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.
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.
More things to do Spain
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.
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