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Places associated with St. James in Compostela and the surrounding area 2 3

THE ANCIENT GATES OF AND HIS THE CITY, BONAVAL AND PILGRIMS IN THE STREETS PLACES ASSOCIATED SANTA MARÍA DO CAMIÑO OF COMPOSTELA WITH ST. JAMES IN pág. 6 pág. 35 FROM CASAS REAIS TO THE IN THE ALAMEDA QUINTANA AND ANTEALTARES pág. 37 COMPOSTELA AND THE pág. 7 SANTA MARÍA DO SAR, THE CATHEDRAL OF SANTA MARÍA DE CONXO AND SURROUNDING AREA THE CASTLE OF A ROCHA VELLA pág. 10 pág. 37

REGARDING THE ENTRANCES Monte do AND FACADES OF THE BASILICA pág. 39 pág. 12 Monte Pedroso THE CATHEDRAL AREAS MOST pág. 40 LINKED TO THE JACOBEAN PILGRIMAGE Pico Sacro pág. 14 pág. 40

THE GRAND HALL OF EUROPE Iria Flavia pág. 28 pág. 41 Published by: Xunta de -Turismo de Galicia Text: Área de Cultura Xacobea-S.A. de Xestión do Plan Xacobeo FROM THE FRANCISCAN PADRÓN AND THE Translation: Orchestra Systems, S.L. CONVENT TO THE MONASTERY SANTIAGUIÑO DO MONTE Photographs: Margen Fotografía / With the collaboration of the OF PINARIO pág. 43 Fundación Catedral de Santiago pág. 31 Design and layout: ta ta ta Printing: Gráficas Lasa, S.L. De Mazarelos a Solovio D.L.: C 2325-2016 pág. 33 Santiago de Compostela is the the Apostle Saint James the end of the ways which have Greater, decapitated in Jeru- PLACES ASSOCIATED the tomb of Santiago el Ma- salem by order of Herod Agri- yor as their destination. This ppa in the year 44, transferred WITH ST. JAMES IN universal city arose around to Galicia and buried together the Jacobean sepulchre which with his disciples Theodo- appeared between 820 and re and Athanasius, who were COMPOSTELA AND THE 830, due to the testimony of honoured with the mission the hermit Paio, who had seen to transfer the body of their SURROUNDING AREA lights shining in the night master from the beaches of and sought the help of Bishop Palestine. The Jacobean relics Teodomiro de Iria. The bis- were guarded at the end of the hop went into the wood of Li- ancient world – the finis te- bredón and found a cemetery rrae–, where Saint James had with an outstanding mauso- preached the Gospel, accor- leum covered by weeds. In- ding to the Breviarium apos- side this sepulchral aedicu- tolorum and other texts pre- le he identified the tomb of vious to the discovery. Cathedral Chapter, as is evidenced by the scallop shells worked into the lintels. The 6 7 THE ANCIENT GATES Chapel of San Pedro de Fóra is situated OF THE CITY, BONAVAL in this street. It was built at the begin- AND SANTA MARÍA ning of the XIX century on the ruins of a DO CAMIÑO monastic church cited in the XII century in Book V of the Codex Calixtinus. At the In the Middles Ages, the pilgrims end of the street is located the cruceiro do who arrived in the city in order to ven- Home Santo (Stone Cross of the Holy Man), erate the Apostol entered by one of the of the XV century, and whose name re- seven gates in the wall. According to fers to San Vicente Ferrer. Book V of the Codex Calixtinus, these In the vicinity, on a rising, is situated were the French Gate (the main entrance the Convent of Bonaval, the location of for pilgrims); the Gate of la Peña; the Gate the Museo do Pobo Galego (Museum of Subfratibus (today of ); of the Galician People). According to tra- the Gate of the Santo Peregrino (of the dition, it was founded by Santo Domin- Trinidad); the Faxeira, which led to Pa- go de Guzmán in 1219, after his pilgrim- drón; of Susannis (today of the Mámoa); age to Santiago. Of the primitive Gothic and the Gate of Mazarelos. The gate of el convent of the XIV century there only Church of San Domingos de Bonaval Camino is reached through the Rúa de remains the church, with a Latin cross San Pedro, a street with noble houses, layout, from whose pulpit the Domini- sas Reais, an urban artery of noble Praza do Campo (today of Cervan- several of which are the property of the can Vicente Ferrer, canonised in 1455, buildings, Santa María do Camiño tes), the location of an urban market promoted the pilgrimage to and appears on the left. This is a church since the Middles Ages until the be- Compostela in 1412. The building was of medieval origin rebuilt in 1770 by ginning of the XX century. Houses reformed at the end of the XVII century Miguel Ferro Caaveiro, master builder of the XVIII and XIX centuries are by Archbishop Fray Antonio de Mon- of the Cathedral. Inside is the tym- conserved in this square, one of roy, with the direction of Domingo de panum of the Epiphany of 1425, the which was the Town Hall between Andrade, creator of the facades of the chapel of the Condes de Amarante 1583 and 1787. The Church of San convent and of the church, besides the (XVI century) and a collection of al- Bieito do Campo is cited in Book V triple spiral stairway inside. The church tarpieces of the second half of the of the Codex Calixtinus; it was rebuilt contains the Panteón de Galegos Ilus- XVIII century. in 1795 by Melchor de Prado in the tres (Pantheon of Illustrious Galicians), neoclassical style. Inside there are containing the writers Rosalía de Castro, altarpieces, frescos and painting, as Alfredo Brañas and Ramón Cabanillas, well as a Gothic tympanum with the the cartographer Domingo Fontán, the Epiphany scene from the now disap- sculptor Asorey and Castelao, politician, FROM CASAS REAIS peared medieval church. artist and writer. TO THE QUINTANA The Rúa de Xerusalén joins this Having passed through the Gate AND ANTEALTARES square with that of San Miguel dos of the Camino the Rúa de Entremuros Agros, where there was a pilgrim can be seen on the right adapted to The Rúa das Casas Reais leads to hospital in the XII century attended the curve of the wall which has dis- the general Chapel of Ánimas (Holy by the Order of the Santo Sepulcro appeared. Following the Rúa das Ca- Souls), of the XVIII century, and the de Jerusalén. Following the Rúa da

Gate of the Camino Acibechería, this connects with the Andrade in the Quintana de Vivos as discovered by Bishop Teodomiro, King among the altarpieces in the interior Vía Sacra and reaches the Quintana a Baroque response to the plain wall Alfonso II ordered a monastic com- is the main altarpiece (1714), the work 8 9 and the Puerta Santa. Besides the of Antealtares. munity to take care of the devotion of Francisco de Castro Canseco. Cathedral, the Quintana, was once This monastery, which forms part to the Apostle. In time, the monks Facing the Rúa de Antealtares the the cemetery of the city, it now has of the origins of the city through its changed to the monastery of Pinario monastery presents a monumental buildings from the XVII century remembrances, keeps the primitive and Antealtares became a monastic Baroque façade. Outstanding are the sponsored by the Chapter, such as altar of the Apostle Santiago in its mu- house for women, whose Benedictine main doorway, constructed by Mel- the Casa da Conga, built by Andrade seum of sacred art. This altar formed community continues to our time, at- chor de Velasco between 1658 and and finished by Fernando de Casas, part of the two pre-Romanic basilicas. tending to the church built between 1669, organised with Doric columns and the Casa da Parra (1683), built by Once identified, the relics of Santiago 1700-07 by Fray Gabriel de Casas and and recesses with San Paio (ion the Pedro García. It has a Greek cross lay- left) and San Benito (on the right), and out and a classical elevation, with Dor- the façade of Carros, presided over by ic pillars, coffered vaults and a dome the scene of the Flight into Egypt, a in the transept. The classical façade work constructed in 1749 by Fernando has a doorway, the image of San Paio, de Casas, with an attic by Lucas Ferro a shield and pediment. Outstanding Caaveiro.

