Cathedral

 

Summary The Cathedral in Santiago de Compostela is the destination for Catholic pilgrims who complete the pilgrimage “The Way of Saint James”.  Construction of the cathedral started in 1075 on the site of a church built there in 829 although, due to delays the cathedral was not consecrated until 1128. Containing many beautiful chapels it is known foremost as the place that holds the remains of Saint James and his two disciples.

Santiago de Compostela is located in Galicia in north-western Spain and is famous for its Cathedral, which was built on the shrine of Saint James, (son of Zebedee) one of the Apostles of Jesus. The cathedral is the destination for Catholic pilgrims who complete the Way of Saint James, a pilgrimage which originated in the 9th century and is the third most popular pilgrimage for Christians/Catholics.

According to legend, it was Saint James who brought Christianity to the Iberian Peninsula around 44 AD. On his return to Jerusalem, he was beheaded, but his remains were brought back to Spain where he was buried. His tomb was maintained until the 3rd century when, as a result of Roman persecution, it was abandoned and forgotten. In 814 the tomb was rediscovered and a chapel was built on the site by King Alfonso II of Asturias and Galicia (791-842). The first church was built on the site in 829, and this was enlarged in 899.  In 997 the church was destroyed but Saint James’s tomb survived, although the Gates and bells were taken to the Aljama Mosque at Cordoba.

Constructed mainly of granite, the present cathedral was started in 1075 during the reign of Alfonso VI of Castile (1040–1109); although construction was halted a number of times and the last stone was laid in 1122, and was consecrated in 1128. The cathedral underwent a number of expansions in the 16th, 17th and 18th centuries. Despite its Baroque facade, the present cathedral of Santiago de Compostela is predominantly Romanesque; in fact, one of the finest Romanesque churches in Spain. 

Each of the facades is known not only by its orientation but also by name. The West façade, which has become the symbol of the city is known as the Obradoiro and overlooks the Obradoiro Square. This has undergone a number of developments over the years, with the current Baroque façade being constructed in the 18th century.  Leading up to the façade is a majestic staircase, giving the cathedral a sense of grandeur and elevating it above the square.

 

This stairway, constructed in the 17th century, leads to the entrance and is in the Renaissance style. This surrounds the entrance to the 12th century Romanesque crypt which was part of the old cathedral constructed by Master Mateo; the most important artist/builder of the Romanesque period.

 

The tower to the right (The Bell Tower) represents the mother of Saint James, whilst the one on the left (The Rattle Tower) represents Zebedee, his father. In the centre are statues of Saint James and below him are his two disciples.

The two towers are of medieval origin with the first part of the tower being built in the 12th century, but in the 15th century several modifications were made. They were remodelled in the latter half of the 17th century. Due to a tilt being detected in their structure, the towers had to be reinforced with buttresses, between 1667 and 1670. Known as the Torre das Campás they reach the height of over 75 metres.

During 2014 (when these photographs were taken) the cathedral was undergoing repair works to eradicate a fungus which was growing on the façade, which meant that parts were covered in scaffold and hoardings. 

The North façade or da Acibecharía contains a Romanesque portal built in 1122. This portal was demolished following a fire in 1758, although some of the sculptural pieces were saved and were placed on the South façade. 

The new North façade was designed in Baroque style but was finished in the neoclassical style in 1769, although it retained some aspects of the baroque. At the top of the façade is an 18th-century statue of Saint James with King Alfonso III and King Ordoño II at his feet.

  

The South façade or das Pratarías is in Romanesque style built between 1103 and 1117 and is the only Romanesque façade to remain. This façade has two doors with figures of prophets and the Apostles. The façade contains many figures which were brought from the North façade in the 18th century. At its corner stands the Clock Tower (also called Torre da Trindade or Berenguela) the construction of which was believed to have begun in 1316 as a defensive tower. This was subsequently added to and between 1676 and 1680 two additional floors were added with its cupola and a lantern rising to 75 metres. The clock faces on each side were added in 1833.

