quintana, we should also point out that it was constructed in the early 16th century, following the example of the Basilica in Rome, whose own Holy Door had been opened up in the late 15th century. In what is a symbolic tradition, it is through this doorway that pilgrims enter the cathedral in Holy Years, a fact that we are reminded of by the inscription that can be read on the parchments held by the two Romanesque figures flanking the door.

These figures originally stood in the former cathedral choir, which was dismantled in the early 17th century. The inscription reads: People come from all over the world to proclaim your glory, Lord. Capilla del Salvador. Also known as the Chapel of the King of France, due to the fact that King Charles V the Wise donated it a considerable amount of money in the 14th century. Lying at the centre of the ambulatory, this chapel is Romanesque in design, but unlike the others has a quadrilateral ground plan and features two side niches at its back wall. Appearing on the capitals gracing the arch at the chapel entrance are inscriptions alluding to King Alfonso VI and Diego Pelaez, Bishop of Santiago, both of whom lived at the time this part of the cathedral was built (the late 11th century).

Awaiting us inside the chapel are a 16th century Plateresque retable and two notable tombs, namely that of the former regidoror mayor of Santiago Francisco Trevino, embedded in the lefthand wall, and the one belonging to canon Antonio Paramo y Somoza, who died in 1786 as bishop-elect of Lugo. In former times, this was where the pilgrims to Santiago would collect their compostela, the certificate presented to them by the cathedral chapter in recognition of their having completed the pilgrimage.

Capilla de Nuestra Señora la Blanca. A 13th-century Gothic addition. Standing in symmetry to that of San Pedro, it features a Baroque altar with the image of the martyr St Susan, who shares with St James the Apostle the distinction of being the patron saint of Santiago de Compostela.

St Bartholomew's Chapel Santiago de la Compostela

Likewise Romanesque in style, the distinguishing feature of this chapel is its pentagonal ground plan. Its simple 14th century Plateresque altar stands in stark contrast to the magnificent tomb that is embedded in the left wall and which, fashioned in the same style and period, houses the remains of the canon who had achieved the dignity of maestrescuela, Diego de Castilla, the great grandson of King Peter the Cruel (the tomb sculpture, crafted from Coimbra stone, a limestone, is the work of master Arnau).

Having at this point come to the end of the ambulatory, we now turn into the northern arm of the transept, the one which, leading to the Azabacherfa facade, contains the following chapels: Capilla de la Concepcion Chapel of the Immaculate Conception. This chapel is 16thcentury Plateresque. It features two altars that are separated by a door and be pointed out that the walls separating the chapels from the said staircase contain the tombs complete with recumbent statuesof Prior Juan Vidal (late 16th century) and the bishop of Orense, Alonso I (15th century). Capilla de la Comuni6n (Chapel of Communion).

This is the part of the cathedral in which the Blessed Sacrament is venerated. Dating from the 18th century and having a circular ground plan, this chapel boasts, in addition to its Rococo retable, the sepulchres of archbishops Lope de Mendoza and Bartolome Rajoy. The former archbishop was responsible for the founding, right here, of the chapel that preceded the present-day structure, which was in turn commissioned by the latter. The sculpted armorial bearings belonging to each of the said bishops appear on the lintels of the two doors leading into the chapel.

Things to do in Santiago de Compostela

Plaza del Obradoiro: This rectangular square is the largest in Santiago and is flanked by four buildings: the Cathedral, the Hostal de los Reyes Catolicos, Rajoy Palace and the University Vice Chancellor's Offices. The Cathedral. The vast area of this square devoted to the cathedral building is in fact made up of three easily distinguishable parts, namely a central section and two side ones.

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The central section is none other than the main cathedral facade, which bears the same name as the square itself, EI Obradoiro. Built in Baroque style in the first half of the 18th century by architect Fernando de Casas y Novoa, this facade came to replace a formerly existing one and features elements to be assigned to various epochs.

Thus, the flight of steps giving access to the cathedral was erected in the 17th century and leads to what is erroneously referred to as the Old Cathedral but which in reality is a 12thcentury vaulted Romanesque style edifice, one which forms the true foundations of the Cathedral at this point. Soaring up to the left and right of the observer are the towers called Torre de la Carraca (carraca is the name given to a wooden instrument played during the Easter celebrations) and Torre de las Campanas (or Bell Tower), respectively. Standing around 70 meters tall, the towers feature a 12th century (Romanesque style) first level disguised by more recent additions, to which the two remaining levels were added in the 17th and 18th centuries (Baroque style).

The highlights of the rich ornamentation gracing this facade are, from top to bottom, the effigy of St James the Apostle (depicted in pilgrim's attire) and, underneath the latter, a star-spangled chest symbolizing the saint's tomb, on either side of which stand the images of St James' favorite disciples, Theodore and Athanasius. The part of the cathedral lying to the right of the Obradoiro facade belongs to the cloister, itself built in the 16th century in Plateresque style and featuring an impressive gallery on its upper level and a strange tower with a tiered roof reminiscent of a dovecote at the southwestern corner of the building.

The part of the cathedral complex lying to the left of the Obradoiro facade as we face it belongs to the Archbishops' Palace (Palacio de los Arzobispos), a building that stretches out beyond the square itself into the adjacent Calle de San Francisco. Featuring as it does elements erected in a variety of periods, above all the 16th, 17th and 19th centuries, the oldest part of this edifice, dating from the 12th and 13th centuries and only to be seen from the inside, is the one popularly referred to as Palacio de Gelmirez, itself a remarkable example of secular Romanesque architecture (the most noteworthy of the various buildings that go to make up the palace is what was possibly the former dining hall, its vaulted ceiling resting on a series on ribs whose weight is supported by brackets or corbels decorated with several scenes). The so-called Arco de Palacio is an archway or passage which, having been opened up right at the heart of this oldest part of the Archbishops' Palace, connects Plaza del Obradoiro with that other famous square, Plaza de Azabacherfa.