Church of Santa María do Camiño Praza do Campo (today, de Cervantes) and Church of San Bieito do Campo 10 THE CATHEDRAL OF SANTIAGO DE COMPOSTELA

The church built in the time of Teodomiro and Alfonso II was the first to be used for the devotion to the Apostle, replaced by the Basilica of Alfonso III, consecrated in 899. This church was damaged by Alman- zor in 997, but it remained until the XII century, when it was demolished in order to leave room for the grand church of the pilgrimage. The city and the kingdom show their respect and veneration with the elevation of the Romanic Cathedral, begun in 1075 by Alfonso VI and Bishop Diego Peláez. A project which was fostered in the first half of the XII century by Diego Gelmírez, the first Archbishop of Santiago, who brought prestige to the bishopric and to Compostela, and promoted the pilgrimage. In the Low Middle Ages, the Cathedral grew in chapels and defensive towers, and in the XIII century a new sanctuary (unfinished) and the primitive cloister was constructed and replaced in the XVI century by the current one. Dur- ing the XVII and XVIII centuries, the Baroque culture left its mark on tow- ers, facades, chapels and altarpieces; a tradition continued in the enlighten- ment. These reforms do not conceal the medieval soul of the Jacobean Church, the most perfect example of Romanic architecture of the pilgrim- age ways: a Cathedral with a Latin cross layout, presbytery surrounded

