Illustrations: IsidoroGonzález-Adalid 1478-2019 C

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the apostles James and John. and James apostles the

during Holy Week. Holy during

Zebedee and Mary Salome Mary and Zebedee 6 , the parents of of parents the ,

it houses, used to call the faithful to mass mass to faithful the call to used houses, it

comes from the wooden instrument that that instrument wooden the from comes cylinders, shields and shells. and shields cylinders,

Andrade as the other tower’s twin. Its name name Its twin. tower’s other the as Andrade

geometric sheets, curved elements, volutes, volutes, elements, curved sheets, geometric 3

Torre de la Carraca la de Torre 13 ,” built by Domingo de de Domingo by built ,” “ umes and decorative richness, which includes includes which richness, decorative and umes

- vol contrasting by characterised is ensemble

balustrades, pinnacles and spheres. and pinnacles balustrades,

the holes of the previous rose window. The The window. rose previous the of holes the

tops of ascending sections, decorated with with decorated sections, ascending of tops

the Industrial Revolution, which conserves conserves which Revolution, Industrial the

Toro in 1670, added the elegant baroque baroque elegant the added 1670, in Toro

“mirror,” the largest glass window before before window glass largest the “mirror,”

with the remodelling undertaken by Peña de de Peña by undertaken remodelling the with

In it two rows of giant columns border the the border columns giant of rows two it In

the architect Casas y Novoa, continuing continuing Novoa, y Casas architect the

triptych or altarpiece dedicated to the Apostle. Apostle. the to dedicated altarpiece or triptych

74-metre height was reached in 1747, when when 1747, in reached was height 74-metre

in front of the “Pórtico de la Gloria,” it forms a a forms it Gloria,” la de “Pórtico the of front in

Belfry 12

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Mirror façade Mirror 5 . Baroque. 17 Baroque. . c. Erected Erected c. -18

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at information More

and were towers of unequal height. unequal of towers were and

Alphaeus (the Less). (the Alphaeus

belonged to the original Romanesque façade façade Romanesque original the to belonged

John the Evangelist; St. Barbara and James James and Barbara St. Evangelist; the John www.oficinadelperegrino.com

Original structure of the towers the of structure Original 11 . They They .

Susana, the city’s co-patron saint, and St. St. and saint, co-patron city’s the Susana, Tel: (+34) 981 568 846 568 981 (+34) Tel:

Figures featured in long balcony long in featured Figures 4 flowery sword. flowery : St. St. :

15705 Santiago de Compostela de Santiago 15705

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Crosses of St. James St. of Crosses 10 , both a cross and and cross a both ,

Rúa Carretas, 33 Carretas, Rúa

8 Vestibule leading to the interior the to leading Vestibule 3

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monarchs are at his feet. his at are monarchs

Pilgrim Office – Centro de Acogida Acogida de Centro – Office Pilgrim be functioning during the year 2019. year the during functioning be the sanctuary and foot of the cathedral. the of foot and sanctuary the

it features a hat, cape and staff. Spanish Spanish staff. and cape hat, a features it

out inside the Cathedral, the Botafumeiro will not not will Botafumeiro the Cathedral, the inside out 11 12-metre difference in ground level between between level ground in difference 12-metre

position in 1750 to crown the great façade, façade, great the crown to 1750 in position

Due to the restoration works that are being carried carried being are that works restoration the to Due www.catedraldesantiago.es the “Pórtico de la Gloria” and overcome the the overcome and Gloria” la de “Pórtico the

St. James the Pilgrim the James St. 9

. Baroque. Set in in Set Baroque. .

The “Botafumeiro” The Tel: (+34) 981 569 327 569 981 (+34) Tel: it was built by Maestro Mateo to support support to Mateo Maestro by built was it

15705 Santiago de Compostela de Santiago 15705 guided the hermit Paio to the tomb. the to Paio hermit the guided Romanesque. Dedicated to James Alphaeus, Alphaeus, James to Dedicated Romanesque.

