© COPYRIGHT NOTICE © This digital offprint is provided for the convenience of the author of the attached article. ThoughThough tthishis wworkork hashas beenbeen writtenwritten bbyy tthehe rrecipientecipient ooff tthishis eelectroniclectronic ffile,ile, thethe CopyrightCopyright isis heldheld byby ACMRSACMRS (The(The ArizonaArizona CenterCenter forfor MedievalMedieval andand RenaissanceRenaissance SStudies),tudies), aass rrepresentedepresented bbyy TThehe AArizonarizona BBoardoard ooff RRegentsegents fforor Arizona State University. ThisThis filefile maymay notnot bebe reproducedreproduced oror outputoutput forfor anyany commercialcommercial ppurposeurpose without first obtaining permission from ACMRS. ProhibitedProhibited commercialcommercial useuse includes,includes, butbut isis notnot limitedlimited to:to: • UseUse inin anyany otherother publicationpublication (in(in partpart oror inin whole)whole) • Online publication or distribution • Student/classroom course packs If you have any questions regarding copyright or permissions, please contact ACMRS: Permissions Department ACMRS Arizona State University PO Box 4402 Tempe, AZ 85287-4402 ©Tel. 480-965-5900 Fax 480-965-1681
[email protected] Spanish Medieval Art: Recent Studies, edited by Colum Hourihane (Tempe� ACMRS, 2007) ISBN 978-0-86698-394-5 Inscriptions and the Romanesque Church: Patrons, Prelates, And Craftsmen In Romanesque Galicia 1 James D’Emilio Introduction: Santiago And Galicia The cathedral of Santiago de Compostela preserves a range of inscriptions related to the history and liturgy of the Romanesque church, the protagonists of its construction, and the didactic or symbolic aspects of its decoration. 2 An ample text in the eastern chapel relates to the com- mencement of the building, a date is boldly cut into the jambs of the south transept portal, and twelve roundels in the nave celebrate the consecration of 1211 with liturgical verses encircling crosses.