A Acibechería by an ambulatory with radial chapels ing. Thus, a new style in the classical suffered several fires – in 1117 and and three naves in the transept and taste was introduced into the Cathedral another in the middle of the XV cen- 12 in the main arm. It was consecrated in in consequence with the culture of the tury –, due to this it was reconstruct- 1211 and was in permanent evolution Enlightenment. The use of military tro- ed with works from different sources, and transformation for centuries. phies, pediments and medallions trans- especially the Romanic Acibechería, formed the Baroque project, providing the portrayal of David the musician REGARDING THE ENTRANCES the façade with a new uniformity. and the Sacrifice of Isaac. AND FACADES OF THE BASILICA On the other side of the transept In jubilee years, when July 25 coin- is the doorway of Praterías, a sculpt- cides with a Sunday, the pilgrim enters The medieval pilgrims entered by ed group mainly dedicated to Christ; the Cathedral by the Puerta Santa, lo- the north gate, called the Gate of Par- the tympanum on the right presents cated in Quintana. It was built in the adise. In the orderly square opposite the two natures of Jesus: the divine middle of the XVII century by José de la there was a market where money was through the theme of the Epiphany, Peña de Toro, placed before the ancient exchanged and it was possible to buy and the human, with the episodes door which opens between the chapels scallop shells, leather pouches, belts, of the Passion. The other tympanum of El Salvador and of San Pedro. This pharmacy remedies and other goods. represents the Temptations of Jesus, triumphal doorway is presided over by The Fountain del Paraíso, whose ba- which symbolise the triumph of Christ the image of Santiago pilgrim, made in sin is now in the patio of the Cathedral over sin and death. This dual entrance 1694 by Pedro del Campo and his dis- cloister, served for the pilgrims to clean was built between 1103 and 1117, and ciples Teodoro and Atanasio; flanking The Holy Door their bodies before the spiritual puri- fication. The dual Romanic doorway transmitted a symbolic message related to sin and the hope of regeneration through the monumental sculpture of the beginning of the XII century, partly conserved in the façade of Praterías. Its scenes show the fall of the human race, the expulsion from Paradise and the commencement of Redemption, with the Annunciation in the left tym- panum. This was dismantled in 1757 in order to construct the current façade of the Acibechería, as it continued to be the main access for pilgrims, foreign- ers, clergy and prelates. The first part, in the Compostela Baroque style, was concluded in 1762 under the direction of Lucas Ferro Caaveiro. The Chapter and Archbishop Rajoy changed the ar- chitect and requested the help of the Academia de San Fernando, which sent Domingo Lois Monteagudo in order to build the second part and the finish- Doorway of As Praterías A Quintana the entrance there are twenty-four im- seca III and other personages related to ages of prophets and apostles, from the the history of the city. On the second 14 stone choir of Master Mateo (abut 1200), floor are the imperial coat of arms and dismantled at the end of the XVI cen- those of the Chapter, and on the third tury and replaced by mannerist dressed floor, from left to right, are medallions stone (today in San Martiño Pinario). with the human genealogy of Christ, The exterior of the building giving concluding with the image of Our Lady onto Quintana is the result of the Ba- with the Child. Thus, the idea of the roque renovation, which changed the cloister as a Marian metaphor is high- image of the Cathedral. Nevertheless, lighted. The Torre del Tesoro (Tower of it conserves a good part of its Romanic the treasure) is famous for its finishing architecture and, crowning the roof of in a stepped pyramid, inspired in one of the main chapel is the famous Cruz dos the Wonders of the Ancient World: the Farrapos (Cross of the Rags), a monumen- Mausoleum of Halicarnassus, reinter- tal piece in bronze of the XII century. preted in the Renaissance. According to tradition, at the foot of this The most famous exterior is the cross many pilgrims burnt their ragged façade of the Obradoiro, the western clothing and received charity from the closure which protects the Pórtico de Cathedral Chapter in order to buy new la Gloria. The façade is raised over the clothing. Outstanding in this exterior is stairway projected by Ginés Martínez at the Torre del Reloj (Clock Tower), whose the beginning of the XVII century, in first part is from the XV century and the epoch of Archbishop Maximiliano Cross of the Farrapos a group of bells built by Andrade be- de Austria. The façade of the Obradoiro, tween 1676 and 1680, with a succession constructed by Fernando de Casas of decreasing structures decorated with Novoa between 1738 and 1749, was Jacobean motifs, shields and military planned in order to be inaugurated in trophies. At its foot is the Pórtico Real the Holy Year of 1750 as a grand Tri- (Royal Doorway) (1700), also the work of umphal Arch of the Baroque culture: Andrade, bound by pillars and columns a granite and glass screen which joins and finished off with a balustrade with the two towers and fills the interior of pinnacles which continue along the the Cathedral with light. At the top is high points of the ambulatory and the the apostolic arch and in the highest wall which joins the Puerta Santa with niche is Santiago the Pilgrim, blessing the Doorway of los Abades. all those who come to Compostela. The façade of the Tesoro (Treasure), built in the middle of the XVI century the cathedral areas most by Rodrigo Gil de Hontañón, is the germ linked to the jacobean of the Praza das Praterías. It has the air pilgrimage of a palace, highlighted by the gallery of the upper floor. The lower floor houses The interior of the Cathedral con- the shops of the silversmiths and is dec- serves its Romanic soul of the Latin orated with medallions of kings such as cross, sanctuary with ambulatory Alfonso II, Archbishops such as Fon- and radial chapels, and an elevation Praza das Praterías of three naves, both in the transept and in the principal arm. The cen- 16 tral nave, in the major arm and the minor arm, is covered with a barrel vault on barrel arches, counteracted by the lateral quarter barrel vaults of the tribunes. The lateral naves, which are lower than the central nave, are covered with groin vaults. In the ambulatory several chap- els surround the high altar, situated in the presbytery, over the tomb of Santiago. The oldest is the chapel of El Salvador, with a square layout, initiated in 1075. The altarpiece- monstrance (1522) is from the time of Archbishop Alonso de Fonseca III, made by the workshop of Juan de Álava and is of a Christological and Eucharistic nature. In the inferior part Christ appears spilling his blood on the tabernacle, the place which today is occupied by an image of the Saviour of the Low Middle Ages. On each side are Santiago Pilgrim and San Juan. In this chapel, the pilgrims received the Compostela the certifi- cate which testifies that they have travelled the Way of Saint James, and took Communion until 1784 when this function passed to the Com- munion Chapel. The spaces in the sanctuary of the Cathedral have significant sym- bolism for the medieval pilgrim as the layout of the chapels evokes the scene of the Transfiguration, with the chapel of El Salvador flanked by those of San Pedro and San Juan, and at the bottom, that of Santiago (the presbytery). The semicircle formed by the finishing of the presbytery, just opposite the chapel of El Salvador, Façade of O Obradoiro was that of Mary Magdalena, a reflec- More important for the pilgrim secluded place in the Jacobean Church. and the apostles, situated below small tion of the chapel of the same name is the chapel of the Pilar, from the It conserves parts of walls of the mau- tri-lobed arches. The marble front of 18 19 in the Church of the Holy Sepulchre transition from the XVII to the XVIII soleum of the I century, which was the altar is decorated with a Paleo- in , situated in the place centuries, sponsored by Archbishop much altered and was rehabilitated as Christian theme which symbolises the where the risen Christ appeared to Monroy and constructed by Andrade from 1879 after the second discovery Eucharist: two peacocks facing each Mary Magdalen. and Fernando de Casas. An area with of the relics of Santiago. It was extend- other drinking from a crater. In the Baroque epoch, the chapel a central plan, it is covered by an ed for the 1965 Holy Year. The urn was After leaving the crypt, the pil- of San Pedro changed dedication and octagonal dome. The prelate is rep- made by the silversmith Ricardo Mar- grim goes up the stairs of the alcove became known as the chapel of the resented praying in the direction of tínez at the endo of the XIX century in of in order to give the traditional em- Virgen de la Azucena, adorned with an the altarpiece, presided over by the order to keep the remains of Santiago brace to the seated Santiago who has altarpiece designed by Fernando de Ca- apparition of Our Lady to Santiago in and his two disciples Atanasio and preside over the main chapel since sas in 1729 and executed by Francisco . The group forms an image Teodoro. It and eclectic design of José the consecration of the Cathedral in das Moas. It conserves the Renaissance of Mary (1721) – an anonymous ala- Losada, a mixture of Paleo-Christian 1211. The alcove and the attributes painting dedicated to San Pedro, with baster piece, a replica of the one ven- and Romanic, with a cover decorated of the pilgrim were sponsored by an image of Santiago pilgrim and the erated in the Basilica del Pilar– and with the monogram of Christ, and Archbishop Monroy at the beginning scene of the fall of San Pablo on the the Apostle Pilgrim (1723), the work the front inspired by the front of the of the XVIII century. way to . In one of its walls is of Diego de Sande. Romanic altar of the time of Gelmírez, The presbytery of the Cathedral is the sepulchre of Mencía de Andrade Also situated in the ambulatory which had disappeared, and presided situated over the crypt, where the tomb (1582), with her image reclining, the is the chapel of San Juan, from the over by the Majestic Jesus accompa- of the Apostle is located, and which work of Juan Bautista Celma. commencement of the XII century, nied by the symbols of the Evangelists gave rise to the Cathedral and the city. and that of San Pedro; it conserves its Romanic structure well although about 1720 Simón Rodríguez trans- formed its sanctuary with a lantern and a shell which the altarpiece houses. Nearby is the chapel of Santa Fe, one of the devotions which the pilgrims found in one of the Ways of Saint James, specifically in Conques. In the XVI century it changed its dedication to that of San Bartolomé and in order to house the sepulchre of the Canon of the Cathedral Diego de Castilla, work of the Portuguese master Arnao; over the reclining fig- ure appears the risen Christ, whose presence is reinforced with the im- ages of the altarpiece: Our Lady, San- tiago Pilgrim and San Bartolomé. The most sacred area of the Cathe- dral, the true end of the Jacobean Pil- grimage, is located in the crypt of the Apostle, it is the most emotional and Chapel of El Salvador Crypt of the Apostle It is presided over by the altar of San- tiago, around which the devotion to 20 21 Santiago has been carried out for cen- turies. Throughout the XVI and XVIII centuries, work was carried out in or- der to give it more splendour. In the first place, mention must be made of the bronze pulpits (1584), the work of Juan Bautista Celma, based on Italian sources (the allegoric supports) and on German sources, such as the prints of the artist Martin Schongauer, which inspired the reliefs of the Battles of Ar- belas and Clavijo. However, the most spectacular, is the canopy, framework of the veneration of the Apostle and designed by the Canon José de Vega y Verdugo in the middle of the XVII century, intended for the 1677 Holy Year, although it was not completed until the beginning of the XVIII cen- tury. The structure is sustained by angels who hold an entablature which supports several bodies and a pyra- mid finishing with the apostolic arch accompanied by the Cardinal Virtues and the apparition of Santiago Mata- moros, the work of Mateo de Prado. Protected by this architecture is Santiago Pilgrim, dressed with a mantle, hat and carrying a staff, High Altar of the Cathedral of Santiago venerated by two kings. Below in the alcove is the third Jacobean image, tabernacle in silver. The presbytery ing to Book V of the Codex Calixtinus, tured in a Basque foundry. The grand the most ancient, the one embraced is limited with Solomonic columns was higher than the other towers of the censer, intended for the grand solemni- by the pilgrims. All the silver work, adorned with Eucharistic vines and Cathedral. The current tower was built ties, has provided atmosphere to the Ca- with the outstanding tabernacle, is illuminated with silver chandeliers at the beginning of the XV century, in thedral naves with its sacred aroma at was made by Juan de Figueroa and and lamps made in Rome by Louis the epoch of Archbishop Lope de Men- least since the XIV century, according Juan Pose. The front of the altar, also Valladier in 1765. doza. It illuminates the interior with to a marginal note in the Codex Calixti- made of silver, was made by Antonio In front of the high altar is the area mullioned windows and is covered by a nus. The present botafumeiro was made de Montaos, who followed designs of the crossing, the intersection of the simple rib vault. The mechanism which by the silversmith José Losada in 1851. of Andrade. In 1799 the silversmith transept with the main naves, covered serves the botafumeiro in its flight was In the eastern nave of the north Francisco Pecul created the Immacu- by the Gothic lantern tower, which re- created at the end of the XVI century by transept is located the chapel of the late Conception which crowns the placed a Romanic one which, accord- Juan Bautista Celma, and was manufac- Immaculate Conception (1523), built by Juan de Álava under the patronage rel vault and contains three Gothics the Corticela, the parish of the for- disappeared). It was reconstructed in of Alonso III de Fonseca. It is covered sepulchres, some tombs of the XVI eigners, and its origin was as a mo- the XIII century but conserving its 22 23 by a ribbed vault and contains an al- century and the Baroque altarpiece of nastic church constructed at the end structure of three naves and a rec- tarpiece of 1721, the work of Simón Ro- La Soledad. of the IX century together with the tangular sanctuary. In its doorway dríguez, with the image of the Virgen Next is a Romanic Chapel, from Basilica of the Apostle, consecrated there is a tympanum with the Ado- de la Cofradía de la Prima, a Renais- the beginning of the XII century, in 899. Damaged in the attack of Al- ration of the Magi, the work of the sance carving by Cornielis de Holan- dedicated to San Nicolás de , one manzor, in 997, it was renovated in workshop of Master Mateo. da. Then there is the chapel of Sancti of the devotions of the pilgrimage the XII century. It was connected to In the western nave of the north Spiritus, founded in the middle of the ways, in this case in relation to the the Cathedral through a door which transept is the small chapel of San- XIII century and extended in the XIV Holy Land. Since the XVI century, it existed between the chapels of San tiago Matamoros, which has a poly- century. It is covered by a pointed bar- has served as an area of transition to Nicolás and of the Santa Cruz (now chrome wooden processional image carved about 1770 by José Gambino. In the main arm of the basilica cross sis located the chapel of the Communion, opened onto the nave of the Gospel. It is diaphanous, rounded and neoclassical covered with a dome, constructed due to Archbishop Rajoy. The project was carried out in several stages, beginning in 1768 with traces