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and 11 years. The next one will be in 2021. in be will one next The years. 11 and Rúa Vilar, 1 Vilar, Rúa Urn of St. James St. of Urn 8 crypt to Entrance 2 , crowned by the star that that star the by crowned , 12 . centuries. centuries. -13 10 10

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Santiago Cathedral Foundation Cathedral Santiago falls on a Sunday. This is the case every 6, 5, 6 6 5, 6, every case the is This Sunday. a on falls

and bearers of his relics as far as Galicia. as far as relics his of bearers and Martínez. Ginés by Designed

13 12 Years are those in which July 25 (St. James’ Day) Day) James’ (St. 25 July which in those are Years

Atanasio and Teodoro and Atanasio 7 stairway Double 1 , disciples of James James of disciples , 1616. Renaissance, .

may obtain plenary absolution. Compostela Holy Holy Compostela absolution. plenary obtain may Tel: (+34) 981 575 609 575 981 (+34) Tel:

Archive-Library believers visiting the cathedral during Holy Year Year Holy during cathedral the visiting believers

de Compostela de

Santiago Cathedral in 1122 by Pope Calixtus II, Calixtus Pope by 1122 in Cathedral Santiago

stones during almost a century. a almost during stones

Thanks to the grace of the Jubilee granted to granted Jubilee the of grace the to Thanks Tel: (+34) 981 583 548 583 981 (+34) Tel:

language) of the stonemasons that carved these these carved that stonemasons the of language)

Obtaining the Jubilee the Obtaining Sacristy of Santiago Cathedral Santiago of Sacristy

Santiago Galician the in (“obradoiros” workshops the after

Obradoiro. The square and façade are called called are façade and square The Obradoiro.

Every day, 9 am to 7 pm. 7 to am 9 day, Every www.catedraldesantiago.es www.catedraldesantiago.es

front and faces the heart of the city, Plaza del del Plaza city, the of heart the faces and front

the Crypt the

Tel: (+34) 902 044 077 044 902 (+34) Tel:

1750. It is the cathedral’s most photographed photographed most cathedral’s the is It 1750.

accessing and Saint the Embracing

Schedules and prices: and Schedules

Cathedral of Cathedral in finished it seeing without died who Novoa,

Pórtico de la Gloria la de Pórtico

Façade

its great promoter was Fernando de Casas y y Casas de Fernando was promoter great its

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Archaeological Excavations Archaeological Admission: Free. Admission:

Andrade worked on it; however, starting in 1738, 1738, in starting however, it; on worked Andrade

Open Museum of the Cathedral the of Museum : Open 365 days a year, from 9 am to 7 pm. 7 to am 9 from year, a days 365 Open : T

such as Peña de Toro or Domingo de de Domingo or Toro de Peña as such Obradoiro

climax of Galicia’s baroque art. Architects Architects art. baroque Galicia’s of climax

Visiting the Cathedral the Visiting his extraordinary granite curtain is the the is curtain granite extraordinary his

