An Apotheosis of Romanesque Architecture
Santiago de Compostela Cathedral
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European Nations comprises of several states in it forming a chain of countries within the continent. From the ancient period these chain of countries have predominantly played a role in spreading the Christian faith across the globe. The European land attained the state of recognition through establishment of Catholic structures, which in turn led to the rise of Romanesque architecture. It retained many basic features of Roman architectural style most notably round-headed arches, but also barrel vaults, apses, and acanthus-leaf decoration, but had also developed many very different characteristics. And this style was the first one to be spread across the Catholic Europe. Several states of Europe contain massive cathedrals resembling great significance and faith of Christianity. Some of the cathedrals are also enlisted in the World Heritage sites of UNESCO. Among the several states of Europe, Spain holds a wide range of cathedrals of historical importance. One of them is the Santiago de Compostela Cathedral a masterpiece of Romanesque art, conserves a valuable historic centre worthy of one of Christianity's greatest holy cities.
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This is an extraordinary ensemble of distinguished monuments grouped around the tomb of St James the Greater, the destination of all the roads of Christianity's greatest pilgrimage from the 11th to the 18th century. Santiago de Compostela, owing to its monumental integrity, enshrines both specific and universal values. To the irreplaceable uniqueness of Romanesque and Baroque masterpieces is added the transcendental aesthetic contribution which makes use of diachronic and disparate elements in the construction of an ideal city which is overflowing with history. The exemplary nature of this city of Christian pilgrimage which is enriched by the ideological connotations of the Reconquista is echoed by the great spiritual significance of one of the few places that are so deeply imbued with faith as to become sacred for the tile of humanity.
History of Santiago de Compostela Cathedral
A small church was first built over the tomb of St. James shortly after it was discovered in 819 AD. This was destroyed by al-Mansur's Moorish army in 997, though Almansor left the relics of the Apostle undisturbed. He did, however, force Santiago's citizens to carry the bells of the tower to the mosque in Cordoba (they have since been returned).Despite its Baroque facade, the present cathedral of Santiago de Compostela is predominantly Romanesque; in fact, one of the finest Romanesque churches in Spain. Construction began in 1060 in the reign of Alfonso VI and was completed in 1211.Various elements were added in later centuries, culminating in the dramatic Baroque transformation of the exterior in the 16th-18th centuries. The interior of the cathedral, however, retains its pure Early Romanesque style.
The remains of St. James, the raison d'être of the cathedral, were lost in 1700 after being hidden before an English invasion. Fortunately, they were rediscovered during building work in 1879.
Structure & Façade
The cathedral's facade forms part of an extended architectural composition on the Plaza del Obradoiro, a grand square surrounded by public buildings. To the north and south, and in a line with the west front, are dependent buildings of the 18th century, grouping well with it. Those to the south contain a light and elegant arcade to the upper windows, serving as a screen to the late Gothic cloisters. Built in 1533 by the future archbishop of Toledo, the cloisters are said to be the largest in Spain.
The spectacular Baroque facade of the cathedral, known as the Obradoiro facade, was added between 1738 and 1750 by an obscure local architect, Fernando de Casas. Made of granite, it is flanked by huge bell towers and adorned everywhere with statues of St. James as the pilgrim, with staff, broad hat and scallop-shell badge. The ground rises to the cathedral, which is reached by a magnificent quadruple flight of steps, flanked by statues of David and Solomon. Access to the staircase is through fine wrought-iron gates marked with a seashell.
In the centre, on the level of the Plaza, is the entrance to a Romanesque chapel, the Iglesias Baja (Lower Church), constructed under the portico and contemporary with the cathedral. Entrance to the cathedral is through the magnificent Pórtico de la Gloria, carved in 1188 by Maestro Mateo and considered one of the finest works of medieval art. Originally the exterior west door, it now stands just inside, behind the newer Baroque facade.
The shafts, tympana and archivolts of the three doorways are a mass of sculpture depicting the Last Judgment. Faint traces of color remain on some of the carvings, which represent the culmination of Romanesque sculpture and the beginnings of Gothic realism. On either side of the portal are Prophets of the Old Testament, including Daniel, who seems to be smiling. The arches over the side doors represent Purgatory and the Last Judgment, with Christ in glory presiding in the center. He is flanked by the Four Evangelists and surrounded by the 24 Elders of the Apocalypse playing medieval musical instruments. The string instrument at the top center is an organistrum, an example of which can be seen in the crypt.