Chapel of the Corticela Chapel of the Communion of Domingo Lois and continued be- tween 1771 and 1783, under the di- 25 rection of Miguel Ferro Caaveiro. Its narthex conserves the alabaster im- age of the Virgen del Perdón, of the XV century, a survivor of the chapel of don Lope or of the Virgen del Per- dón, where the pilgrims received abundant indulgencies. As from the 1784 Holy Year, this area was used for the communions of pilgrims. Next is the chapel of the Cristo de , another important devotion of the Camino de Santiago. The Greek Cross work is covered by a dome, it was finished in 1664 with traces of Melchor de Velasco. The Baroque al- tarpieces are from the workshop of Bernardo Cabrera, and the Crucifixion is from a workshop in Burgos, while the statue in praying position of the founder Archbishop Pedro Carrillo (1667 is the work of Pedro del Valle. In the narthex of the Cathedral is located the Portico de la Gloria, the culmination of Romanic in the pil- grimage ways and the highest point of western art. Between 1168 and 1188 Master Mateo and his workshop Our Lady of Pardon, narthex of the constructed the crypt, called the Old Chapel of the Communion Cathedral (entrance by the Obradoi- ro), over this is the portico originally represents the history of the consti- open to the exterior. In later years, tution the Heavenly Jerusalem, the until 1211, the polychrome granite history of Redemption, with the rep- tympanum, the archivolts and the resentation in the tympanum of the ribbed vaults were created and the Parousia (the second coming of Christ tribune and two towers built. These to earth). The Saviour is accompanied areas symbolise the earthly world by the symbols of the Evangelists, (crypt), on whose celestial dome is surrounded by angels who crown the the Gloria (portico), symbolically il- souls of the just and of the elders of luminated by the Agnus Dei (Lamb of the Apocalypse, and the musicians God) situated in the keystone of the prepare to play the instruments. The vault of the tribune. The iconography just pass to Glory from the archivolts Pórtico de la Gloria on the left (Bosom of Abraham), freed Galicia. The chapel of San Fernan- by Christ before the Resurrection, do, built in 1537 by Juan de Álava, 26 27 and from the archivolts on the right houses the Cathedral treasure. (Universal Judgement), while the im- In the centre of the main nave pious are taken by the devils. is the area below the organs, occu- On the shafts are located the pied for centuries by the choir. First prophets (left of the mullion) and the by that of Master Mateo, and then, apostles (on the right). Santiago seat- from the beginning of the XVII cen- ed with his crosier- staff finished in a tury, by wooden seats, today in the tau, awaits the pilgrims in the centre, upper choir of San Martiño Pinario. on the Tree of Jesse on the shaft (ge- The Baroque organs are conserved, nealogy of Christ), finished off by the whose facades were designed by capital of the Trinity. Domingo de Andrade between 1704 The Chapel of the Relics is situat- and 1709, executed by Miguel de ed in the nave of the epistle, covered Romay. In the finishing of the or- with a ribbed vault. In 1536 it was gan of the Gospel is situated San- converted into a Royal Pantheon tiago Matamoros and in that of the when it received the sepulchres of Epistle there is a representation of the monarchs and princes of León Santiago Pilgrim praying before the and in the XII and XIII centuries, Virgen del Pilar. the most important being those of In the south transept, in its east- Fernando II and Alfonso IX. The ern nave, is located the tombstone of area, which has been much vener- Bishop Teodomiro de Iria, the prelate ated by the pilgrims for centuries, who began his episcopate about 819 keeps a large number of reliquaries, and transferred the seat to Compos- originally located in a Baroque al- tela, where the tomb of Santiago the tarpiece which disappeared in a fire Greater had been found at the end of Chapel of the Relics (1921); since 1923 they are venerated the 820s. Teodomiro died on October in a historicist altarpiece of Rafael 20, 847 and was buried near to the of the cloister has the theme of the ated one of the great works of Ren- de la Torre, carved in cedar wood by reliquary of the Apostle; His tomb- Annunciation, as the totality of the aissance Compostela, with its wide Maximino Magariños. Outstanding stone was found in the Cathedral cloister –hortus conclusus– is dedi- semi-circular arcades, covered with in this chapel is the low Middle Ages Excavations on September 17, 1955. cated to Our Lady. Nearby is the tym- nerves, pinnacles and crenellations. reliquary of the head of Santiago Al- In the western nave of the south panum of Clavijo, from the middle of They communicate with the in- feo, brought in the XII century from transept are located the doorways the XIII century, from a doorway of terior of the cloister of the chapter- Jerusalem, the column-reliquary of the ante-sacristy and the clois- the medieval cloister, with a striking house, of the XVIII century – presided of the staff of the Apostle, and the ter, from the first years of the XVI equestrian image of Santiago. The over by a Rococo carving of Santiago Renaissance monstrance of Antonio century; both from the workshop of grand cloister replaced the medieval Pilgrim by the sculptor Gambino, de Arfe, made between 1539 and Juan de Álava. On the doorway of the one and was built under the patron- decorated with tapestries by Teniers, 1545; on its pedestal, from 1573, the ante-sacristy are the images of San- age of Fonseca III in the first half of Rubens y Goya–, and the Cathedral life of Saint James the Greater is de- tiago Pilgrim and San Ildefonso, who the XVI century, under the direction archive, the guardian of treasures picted with reliefs which represent Archbishop Alonso III de Fonseca of Juan de Álava and later Rodrigo such as Tumbo A, the Codex Calixti- the high point of silver-smithing in professed devotion to. The doorway Gil de Hontañón, architects who cre- nus and the Historia compostelana. composed of two floors, the weapons by Pero Francés and Nicolás de Chan- cas Ferro Caaveiro, with a Greek Cross room and the ceremonial hall, and terenne. The doorway is composed as a layout and covered by a dome, and the 28 29 THE GRAND HALL other minor dependencies, such as the triumphal arch, in whose spandrels ap- iconography of the façade is related to OF EUROPE kitchen. The weapons room is divided pear the portraits of the founder kings, the funereal nature of the building: the into two naves by high pillars, while was created in 1519 by the Frenchmen Quinta Angustia and the Holy Souls of The Praza do Obradoiro can be con- the ceremonial hall is a diaphanous Martín de Blas and Guillén Colás. purgatory. Higher up is the royal coat sidered to be such a Hall, composed of space with a single nave, covered by Adjacent to the lodge and terrace of arms, finished off with a balustrade, the main facades of the Royal Hospital, semi-circular ribbed vaults, supported of the Royal Hospital, limited by sculp- bell tower, pinnacles and the four Car- the Jacobean Basilica, the Episcopal on corbels with a story which relates a tural Renaissance banisters joined by dinal Virtues. Palace – called the Pazo de Xelmírez –, banquet of a sacred nature. chains, is located the Costa do Cristo. Going along the street of As Carre- the Cathedral cloister, the College of San The Royal Hospital, founded after Going down the place where the door of tas, the International Pilgrim Reception Xe­rome and the Seminary of Raxoi, with the conquest of by Ferdinand the Trinity is reached, on the corner of Centre is reached. This is located in the the visual reinforcement which suppos- and Isabel in order to attend to ill per- the streets As Carretas and As Hortas, former Hospital of Invalids, the Poor es the finishing touch of the Church of sons, the poor and pilgrims, it was de- the commencement of the Camino de and Beggars founded in the XVIII cen- San Fructuoso. The urban space is sub- signed by Enrique Egas at the beginning Fisterra-Muxía. In the XII century, Book tury and provided for by Archbishop ject to the façade of the Obra­doiro, the of the XVI century, a century in which V of the Codex Calixtinus already cites Rajoy. In this modern reception centre representative image of the Cathedral the pilgrims who presented their Com- the Church of the Santísima Trinidad, is the Pilgrim’s Reception Office, where and of the city, between the facades of postelas there were fed for three days. proximate to the pilgrims’ cemetery, de- the Compostela can be obtained, and the Pazo de Xelmírez and of the Cathe- It was composed of a chapel and two molished in 1930 in order to construct the Documentation and Interpretation dral cloister, both from the beginning patios, around which were placed the a house. Opposite the church which Centre of the Caminos de Santiago. of the XVII century. The palace is sober infirmaries, dormitories, kitchens and has disappeared, and in relation with Returning to the Royal Hospital, and the cloister is open to the square, other dependencies. The main cloisters the cemetery, the Royal Hospital con- the balcony of the façade must be through a balcony and a market with were rebuilt in 1561 by Rodrigo Gil de structed the Church of Las Angustias highlighted. This is sustained by cor- lintels sustained by columns. Hontañón, and in the XVIII century the today the Church of San Fructuoso), bels decorated with masks (1678), the The Pazo de Xelmírez, constructed two posterior cloisters were added. The paid for by alms offered especially by work of Fray Tomás Alonso. On the between the end of the XII century chapel, covered by a starred vault, has a pilgrim from Granada cured in the other side of the square is located the and the middle of the XIII century, is pillars with sculptures made in 1510 hospital. It was begun in 1754 by Lu- Rectorate of the University of Santia-