  

The East façade or da Quintana has two gates: the Porta Real or Royal Gate and the Porta Santa, the Holy Gate.  The Porta Real, in the baroque style, was begun in 1666 and completed in 1700. Located above the door is the Royal Coat of Arms as it was this door which was used by the Kings of Spain to enter the cathedral, hence the name.  The Holy Door is only opened in the year when St James's Day (25th July) falls on a Sunday. Above the door are statues of St James with his disciples Athanasius and Theodore on either side of him. 

Behind the western façade is the 12th-century Portico da Gloria (The Glory Portico). It stems from the Romanesque period and was built between 1168 and 1188 by Master Mateo.

Inside the cathedral, visitors find the nave, with two lateral aisles, a wide transept and a choir with radiating chapels. The interior is 97 m long and 22 m high. It still has the original barrel-vaulted cruciform Romanesque interior.
 

The barrel-vaulted nave and the groin-vaulted aisles consist of eleven bays, whilst the transept consists of six bays. The Piers are clustered and flanked by semi-columns, three of which carry the cross vaults of the side aisles and the truss of the arched vaults, whilst the fourth goes to the spring of the vaults.

Along the aisles and around the cathedral are a number of chapels, each of which is dedicated to a different saint and is adorned with beautiful altarpieces, paintings, and sculptures.

The Chapel of Santa Fe (Holy Faith), also known as the Chapel of St. Bartholomew, is dominated by a Renaissance altarpiece. Containing Our Lady of Good Counsel, flanked on either side by Saint James the Greater and Saint Bartholomew. Within the chapel is the sepulchre of the canon Don Diego de Castilla which dates back to 1521, and is an important example of funerary art of the period.  

 

The Chapel of St. John was originally Romanesque but was transformed and expanded during the Baroque period. It was also at this time that the altarpiece, with an image of Saint John at the very top and an image of Saint Mary Salome was added to the centre.  

 

Originating in the late 13th century, the Chapel of Santa María la Blanca (Saint Mary the White) contains the Neogothic altarpiece containing a Baroque image of Our Lady of the Immaculate Conception, made in 1744 by Gregorio Fernández.  
 
 

The Chapel of St. Peter, with its original Romanesque layout, is famous for its mural paintings and dates back to the late 16th century.

 

The Chapel of Mondragón is also known as the Chapel of Piety or of Santa Cruz  was built in 1521 and is dominated by a magnificent altarpiece in terracotta represents the Mourning of Christ.  

 

The Chapel of St. Andrew was founded by Archbishop Girón in 1674, and has a Baroque altarpiece presided over by an image of Our Lady of Mount Carmel by Rodeiro. Rodeiro was a 19th-century religious sculptor who continued the tradition of religious sculpture relating to the pilgrimage to Santiago de Compostela that had begun in the previous century.  

 

Located on one side of the Azabachería door, the Chapel of St. Anthony  contains an altarpiece by Manuel de Leis dated 1762. It is presided over by an image of Saint Anthony and was partially altered in 1948 to accommodate an image of Our Lady of Fatima, which is now in the lower part of it.  

 

Built in 1665, the Chapel of Christ of Burgos’s name derived from the central image of the altarpiece, which was made in the city of Burgos in the mid-18th century.

 

The altarpieces on the side altars, like the central one, are the work of Mateo de Prado.

 

One of the striking statues in the cathedral  is that of Saint James on horseback which portray him as a warrior in battle against the Moors.  

 

The confessionals are located in the chapels of the ambulatory, where confessions are heard in multiple languages to a​​​​​​ccommodate the diverse group of pilgrims visiting the cathedral.

 

The Transept contains the giant Botafumeiro which is suspended under the dome. Measuring 1.60 m in height and weighing 80 kg it is the world’s largest Botafumeiro. 

The Botafumeiro, whose name means "smoke expeller" in Galician, is a giant censer (incense burner) used during religious ceremonies. Its origins date back to at least the 12th century, as mentioned in the Codex Calixtinus, an early guidebook for pilgrims. 

The original Botafumeiro was made of silver but this was removed by French troops in 1809 and was replaced with an iron one, the current one is silver plated and was installed in 1851.