Richly decked Apostle
The Romanesque interior of the Cathedral (94m/308ft long, nave 24m/79ft high, dome 33m/108ft) is dominated by the elaborately decorated Capilla Mayor, built over the Apostle's tomb. The high altar consists of a superstructure of jasper, alabaster and silver with numerous figures and the altar proper. In the center is a 13th century wooden figure of the Apostle, richly decked with silver, gold and precious stones added about 1700. On either side of the altar are narrow staircases leading up behind the figure of St James, so that pilgrims go up and kiss the Apostle's cloak - the culminating act of the pilgrimage.
Under the altar is a crypt (entered by steps on the right) with the remains of the Apostle and his two disciples Theodore and Athanasius. The silver casket containing the Apostle's remains is 19th century work. In the dome over the crossing (1445) can be seen the device (installed in 1604) for swinging the huge Botafumeiro (censer), 2m/6-1/2ft high, which is set in motion on great feast days by a team of eight men. When not in use it is kept in the Library.
Only a few of the chapels in the aisles and transepts of the Cathedral, all sumptuously decorated and furnished, can be mentioned here: the Capilla del Sagrado Corazón, a tall circular marble chapel in the north aisle, with bishops' tombs; the Capilla del Espíritu Santo in the north transept, which also has fine tombs; the adjoining Capilla de la Concepción, with the tomb of Canon Rodríguez Agustín by Cornelis de Holanda; and the Capilla de Mondragón in the south ambulatory, with a finely wrought ceiling. In the Capilla de las Reliquias or Relicario, the first chapel in the south aisle, are the tombs of kings and queens of the 12th-15th centuries. The Capilla de San Fernando in the south aisle contains the Cathedral Treasury (Tesoro), with splendid vestments and silverware. A particular treasure is a silver monstrance by Antonio de Arfe (1545).
Sculptures
Another vital attraction of the cathedral is its sculptures, which are very appealing to the eyes of the visitors. Some are carrying children (representing the souls of the good) to heaven, just as the devils are holding the wicked in their mouths by their heads and carting them down to hell. A certain Maestro Mateo, funded by a generous stipend in gold and silver from King Ferdinand II of León, was the architect and sculptor who from 1168 led a team of artists in portraying the Day of Judgment – and indeed all the horrors and wonders of earth, heaven and hell – in startling detail across the three arches and down the multiple columns of the portico. Among the scores of remarkable carvings is one of a curly-haired, cheerfully smiling Daniel the prophet – said to be the first smile of Romanesque art. And framing the figure of Christ in the central arch is a semicircle of the 24 elders of the Apocalypse, depicted in naturalistic style as medieval musicians chatting to each other and tuning up before a concert. Their instruments like harps, fiddles, a lute of wood and stretched dog-skin and a two-man hurdy-gurdy, all typical of minstrels and troubadours.
The Romanesque Altar above the Apostle's tomb had been altered and added to in numerous occasions during the 15th and 16th centuries, before being completely replaced by the baroque one we see today. Its creator, Domingo Antonio de Andrade, obviously encountered some difficulty fitting the proportions, typical of his time, into the limited space provided by the Romanesque context. Especially the baldachin seems somewhat out of proportion. St. James is shown in three different representations in the main altar: at the inferior part we see him as teacher, right underneath the baldachin he's shown as pilgrim and towards the top there's a sculpture of the Apostle as slayer of Moors (Santiago Matamoros).
In terms of design and perception this cathedral is a colossal figure of Romanesque architecture. The altar and the interiors are a major point of attraction of the entire structure. Moreover, the cathedral has played a vital role in spreading Romanesque architecture across the globe through the European nations thereby setting an example. Thus, the cathedral is genuine example of Catholic faith and Romanesque architecture.
Reference
http://www.paradoxplace.com/Photo%20Pages/Spain/Camino_de_Santiago/Compostela/Cathedral/Compostela_Cathedral.htm