Royal Hospital (today, Hostal dos Reis Católicos) Church of San Fructuoso and site Door of the Rectorate of the University of Santiago de of the old pilgrims’ cemetery Compostela (College of San Xerome) go de Compostela, the college of San its doorway, reused in the College of medieval church and pointed ar- Xerome, of the middle of the XVII cen- San Xerome, closing the southern side cades of the chapterhouse, but most 30 31 tury. In its façade, the doorway of the of the Obradoiro. FROM THE FRANCISCAN of its buildings are from the XVIII Pilgrims’ Hospital which was opposite Between 1767 and 1787, opposite the CONVENT TO THE century. Its Baroque church was de- the north façade of the Cathedral was main façade of the of the Cathedral was MONASTERY OF PINARIO signed in 1740 by Simón Rodríguez, reused. The group was constructed constructed a building for a seminary and its façade was finished in 1787, between 1490 and 1500, and is organ- of confessors, a town hall and ecclesi- Beyond the Praza do Obradoiro, with classicist guidelines from the ised based on semi-circular archivolts astic and secular prisons with the pa- towards the north, is located the Academia de San Fernando. Over the with eleven radial sculptures, centred tronage of Archbishop Bartolomé Rajoy. Convent of San Francisco, founded doorway is the image of the Saint of on the group of Santa Ana, Our Lady This is a dignified closure to the square in accordance with Franciscan tra- Assisi (1783), by José Ferreiro. Oppo- and the Child Jesus. In the tympanum on its western side, which provides it dition by the Saint of Assisi in 1214, site the convent is the monument to appears Mary as the Apocalyptic Vir- with regularity and order, with a façade after his pilgrimage to Compostela. San Francisco (1926), the work of the gen, in accordance with the vision of which represents the image of episco- It conserves the foundations of the sculptor Francisco Asorey. San Juan in Patmos, accompanied by pal power with guidelines laid down by Santa Catalina and Santa Margarita. French classicism. Its creator was the The doorposts on the right show San military engineer Carlos Lemaur. The Pedro, San Pablo and , front with the triumphal scene of the those on the left Santiago Pilgrim, his Battle of Clavijo, image of the lordship brother, San Juan, and San Francisco. of Santiago over the city, was made by The old hospital of the Azabachería the sculptors José Gambino and José stopped being used with the Royal Ferreiro in 1774-75. As a complement, Hospital, so it was assigned to the in 1775, Ferreiro made the acroterion University in order to serve as a Minor equestrian statue of Santiago. At the Arts Faculty. The monks of Pinario, present time, the building serves as the needed more space, they bought it seat of the City Hall and the Presidency and demolished it in 1651, except for of the Xunta de Galicia.

Tympanum of Clavijo, Pazo de Raxoi Convent of San Francisco and monument of San Francisco, by the sculptor Asorey Jacobean Compostela has the Hos- (the second on the Epistle side), with a neoclassical building by Miguel Ferro pital of San Roque (1571-78) outside central layout, with an alcove for the Caaveiro. In the XIV century, in the 32 33 the city, on the way which led to the image of Our lady. FROM MAZARELOS Mercado Vello stood the Convent of city of Corunna. This was built after The Baroque altarpieces of the TO SOLOVIO Santa María a Nova, whose Gothic a plague epidemic as a votive offering church are by Fernando de Casas, ex- church conserves the tympanum of from the city and from Archbishop ecuted by Leis y Miguel de Romay, to- During the Middles Ages, the the Epiphany, today on a doorway of Francisco Blanco. It has a Tuscan pa- gether with classical altarpieces. The wines of the Ribeiro and the Ulla en- the Faculty of Philosophy which gives tio, rebuilt between 1818 and 1820, main altarpiece, of 1730-33, separates tered by the Gate of Mazarelos, the onto the Rúa da Ensinanza. and a Renaissance façade with Saints the seating of the rest of the church, only one which is still standing in the Very near Mazarelos is the sculp- Cosmas and Damian. The Church of creating a dynamic framework dedi- wall. They were then commercialised ture of Alfonso II, the pilgrim king San Roque, with a single nave, has an cated to the exaltation of Our Lady in the square situated in front of the who recognised the relics of Santia- outstanding Baroque altarpiece de- ad San Martín de (another of gate, the site of the Mercado Vello of go, and the church of San Fiz de Solo- signed in 1742 by Simón Rodríguez. the saints of the Camino de Santia- Compostela. The wine arrived by the vio, the oldest in the city. At the be- Returning to the nucleus within go). Those of the crossing, dedicated same way as the pilgrims from the ginning of the IX century, it was the the walls, the city offers streets such to San Benito (Epistle side) and to Our south east, who crossed the Sar and hermitage of the hermit Pelagius, or as Algalia de Arriba, with buildings Lady (Gospel side), are from 1742, entered Santiago by the Rúa do Cas- Paio, the discoverer of the lights over of the XVIII-XIX centuries and one of with three passages which divide trón Douro. Outside the walls is the the wood of Libredón which gave rise the tower-houses of the medieval city. niches and reliefs. The image of Mary Convent of the Mercedarias (1673-89), to the discovery of the sepulchre of Very near is the Church of San Miguel is an English Gothic piece of the XV with a façade by Diego de Romay, and Santiago. At the beginning of the X dos Agros, called “of the Water Tank” century, and Ferreiro was responsi- the Annunciation (1662), by Mateo de century, Bishop Sisnando I rebuilt it in Book V of the Codex Calixtinus. Its ble for the images of the neoclassi- Prado. Inside the walls remains the and also constructed a hospital for Romanic structure was renovated in cal altarpieces of Santa Escolástica remembrance of the market of the XII several stages, concluding with a neo- (1779), Santa Gertrudis (1784) and the century, whose prices were regulated classical façade (1823) by Melchor de Cristo de la Paciencia (1784); classical by Gelmírez in 1133 so that the mer- Prado. The succession of open squares groups, with a serene composition, chants did not charge the pilgrims in this area of the city leads to San contained in an atmosphere of the more than the residents of Santiago. Martiño Pinario. Of medieval origin, Baroque tradition. At the present time, there is a lively the monastery was renovated in the The monastery has other areas square limited by the façade of the XVI-XVIII centuries; in front of the of interest: the oratory of San Felipe Colegio de Ejercitantes (today the Fac- façade of its church there are Baroque Neri end of the XVI century), by ulty of Philosophy), designed in 1734 stairways and balconies forming an Mateo López; the upper choir and by Simón Rodríguez, and the church ellipse, work done in the middle of the the balconies (1685); the sacristy of the (today of the XVIII century by Fray Manuel de los (1694-97), by Fray Gabriel de Casas, University of Santiago de Compostela), Mártires. The church, from the end with a central layout and a dome; built between 1660 and 1673 with a of the XVI century by Mateo López, The cloister of Oficinas (second half Latin cross layout with lateral chapels has a single nave and lateral chapels, of the XVII century) and the Proces- and a dome over the crossing. It has a crossing with a dome, the work of sional (1636-1743), with semi-circular a group of Baroque altarpieces and Fernández Lechuga in 1636, and a arches separated by pairs of columns images, outstanding among which rectangular sanctuary with Baroque of the gigantic order, and a second is the main altarpiece of 1727, the choir seating, contracted in 1639 with floor with balconies; A fountain with masterpiece of Simón Rodríguez. The Mateo de Prado. In 1746 Fernando de three basins (1705-9) by Fray Gabriel building attached is the University Casas added the chapel of Socorro de Casas is situated in the patio. (Faculty of History and Geography), a