and doors as booty. Bishop Pedro de Mezonzo, who managed to escape along with the relics, 16 rebuilt the church. 14 9 Gallery. Romanesque. 12th-13th c. The gal- The tomb’s fame continued growing and the new 15 lery runs all along the top of the church. In church once again proved insufficient to hold the the Middle Ages, there were private chapels numerous pilgrims. In 1075, construction began and many pilgrims spent the night here. on the basilica that exists today: in Romanesque style, with a Latin-cross ground plan and towers 17 10 High Altar, Chapel and Relics. Baroque. th that can be seen from far off. Between 1168 13 17 c. The ensemble is made up of the high and 1188, Maestro Mateo overcame the site’s altar, the baldachin covering it, the Apostle’s difference in ground level and finished his chapel and the lower crypt housing the holy masterpiece, the “Pórtico de la Gloria.” In 1211, relics. the Cathedral was finally consecrated. he Cathedral of Santiago de Compostela 9 10 11 Platerías façade. Romanesque. 12th c. The is the most outstanding building of Ro- In the following centuries, improvements con- oldest of the existing façades symbolises T manesque art in Spain. It is also the final tinued to be made to the basilica, such as the Redemption with scenes from Jesus’ life. destination of all the Ways of St. James, which, Royal Pantheon in 1238, the Gothic cloister and 8 12 Cloister towers. 17th c. Pyramidal or defensive towers. In the middle of the Renais- 11 during centuries, have brought Christendom’s 1 stepped towers such as “Torre de la Vela” sance, Bishop Alonso III Fonseca ordered the pilgrims to the apostle’s tomb. And that is not and “Torre del Tesoro.” all; it is the starting point for the construction of present-day cloister to be built; some chapels Santiago de Compostela, which arose with the were renovated and altarpieces, sculptures and 13 Clock Tower. 14th-16th c. It is called vocation of becoming a Holy City and a World pulpits were added. Berenguela after Archbishop Berenguel de 12 Landoira, who erected it in the 14th c. Its me- Heritage City. In the 17th and 18th centuries, the cathedral, and dieval base still exists. In 1680, the architect the city along with it, was transformed into a 3 Brief History Domingo de Andrade raised it to a height of baroque gem. The four cathedral squares took 73 metres. It houses the cathedral’s largest According to tradition, a hermit called Paio shape and Domingo de Andrade erected the General View 7 bell, which weighs 6,433 kilos. discovered the apostle James’ tomb in the year clock tower, designed the new Holy Entrance and 5 814, hidden in the forests of Libredón. King worked on the High Altar. Fernando de Casas fin- 14 East façade. Baroque. 18th c. The Holy Alfonso II ordered a small church to be built ished the magnificent west façade, giving Plaza 12 Entrance faces Praza da Quintana and is alongside the Roman temple that was found. del Obradoiro its present-day appearance. 1 Obradoiro Façade. Baroque. 18th c. 6 Cathedral museum. The tour around the only opened in Holy Years. As the news spread around Europe, numerous cloister and its rooms highlights the history 2 th th th believers set out on a pilgrimage to see the In the late 20 century, the cathedral saw an 2 Crypt. Romanesque. 12 c. of the cathedral and city by means of exhibi- 15 Transept dome. Baroque. 17 c. In the increase in the number of pilgrimages. The interior, it reaches a height of 32 m. relics. King Alfonso III ordered the construction 3 Xelmírez Palace. Romanesque-Gothic. 12th tions of great value. 1993 Holy Year brought 100,000 pilgrims to of a larger church, which was consecrated in the c. and later. The Archbishop’s see features 6 Compostela on foot, by bike or on horseback; 7 “Pórtico de la Gloria.” Romanesque. 12th. 16 Azabachería (Acibechería) Façade. year 899. A settlement arose around the church, a magnificent medieval palace that can be th this figure increased to 180,000 in the 2004 The masterpiece of Romanesque sculpture Neoclassical. 18 c. Bordering the Way of giving rise to the present-day city. visited. Holy Year. In the last Holy Year in 2010, Santiago relates the Story of Salvation with more than St. James and facing the Monastery of San Martiño Pinario, it used to be the site of In the year 997, Almanzor attacked the city, Cathedral received 272,135 pilgrims and around 4 Cathedral’s cloister façade. Renaissance. 200 masterly figures by the architect Mateo. 4 artisans that worked jet stone. raising the church and taking the cathedral bells 3,700,000 visitors. 16th-17th centuries. A must.