The current Botafumeiro was crafted in 1851. It is made of brass and bronze, plated with a thin layer of silver, and weighs about 53 kilograms when empty. When filled with incense and coal, it can weigh up to 80 kilograms.
It is suspended from the cathedral's dome by a pulley system, which was installed in 1604 and remains largely unchanged. Originally, it served to purify the air in the cathedral, and to cover the smell of the many unwashed pilgrims who arrived at the cathedral at the end of their pilgrimage.

On important religious days it is attached to the pulley mechanism, filled with charcoal and incense and is swung across the transept; a custom which is believed to have originated more than 700 years ago. Operated by a team of eight men, known as tiraboleiros, who skilfully swing it across the cathedral's transept. It can reach speeds of up to 68 km/h and swings in a dramatic arc of about 65 meters. The ritual is performed during special occasions, such as the Feast of St. James (July 25th), Christmas, and Easter. It is also available for private ceremonies upon request.

 

The cathedral has two pulpits positioned symmetrically on either side of the central nave, close to the high altar, near the crossing. These are of Baroque design and intricately carved and reflect the artistic styles of the periods during which they were created.  The craftsmanship of the pulpit showcases the skill of the artisans who contributed to the cathedral's construction and decoration. 

The high altar is a masterpiece of Baroque art and design. It is richly adorned with gold and intricate details, creating a sense of grandeur and reverence. The centerpiece of the altar is a magnificent statue of St. James the Great, depicted as a pilgrim with a staff and a scallop shell, symbolizing his role as the patron saint of pilgrims.

Above the altar, there is a stunning baldachin (canopy) supported by ornate columns, adding to the altar's majestic appearance. The entire structure is designed to draw the eye upward, emphasizing the spiritual significance of the space. The high altar is not only a focal point of worship but also a testament to the artistic and architectural brilliance of the cathedral.

 

 

One of the main attractions is the tomb of Saint James, which lies below the high altar in the crypt.  This was lost in 1700 until they were found in 1879 during the course of building work. Three skeletons were found which were believed to have been Saint James and his two disciples. The one of Saint James was confirmed by the fact that a fragment of his skull was held by a church in Tuscany which fitted a gap in the skull of one of the skeletons. The remains of the three skeletons of relics of Saint James and his two disciples Saint Theodorus and Saint Athanasius are in a silver casket over a marble altar.  The container was made and placed there in 1886. 

 

The Santiago de Compostela Cathedral is surrounded by several notable buildings that are part of its historical and architectural ensemble. 

The Capela do Pilar is a example of Baroque architecture. Originally planned as a sacristy, it was transformed into a chapel between 1696 and 1723 under the direction of architects Domingo de Andrade and Fernando de Casas. The chapel is renowned for its intricate decoration, featuring colourful marbles, jasper, and gilded details which feature scallop, shells and stars.

 

The Church of San Fructuoso, also known as the Church of Las Angustias de Abaixo, is a Baroque-style church from the 18th century.  Designed by Lucas Ferro Caaveiro in the 18th century, The facade is adorned with statues representing the four cardinal virtues Prudence, Justice, Fortitude, and Temperance. 

 

Located within the cathedral complex, under the steps leading up to the entrance is the visitors centre and Cathedral Museum which showcases artifacts and art related to the cathedral's history.

 

Directly facing the Cathedral of Santiago de Compostela, in the Plaza del Obradoiro, is the Palacio de Raxoi, which is also known as Pazo de Raxoi. This is a neoclassical palace with an elegant façade which features a granite colonnade with arches and sculptures, including a depiction of the Battle of Clavijo and an image of the Apostle Santiago. Designed by the French architect Carlos Lemaur, the palace was completed in 1766. Originally built as a seminary for confessors, it now serves as the seat of the city council and the regional government of Galicia.

 

Today the Way of Saint James has a number of routes with hostels established to cater for the thousands of pilgrims who travel to Santiago de Compostela each year.
 

 

To see more photographs and take a virtual tour of the site click on the photoshow below.