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Hostal de los Reyes Catolicos. Since 1953 a luxury hotel belonging to the chain of Spanish paradores or state-run hotels, this building had up to that point in time been the Gran Hospital de los Reyes Catolicos, the 'hospital' or hospice founded by the Spanish monarchs in the late 15th century in order to provide accommodation and care for the pilgrims that arrived in the town. The area lying just in front of the building, marked off by a series of pillars and chains, is where in former times one could enjoy the right of asylum (no criminal taking refuge here could be apprehended by the law without the prior permission of the person in charge of the Hospital). The beautiful Plateresque facade, the work of architect and sculptor Enrique de Egas, is literally overflowing with sculpted figures (depicting Apostles, saints curing illnesses, etc,) and is flanked on either side by contemporary 16thcentury Spanish coats of arms. The balconies and windows underwent Baroque style alterations in the 18th century.

The layout of the building's interior is seen to revolve around four interconnected arcaded courtyards The two courtyards lying adjacent to the entrance, between which stands the former hospital chapel (itself featuring an interesting grille and a transept with spectacular ornamented and a graceful lantern), were built 1st decade of the 16th century.

in a Plateresque style. The 10 courtyards were built as a result sion work carried out on the in the 18th century and are e Baroque in style. the centre of each is a small shaped structure standing over a well. Nowadays, apart from still being the home to Santiago Town Council, the building houses some of the departments of the Galician Autonomous Regional Government or Xunta, along with the Council for Galician Culture (Consello da Cultura Galega).

Built in Neo-classical style according to the plans drawn up by the engineer of French origin Charles Lemaur, the structure of the palace is arranged into five sections, the central one of which, graced by a series of sturdy columns, is surmounted by a pediment featuring a sculpted portrayal of the miraculous apparition of St James the Apostle at the legendary Battle of Clavijo. This scene is likewise depicted by the equestrian statue of St James the Moorslayer that crowns the pediment. The finishing touch to the end sections is provided by segmentally curved pediments emblazoned with the coat of arms of the founder bishop.

Las Angustias de Abajo Church Santiago

From a small terrace on the northern side of the palace, the one nearest to the Hostal de los Reyes Catolicos, one can see the mid 18th century Baroque Church of Las Angustias de Abajo. (A similarly-named church, Iglesia de las Angustias de Arriba, is to be found in northeastern Santiago), Rectorado de la Universidad. (The University Vice-Chancellor's Office), Built in the mid 17th century to house one of the University's colleges, namely the Colegio Menor de San Jeronimo. This is a structure of modest appearance whose outstanding feature is the 15thcentury Neo-Romanesque portal that constitutes the only element to have been saved of the Old Hospital (also called St James) that was demolished in the 17th century.

Plaza de la Azabacheria Santiago

Moving on from the Plaza del Obradoiro we reach this square by means of the ' above mentioned passage, the Arco de Palacio. Plaza de la Azabacheria is so called in memory of the guild of jet craftsmen or azabacheros, whose workshops once lined both the square Itself and the adjoining street of the same name. Objects crafted from jet (a black colored lignite) were and still are very typical of Compostela, above all items of jewellery in which the stone either plain or carved is set in precious metal. Many shops in Santiago specialize in offering a wide range of craftsman made silver and jet jewellery, which they sell at very reasonable prices. Plaza de la Azabacheria is flanked by three extraordinary buildings: the Cathedral, whose northern facade gives onto the square; the Archbishop's Palace; and the Monastery of San Martin Pinario.

The Northern Facade of the Cathedral, also known as the Azabacherfa facade, was built in the second half of the 18th century in a style marking the transition from the Baroque to the Neoclassical. It replaced the former 12th century Romanesque structure, which we know was adorned with a large number of magnificent sculptures.

The most outstanding features of the present-day facade, apart from the coats of arms and medallions that grace it, are the statue portraying Faith attributed to the artist Gambino and, crowning the whole, the sculpture of St James the Apostle, who is depicted with two praying kings at his feet. From the said narrow little street, Calle de la Azabacheria, one can see a small belfry which, although embedded in the cathedral wall, belongs to the Church of La Corticela, an originally freestanding Romanesque building that in the course of the 17th century would be embraced by the cathedral fabric.

The building known as San Martin Pinario was a Benedictine monastery from the time of its foundation in the 9th century until the advent of ecclesiastical disentailment in 1836 that forced members of religious orders to abandon their cloisters. At a later date the edifice was reconverted to house the Council Seminary of the Santiago de Compostela Archdiocese, a function that it still serves today.

For the last few decades, San Martin Pinario has also been home to the Theological Institute, the Galician School of Social Studies and a University Hall of Residence. Spreading out as it does over an area of 20,000 square meters, the present-day building was erected in Baroque style from the 17th to the 18th century, thus replacing the former structure that stood on this site. Giving onto the Plaza de la Azabacheria is the main facade, at the centre of which a flight of steps leads up to the entrance doorway. Above the latter, arranged on successive levels, we can observe a statue of St Benedict, an impressive balcony, the coat of arms of Spain and the facade's crowning glory, a group sculpture depicting St Martin of Tours, the monastery's patron, cutting up his cloak in order to dress a poor man.

The interior of San Martin Pinario, part of which is open to visitors, boasts a superb processional cloister with a fountain at its centre, the work of architect Casas y Novoa. The building's own church, the dimensions of which surpass even those of many cathedrals and whose facade gives onto another square, namely Plaza de San Martin, is the regular venue, along with the eastern section of the complex, for important exhibitions and other cultural events.