Door of Mazarelos votion, and this leads to the Praza das Praterías, an area where the goldsmiths 35 SANTIAGO AND HIS have carried out their trade since the PILGRIMS IN THE XVI century, specifically in the shops STREETS OF COMPOSTELA of the façade of the treasure. Besides this Renaissance closure, the Cathe- dral has the slender façade of the Es- The image of the Apostle can be conce in one corner of the cloister. This found on numerous altars, chapels and was designed by Fernando de Casas in facades of the city; one of these is in the 1723. The south side of the square is church of the Colegio de las Huérfanas, occupied with the scenographic façade a large Baroque building in the Rúa das of the Chapterhouse, a stone tapestry Orfas where orphan girls from the city from the middle of the XVIII century, were taken in and trained. The church is the work of Clemente Sarela, also the a project of Melchor de Velasco, in 1664. creator of one of the Casas do Deán The work has a Latin cross layout and (entrance by the Rúa do Vilar), whose Doorway of the Church of Santa María Salomé a dome over the crossing, and its main façade concentrates decoration made altarpiece, from 1756, has images of the up of plaques, scrolls and mouldings pilgrims, all of which was damaged in sculptor José Gambino: San José with which sustain the balcony. the attack of in 997. In 1122 Gelmírez the Child Jesus, Santiago Pilgrim and Finally, the square is closed with renovated it and. a little later, Book V the Assumption of Our Lady. The door- the Museo das Peregrinacións e da Ci- of the Codex Calixtinus cites it as one way of the church is surprising owing dade de Santiago (Museum of Pilgrim- of the ten churches in the city. It was to the violent break in the front, which ages and of the City of Santiago) (the rebuilt at the beginning of the XVIII contrasts with the delicate refinement former premises of the Bank of , century by Simón Rogríguez, with an of the doorway of the college, designed built between 1940 and 1949), which elegant bell tower and conserving the in 1714 by Fernando de Casas. offers a magnificent compendium of Epiphany made by Master F. in In the direction of the Praza do the Jacobean pilgrimage. In the mid- 1316. Beside the church was the pazo Toural the pilgrim arrives at the Rúa dle of the square is the Fountain of of the Condes Altamira, a manor Nova, a noble urban artery of medieval the Caballos, ordered by the Cathedral house demolished at the end of the Compostela, where stands the Church Chapter from Domingo de Andrade for XIX century in order to leave room of Santa María Salomé, the mother of the 1706 Holy Year; at that time it had for the Plaza de Abastos, the heir of Santiago and San Juan. It conserves two basins finished off by a thunder- the medieval markets of Mazarelos its Romanic doorway; the Virgen de la bolt and a golden star; at the end of the and Praza do Campo. The area of the Leche of the XIV century is situated on XVIII century the horses were added market is flanked by the churches of the keystone of the arch, and an An- and in the middle of the XIX century, Solovio and of San Agustín, a church nunciation from the end of the XV cen- the sculptor Juan Sanmartín crowned with a Jesuit layout from the begin- tury. In the interior there are chapels it with the Alegoría de la Ciudad de ning of the XVII century, built on from the XVI-XVIII centuries. The bell Santiago (a lady seated on the apostolic land of the Altamira family; it has tower (1743) is an elegant piece of work arch holding the star which showed a nave with chapels, a crossing with by José Crespo. The Rúa Nova leads to Teodomiro the place of the sepulchre). no highlights and a main chapel be- the Xelmírez, dedicated to the grand The Rúa de Fonseca, in the shadow tween sacristies. Archbishop promoter of Jacobean de- of the southern front of the Cathedral

