Santiago Cathedral: History and Architecture

Santiago Cathedral: A Monument of Faith and Art

Discovery of the Tomb and Construction of the Cathedral

The Cathedral of Santiago stands as one of the most characteristic examples of pilgrimage churches. In 814, Bishop Teodomiro of Iria Flavia discovered the tomb containing the remains of the Apostle Saint James (Santiago). The construction of the present cathedral was initiated under the patronage of King Alfonso VI and Bishop Diego Pelaez, beginning in the fall of 1077, with works commencing in 1078. A series of construction campaigns followed. The first, led by Master Bernardo, lasted ten years and saw the construction of little more than the chevet. Following the removal of Bishop Pelaez, construction paused until the appointment of Diego Gelmirez as his successor in 1100. From then until 1122-24, practically the entire cathedral was built. The third and final stage began in 1168 when Master Mateo was entrusted with the completion of the old cathedral, including the support for the Portico of Glory. The cathedral was finally consecrated in 1211.

Architectural Features

The plan of the cathedral follows the model of a pilgrimage church, featuring an ambulatory around the apse, to which five chapels open. The nave is covered with a barrel vault, divided into sections by transverse arches, while the side aisles feature groin vaults. Supporting columns are strategically used for structural reinforcement.

The Portico of Glory

Two large towers flank the entrance at the western end, where the Portico of Glory is situated. The Portico of Glory, the most significant work of the second half of the 12th century, was built by Master Mateo, who signed the work in 1188. It was conceived as a monumental entrance to the great basilica, organized into three arches. Each arch features a semicircular tympanum decorated with sculptures, with the central arch dedicated to the representation of Glory. The central arch rests on a mullion that bears the image of Saint James. The right archivolt depicts the damned, while the left archivolt shows the righteous. The archivolts of the left arch are dedicated to a representation of figures that have been interpreted as an allegory of the ancient world. This work is essential as a testament to the advancements of the Gothic style.

The Silver Facade

The Silver Facade dates back to the early 12th century. At the top of this facade, sculptures are arranged in a central frieze depicting Christ blessing, with Saint James and other apostles to his right. Above the central arch is a Chrismon and Abraham between two lions.