th 17 Rooftops. The Cathedral’s stepped granite 5 Cloister. Gothic-Renaissance. 16th-17th c. 8 Main nave. Romanesque. 12 c. 94 m long. rooftops, 30 m above Plaza del Obradoiro; Can only be visited with museum ticket. It is covered by a 24 m-high barrel vault. they can be visited by entering Xelmírez Palace. Main images: 14 Seated St. James, with a pilgrim’s staff. “Pórtico de 1 Base with human and animal figures. They 15 Capital of Jesus’ divine nature: the Trinity. could represent the forces of evil or ancient 16 Column representing Jesus’ genealogy in the idols conquered by the Church. la Gloria” so-called Tree of Jesse. The marble shows 2 Jewish people, Limbo of the Righteous the handprints of thousands of pilgrims. 1168 - 1188. Maestro Mateo or Old Testament. Includes Jesus, Adam 4 17 Mythical hero, commonly identified with and Eve, Noah, Abraham, Moses, David and Hercules overcoming two lions. Solomon, as well as Old Testament kings and he “Pórtico de la Gloria” is the master- patriarchs. 18 Possible representation of the Final Judg- piece of Romanesque sculpture, with ment. In the upper archivolt, Jesus, and in T more than 200 brilliantly made figures. 3 Angels lead the Righteous, represented by the lower one, the archangel St. Michael. This prodigy of medieval iconography makes up children, from Limbo to Glory. 5 7 On the right, sinners seized by demons a theological message that medieval believers 8 8 4 Central arch. The 24 elders of the Apoca- (with allegories of sins), and on the left, the could easily decipher. However, today we can 6 lypse tuning their instruments. 3 19 Righteous, protected by angels. only theorise about its meaning. Researchers believe that it represents the story of Man’s 5 The evangelist St. John with his symbol, 2 18 19 The Righteous taken to Paradise by angels. 9 9 Salvation and Christ’s Resurrection after the the eagle. Apocalypse. The central arch would depict Glory, 20 Behind the mullion, Maestro Mateo, the 10 11 presided by the Resurrected Jesus; the left arch, 6 Pantocrator: Resurrected Jesus, sur- “Pórtico’s” creator, kneeling in front of the people of Israel, and the right one the Final rounded by the Four Evangelists. the altar. Judgment. What is certain is that the left half is 7 St. Matthew with the angel and an abacus. devoted to the Old Testament and the right to the New Testament, with St. James in the centre to 8 The Righteous. welcome pilgrims into the House of God. 9 Angels with the attributes of Christ’s Pas- 14 Before being covered by the baroque Obradoiro sion: column, cross, crown of thorns, nails 13 and spear, Pilate’s sentence and jug of war, curtain, the “Pórtico” appeared on the cathe- 12 dral’s west side and completed the icono- whip and INRI sign. graphic programme of the other two façades, the 10 The evangelist St. Luke with his symbol, 15 Azabachería entrance (north) and the Platerías the winged bull. entrance (south), which represented the Fall into Sin and Redemption respectively. 11 The evangelist St. Mark with his symbol, the lion. 12 Old Testament prophets. From left to right, 16 Jeremiah, Daniel, Isaiah and Moses. Daniel’s smile is famous, unique in the Middle Ages. 20 13 New Testament apostles. From left to right, Peter, Paul, James and John, also smiling. 1 1 17