Fountain of Santiago, Rúa do Franco 36 IN THE ALAMEDA SANTA MARÍA DO 37 SAR, SANTA MARÍA DE Leaving by the Gate of Faxeira, the CONXO AND THE CASTLE first encounter is with the Alameda OF A ROCHA VELLA (Poplar Avenue), created in the XIX cen- tury as a recreational area, and the tree lined walk which surrounds the carba- Santa María do Sar, situated in the lleira (oak grove) of Santa Susana. On the final stage of the Camino de Santiago, a summit is the Church of Santa Susana, continuation of the Vía de la Plata, was originally called the Church of the Santo conceived in the XII century as a mon- Sepulcro, where Gelmírez deposited the astery by Munio Afonso, Canon of San- remains of the saint sent from in tiago and later Bishop of Mondoñedo. 1102. In 1105 he rebuilt the church and Placed under the patronage of Gelmírez, shortly afterwards its dedication was it was consecrated as an Augustinian changed. It appears with its new name monastery. The Romanic church has in the Codex Calixtinus: the Church of the particularity of the inclination of its Santa Susana, together with the way of walls and pillars, due to the weakness of Padrón. It conserves part of the Roman- the terrain near to the River Sar; a pecu- ic doorway and several corbels. It was re- liarity which made it run the risk of col- built in the XVII century and houses an lapsing until the XVIII century, when its altarpiece of 1709. On the way of Padrón north wall was reinforced with flying and open to the Alameda is the Church buttresses. There remain a midsection Church of Santa Susana of the Pilar, consecrated in 1717, built in with nine arcades with paired columns an epoch of devotion to the Pilar, which and capitals with vegetable decoration, cloister, leads to the Rua da Raíña, popular artery there are remembranc- brought to mind one of the most popu- typical of the workshop of Maser Mateo. where there remains the remembrance es from different epochs, among them, lar Jacobean traditions: the apparition in Its museum, situated in adjacent rooms, of the hospital with the same name, in the XV century door of the Post Office Zaragoza of Our Lady to the Apostle en- conserves a goldsmith collection from the site with numbers 16 and 18; here building and, above all, the Jacobean couraging him in his evangelising work. the XVIII-XIX centuries, ornaments and in the XVII century the Chapter built a chapel, where are Santiago Pilgrim and house. The name of the street refers to the fountain of the Apostle, the place Santa Isabel de Aragón, Queen of Por- in which, according to pious tradition, tugal, who arrived as a pilgrim on July the disciples of Santiago left the body 25, 1325 and, according to local tradi- of the Apostle to rest before burying it. tion, she stayed there, at an inn. The Another tradition assures that the wa- nearby Praza de Fonseca, with the out- ter of the fountain cured the sight of standing façade of the college with the the pilgrim Franco de Siena. Both the same name (1534), founded by Alonso chapel and the fountain belong to the III de Fonseca, communicates with the modest hospital of A Raíña, and many Rúa do Franco, whose toponym evokes pilgrims and local residents go there the European pilgrims who frequented with votive offerings and devotedly the city from the Middle Ages. In this take the water of the fountain. Collegiate Church of Santa María la Real de Sar several sections of sculptures, with me- in 1669 by the present church, with a dieval pieces and wood carvings from Latin cross layout, with lateral chap- 38 39 the Baroque period. els and a dome over the crossing. The The origin of the monastery of façade is of a classical design, with Doric Conxo with a tradition referring to a no- columns which flank the entrance. The ble French lady called Rwisinda, whose image of Christ Crucified (1628), a carv- lover, Almerico Canogio, was killed by ing of Gregorio Fernández, gave way to a rival on the Camino de Santiago. In the construction in the church of the his memory, Rwisinda founded a her- chapel of the Cristo de Conxo, a work mitage in Conxo, on the banks of the planned by Simón Rodríguez in 1730. River Sar, near to a chapel of Our Lady, There are remains of the cloister of where she buried Almerico. The place is the XIII century in the interior of the known as Santa María de Canogio, and monastery, constructed when pilgrims it is soon inhabited by a community of were already passing along the Portu- nuns, whose church and living areas guese Way, while others went to Conxo are noticed by Gelmírez in 1106, and he to venerate the image of the Virgen de ordered that some fishing grounds be la Concha. The building was renovated Monte do Gozo made in the river in order to serve the about 1749 in the style of Compostela of community. Some years later in 1129, the epoch, the Baroque of plaques. This cial use to a monastery abandoned due Cathedral, showing the goal of the pil- Gelmírez built them a Romanic church is how the façade and part of the clois- to the Secularization. grimage. In 1105 Gelmírez ordered the with three naves, similar to the church ter appears, with a rounded, dynamic In the nearby village of A Rocha construction of the Church of the Santa of the Sar and San Pedro de Fóra; but structure, decorated with scrolls, cylin- Vella lie the remains of the principal Cruz on the mount, and this was con- with the arrival at Conxo of a communi- ders on the columns and geometrical fortress of the Bishopric of Compostela, secrated on April 25 1106, on the feast ty of Mercedarians everything changed. plaques. In 1885 Cardinal Payá founded initiated about 1240 and enlarged in of San Marcos. The pilgrims used to The medieval church was replaced the psychiatric sanatorium, giving a so- the XIV century; it was destroyed in the pray there and leave alms. It was also Irmandiño Revolts of 1467-69, by the a tradition among them to crown the Hermandad de Santiago, composed of first person of the group which arrived farm worker, craftsmen and merchants. at the summit of the mount as “king of The excavations show part of the inter- the pilgrimage”. The current chapel of nal structure, where the keep stood, the San Marcos is a popular work, in its atri- perimeter of the interior wall and part um there is a monolith which reminds of the exterior wall, with acorner tower us that the Monte do Gozo served as a with a rounded layout. meeting place for hundreds of thou- sands of young people from all over the world with San Juan Pablo II. In the 1993 Holy Year, a reception area was inaugurated with a group of residential MONTE DO GOZO pavilions intended to accommodate pilgrims together with several service This is the renowned medieval buildings. An auditorium for thirty Monxoi, a place on the Way from where thousand spectators was also con- the pilgrims first saw the towers of the structed, limited by an artificial lake.

Medieval Cloister of the Monastery of Santa María de Conxo (today, Psychiatric Hospital) 40 MONTE PEDROSO PICO SACRO IRIA FLAVIA 41

The ascent to Pedroso, where there Monte Ilicino, or the Pico Sacro, However, the most important aspect It existed the foundation of Iria as are Stations of the Cross, offers grand is located in the town of Boqueixón of this place is its role in the formation a Roman city, in the time of the Flavia panoramic vistas of the city and its which is outstanding due to the vis- of the collective medieval imagination dynasty (69-96 A.D.), but it was at the surroundings: the towers and domes of tas which its summit offers of the related to Jacobean devotion, highlight- end of the I century that it was out- its churches, the streets, squares and valleys of the central stretch of the ed in Book III of the Codex Calixtinus, standing as a ports with links with the gardens. On the slopes of el Pedroso River Ulla, and to its history and its the Compostela version of the Epistle of Mediterranean, and Vespasian granted stands the chapel of San Paio do Monte, role in the episode of the Translatio from the beginning of the XIII century of the Apostle from Iria to Compos- Pope Leo, a narration of the Translatio it the distinction of “Flavia”, a privilege and reformed in 1753, which is related tela. There was also a Benedictine known in several versions since the X which improves the consideration of to the tradition of the stay of San Fran- Monastery there (now disappeared), century. After the arrival of the boat its citizens. At the beginning of the III cisco de Asís in Compostela, after his while the chapel of San Sebastián, harbourof Iria, the body of the Apostle century, Iria Flavia was integrated as pilgrimage in 1214. The fourth chapter originating in the high Middle Ages was deposited on the ground, the dis- a mansion of the Via XIX of the route of Las florecillas narrates that he was in and rebuilt in the XII century, its ciples of Santiago then went to Queen of Antoninus. In the VI century, with the Cathedral of Santiago, at the vigil brackets from the north eaves sub- Lupa, who sent them to Mount Ilicino, the fall of the Empire and the arrival of the Apostle, where he had the rev- sist. It was rebuilt later with reform where they were attacked by a dragon of the Swabians the Christian culture elation that he had to extend his order work carried out in the XX century. which was vanquished by the sign of was given an impulse and the city ac- throughout the world. This mystical After the destruction of the castle the cross. Lupa then sent them to the quired the category of episcopal see. encounter encouraged him to found of A Rocha Forte, situated at the en- Pico Sacro, again in order to search for The first bishop known was Andrés, convents, therefore, it is supposed that trance to Santiago, on the medieval oxen to draw the carriage which would who participated in the I Council of the convent of Santiago was the first way which came from Padrón, the transport the body of the Apostle, but Braga (561). In this period the church of a long list. In the XIII century, the Archbishop Alonso II de Fonseca this time they came across fighting of Santa Eulalia de Iria was built and chapel was known as Sancti Pauli de took advantage of part of its dressed bulls, which were tamed and allowed destroyed in 997 by . From Pedre, but in the XVII century it had stones in order to build a watchtower themselves to be hitched to the carriage the VI century part of the necropolis changed its dedication to the current at the top of the Pico Sacro in the which would transport the remains of is conserved and its double stola sar- on although the votive offerings of the decade of 1470. This was destroyed XIX century continue to cite the name by the lightning of several storms at Santiago from Iria to Compostela. cophaguses remain in the cemetery of of San Pablo. It has a single nave and a the end of the XV century and the Iria. In the medieval church of Iria the presbytery covered by a barrel vault. beginning of the XVI century. XIV century tympanum of the Epiph- any can still be seen in the entrance to a building remodelled in the Baroque epoch. In the XVII century two lateral chapels were built with central layouts, dedicated to the Virgen de Belén and to San Ildefonso. The first is an exam- ple of balance and sobriety, while the other, situated on the Epistle side and known as the chapel of the Bishop of , was ordered by Alonso de la Peña Montenegro, Bishop of Quito and Viceroy of Peru in 1659. Melchor de Velasco designed a classicist area in Pico Sacro Chapel of San Paio do Monte, O Pedroso 1666, with a square layout and a dome of Compostela, Miguel de Romay, de- on pendentives. In one of the niches is signed the main altarpiece, with a prin- 42 43 the sepulchre of the founder, with its cipal body with three passages divided PADRÓN AND THE praying statue, the work of Mateo de by Solomonic columns, with reliefs of SANTIAGUIÑO Prado. The altar piece is also by the the Life of Our Lady. In the centre, the DO MONTE same artist and is composed of a main medieval image of the Virgen de Iria, body separated into three passages by accompanied by a praying Santiago of The town of Padrón is the custo- Solomonic columns. The carvings rep- the XVIII century. This scene assumes dian of the remembrance of the tradi- resent the imposition of the chasuble an old local tradition which assured tion of the transfer of the body of San- on San Ildefonso, San Miguel and the that the construction of the Collegiate tiago from the port of Jaffa. According Guardian Angel. The Immaculate Con- Church of Iria took place in the place of to Book III of the Historia Composte- ception is located on an entablature. the apparition of Our Lady to Santiago, lana (XII century), the church as built Between 1708 and 1714 the Colle- in the epoch of the evangelisation of in the place “where the glorious body giate Church of Iria was rebuilt thanks Hispania. The same tradition is also of the Apostle had been deposited on to Archbishop Monroy, with plans found in Muxía and Zaragoza. leaving the boat”. From times imme- made by Pedro García, conserving the Opposite the Collegiate Church morial the “seat”, “stone column” or doorway with the tympanum of the stand the houses of the Canons, from “pedrón” which is below the high al- Epiphany, the sepulchres of the presby- the end of the XVIII century, the work tar of the church of Santiago has been tery and the chapels of the XVII centu- of Melchor de Prado. The sober, func- venerated. This is a Roman altar made ry. According to pious tradition, under tional building served as a residence for of granite and dedicated to Neptune, the first pillar of the Epistle side are the twelve ecclesiastics and the prior, the god of the sea, which was in the buried the twenty-eight saint bishops who attended to the liturgical services forum of Iria Flavia. Time and human of Iria previous to Teodomiro. The tow- of the Collegiate Church until its sup- action erased art of the letters of its ers of the crossing are outstanding due pression in 1851, the year in which it inscription: to their stepped finishing, inspired in was converted into a parish church. At the towers of the treasure (XVI century) the present time, the Foundation Cami- Nept / uno / For(o) i(ri) / e(n) and of the Vela (XVII cntury) in the Ca- lo José Cela is located there together ses / d(e) s(uo) p(osuerunt) Pedrón, Church of Santiago de Padrón thedral of Santiago. In 1714 the sculptor with the rectory house of the parish.

Collegiate Church of Santa María de Iria Flavia Church of Santiago de Padrón According to pious tradition re- peated by travellers, chroniclers and 44 45 pilgrims of the XV-XVIII centuries, the “pedrón” served to moor the boat which transported the body of Santiago. With the passage of time, it was identified as the seat of San- tiago from his preaching epoch, the stone for mooring the boat which transported his dead body dad the stone which served as a base for the primitive altar of the pre-Romanic church, founded before 924 by Bish- op Gudesindo. In 1133 Gelmírez re- built it and constructed an episcopal palace beside it. In the 1456 Holy Year, the church of Padrón was re- built by Archbishop Rodrigo de Luna, who founded a new pilgrim hospital adjacent to it in 1458. This had two floors and a chapel. The crossing known as “o do fondo da Vila” is also from the XV century and centres the Fountain of the Carmen, Padrón small square called Porta de fondo da Vila. Between 1859 and 1867 Padrón grim. It is possible that it was the Manuel Prado y Vallo built the cur- centre of pre-Christian devotion, rent church of Padrón. He was the reused as Jacobean and popular as municipal architect of Compostela it extended the belief that, in the and maintained the layout of three epoch of the preaching of the Apos- naves but changed their orientation: tle in Hispania, Santiago himself the façade was built where the origi- would have officiated the sacred nal sanctuary was situated, while the rites among these rocks. Very near altar with the “pedrón” occupies the the rocks and the nearby fair field, space of the medieval façade. where a romería is held every July A few steps from the histori- 25, is the chapel of the Santiaguiño cal centre of Padrón, on a slope of do Monte, a historicist work of the Mount San Gregorio, sis located one XIX century; its façade shows the of the most emblematic places of relief of the baptism of Queen Lupa Jacobean tradition. This is the so- by the Apostle Santiago. A theme called Altar of the Apostle, a group which can also be seen in the of large rocks with an altar, a cross- fountain of El Carmen, reconstruct- ing and an image of Santiago Pil- ed in 1789.

Santiaguiño do Monte, Padrón RÚA DE SAN LOURENZO RÚA DO CURRALIÑO

CARME DE ABAIXO

21 700 m GALERAS RÚA DA POZA DE BAR 46 47 DAS SANTIAGO DE COMPOSTELA

DASCAMPO HORTAS RÚA 1 Cathedral of Santiago de Compostela 2 Hospital Real (today, Hostal dos Reis Católicos) 3 San Martiño Pinario 4 Rectorate of the University of Santiago de Compostela AVENIDA DE XOAN XXIII 5 Pazo de Raxoi 6 Convent of San Francisco and 6 monument of San Francisco, by the sculptor Asorey 7 Church of San Fructuoso and site of the old pilgrims’ cemetery

RÚA DO POMBAL 7 8 San Domingos de Bonaval 9 Door of the Camino 2 10 Church of Santa María do Camiño AVENIDA 15 11 Praza do Campo (today, de Cervantes) 5 RÚA DE SANTA CLARA DE ROSALÍA DE CASTRO and Church of San Bieito do Campo 3 12 Church de Santa María Salomé RÚA DE SAN ROQUE 13 Door of Mazarelos 4 14 Fountain of Santiago, rúa do Franco 15 Church of Santa Susana 1 16 Church of the Pilar 17 Praza das Praterías and Museum of the Pilgrimages and of Santiago AVENIDA DE 16XO 18 Santa María a Real de Sar 19 Santa María de Conxo ÁN CARLOS I 14 17 20 Monte do Gozo 21 Chapel of San Paio do Monte (O Pedroso) 19 11 1,2 km

10 International Pilgrim RÚA DA SENRA 9 Reception Centre: Documentation and Information Centre of the Camino 12 8

RÚA DE SAN PEDRO Pilgrims’ Office: 981 568 846

AVENIDA DE ROMERO DONALLO FONTE DE SANTO ANTONIO RÚA DA VIRXE DA CERCA Information 13 20 18 3,5 km 800 m RÚA DA ENSINANZA

RÚA DO HÓRREO RÚA DE SAN PEDRO SANTIAGO AP - 9 DE COMPOSTELA N - 550 25 AP - 54 Santiago 24 A Lavacolla de Compostela

23 22

AG - 56 Bertamiráns BOQUEIXÓN BRIÓN AMES O Milladoiro AC - 543 N - 550 N - 525 Susana 26 A Picaraña AP - 9

Lestedo

A Escravitude N - 525

ROIS TEO AP - 53

31 VEDRA Arnois 30 27

29 28

Padrón PROVINCIA DE PONTEVEDRA N - 550

ITS ENVIRONS

22 Santa María a Real do Sar 23 Santa María de Conxo 24 Monte do Gozo 25 Chapel of San Paio do Monte (O Pedroso) 26 Pico Sacro 27 Iria Flavia. Collegiate Church of Santa María 28 Padrón. Church of Santiago 29 Padrón. Fountain of the Carmen 30 Padrón. Santiaguiño do Monte 31 Portuguese Way (stage Padrón-Santiago de Compostela) Camino Portugués