1 Chapel of the Saviour or Chapel of the Pantheon and Treasury. The upper floors he “Botafumeiro” is a giant censer, used Brief History King of France. Romanesque. The starting feature the Library, where the “Botafumei- since the Middle Ages to purify the air in 21 The “Botafumeiro” appears in the 2 Interior Tour The a cathedral that was full of crowds. Today Codex 1 point of the cathedral’s construction in 1075. ro” censer is exhibited; the Chapterhouse T Calixtinus, mentioned as Turibulum Magnum. In Granite altarpiece by Juan de Álava: 16th c. and the important tapestry collection with it continues to marvel those present when, after 3 the 12th century it was hung from a series of 20 cartoons by Goya and Rubens in the long “Botafumeiro” communion, it begins its amazing pendular 6 wooden beams crossing the dome. The present- 2 Chapel of St. Mary the White or of Los swing facing the high altar, rising up to almost 19 th balcony. day mechanism, based on movement by pulleys, España. 13 c. Gothic. Baroque renovations. touch the transept vault. was designed during the Renaissance by the 17 3 Chapel of St. John the Evangelist or of 13 Organs by Miguel de Romay and Antonio 4 th Eight men are required to set it in motion; these master Celma. 7 th Alfonsín. 18 c. In perfect working order. 18 St. Susana. Romanesque, altered in 16 - so-called “tiraboleiros” bring it out of the Library. th In the 15th c., King Louis XI of France financed 5 17 c. 14 Gothic-Renaissance cloister: Juan de It weighs around 62 kg. After tying it with three the manufacture of a silver censer, but it was Álava and Rodrigo Gil de Hontañón, 16th c. large knots to a rope, they pump the censer by 4 Chapel of Santa Fe or of St. Bartholom- removed by the Napoleonic troops camped in the Star-shaped vault and plateresque cresting. pulling with strength and precision. In this way, 16 15 ew. Romanesque with plateresque motifs. cathedral cloister. Today, there are two censers, Houses the museum’s collections. in only a minute and a half, and a total of 17 which are kept in the Chapter Library: the oldest 5 Chapel of the Conception or of cycles, the “Botafumeiro” reaches a speed of th is from 1851, is made of silver-plated brass and Prima.16 c. Burial place of Domingo de 15 Pre-Romanesque font. According to 68 kilometres per hour and forms an angle of is 160 cm high. The second is a silver replica of Andrade. Altarpiece by Simón Rodríguez. tradition, Almanzor’s horse drank from it 82 degrees with the vertical, tracing a 65-metre the aforementioned one, being a gift from the (with fatal results) during the assault on the amplitude arc along the transept. 6 Chapel of La Corticela. Pre-Romanesque basilica in the year 997. Acting Officers to the Cathedral in 1971. church. 9th c. Altered by Maestro Mateo in the 13th c. Although joined to the cathedral in 16 Tombstone of Teodomiro, bishop of Iria when the 16th c., it is still considered an independ- the Apostle’s tomb was discovered (9th c.). ent parish “for pilgrims, foreigners and 17 High Altar. Baroque ensemble. Rococo Basques.” 8 14 baldachin: Vega y Verdugo and Domingo 13 13 7 Chapel of the Holy Spirit. Gothic. 13th c. de Andrade, 17th c. Silver altarpiece: 17th c. Pantheon of the Moscoso family. Statute of St. James that is embraced by pilgrims: 13th c. Below the altar, Roman crypt 8 Communion Chapel. Neoclassical: Miguel (1st c.) and tomb of the Apostle and his two Ferro Caaveiro, 18th c. Exhibits the Blessed th Sacrament. disciples: 19 -century silver chest. 9 12 9 Chapel of Christ of Burgos. Baroque: 18 Chapel of Our Lady of the Pillar or of th Melchor de Velasco, 17th c. Monroy. 18 c. Altarpiece by Miguel de Romay. Archbishop Monroy’s tomb. Beautiful 11 10 “Pórtico de la Gloria.” Transitional Roman- Jacobean ornamentation. esque: Maestro Mateo, 12th-13th c. 19 Chapel of Mondragón or of La Piedad or 11 Royal Pantheon. Tombs: Fernando II, of the Holy Cross. Altarpiece: 16th c. Alfonso IX, Raymond of Burgundy, Doña Berenguela, Juana de Castro. 20 Chapel of La Azucena or of St. Peter or of Doña Mencía de Andrade or of 12 Entrance to Cathedral Museum. Founded El Magistral. Romanesque. Altarpiece: 10 in 1930, it highlights the extraordinary Fernando de Casas, 18th c. history of the Apostle’s sanctuary. A single ticket provides access to the cloister and 21 Holy Entrance. 16th c. Only opened in Holy its rooms, the Chapel of Relics, Royal Years. Bronze door by Suso León (2004).