{"id":6429,"date":"2021-08-20T00:03:28","date_gmt":"2021-08-19T22:03:28","guid":{"rendered":"https:\/\/digitalhistory.unite.it\/santiago-de-compostela\/"},"modified":"2021-11-23T17:44:59","modified_gmt":"2021-11-23T16:44:59","slug":"santiago-de-compostela","status":"publish","type":"page","link":"https:\/\/digitalhistory.unite.it\/en\/territories\/regional-routes\/arabic-history-and-baroque-taste\/santiago-de-compostela\/","title":{"rendered":"Santiago de Compostela"},"content":{"rendered":"

Santiago de Compostela <\/h1>\n
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\"CattedraleUnder Muslim rule, which would continue for centuries, Christian worship in the Iberian peninsula was never completely eliminated. The beginning of the long history of one of the most famous and most visited churches and places of pilgrimage in all of Christendom dates back to the ninth century. It was in Santiago de Compostela, now part of the province of La Coru\u00f1a<\/a>, Galicia, in fact, that the remains attributed to the Apostle James the Greater (Santiago<\/em> in Spanish), traditionally regarded as the first propagator of the Christian faith in the Iberian peninsula, were found during the ninth century. Under the patronage of Alfonso II the Chaste, king of Asturias, these relics began to become a place of pilgrimage from all over Europe, giving rise to the famous Santiago pilgrimage route. The construction of the cathedral<\/a> (photo) was begun in 1075, but the works were only completed in 1211. The most substantial restoration, extension and modification of the cathedral were recorded between the sixteenth and eighteenth centuries. The cathedral is built of cut stone, granite and has a Latin cross plan that covers an area of over 8,000 square metres, divided into three naves. Despite being one of the most remarkable examples of Romanesque art, the interior of the cathedral has some traces of the Baroque style, thanks to the work of famous artists such as Domingo Antonio de AndradeDomingo Antonio de Andrade (1639-1712) was the architect who more than any other helped to spread Baroque art in Galicia between the seventeenth and eighteenth centuries. Named Maestro de Obras<\/em> to the Cathedral of Santiago de Compostela in 1676, Andrade devoted the last forty years of his life to it, and was buried in it. He was also the author of a scholarly work, published in Santiago in 1695: Excelencias de la Arquitectura<\/em>.<\/span><\/a> and Fernando de Casas NovoaFernando de Casas Novoa (1670 ca.-1750) was one of the greatest exponents of Baroque architecture in Spain. The successor of Domingo Antonio de Andrade as Master of the Cathedral of Santiago de Compostela, he continued the work, following his artistic example. In addition to Santiago, he worked in other important centers of Galicia. The Capilla de la Virgen de los Ojos Grandes<\/em> (The Chapel of the Virgin of the large eyes) in the Cathedral of Lugo was the fruit of his genius.<\/span><\/a>. The exterior of the cathedral has beautiful fa\u00e7ades, each of which refers to different periods and styles. The fa\u00e7ade of the Obradoiro<\/em> (photo) is considered one of the most wonderful examples of Baroque art in Spain and one of the symbols, not only of the city of Santiago de Compostela, but of the entire nation. Finally, the Berenguela<\/em>, also known as the Torre del Reloj<\/em> or de la Trinidad<\/em>, is to be mentioned, which was raised on two floors by Domingo Antonio de Andrade between 1676 and 1680.<\/p>\n

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Santiago de Compostela Under Muslim rule, which would continue for centuries, Christian worship in the Iberian peninsula was never completely eliminated. The beginning of the long history of one of the most famous and most visited churches and places of pilgrimage in all of Christendom…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":7272,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6429","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/pages\/6429","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/comments?post=6429"}],"version-history":[{"count":2,"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/pages\/6429\/revisions"}],"predecessor-version":[{"id":11267,"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/pages\/6429\/revisions\/11267"}],"up":[{"embeddable":true,"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/pages\/7272"}],"wp:attachment":[{"href":"https:\/\/digitalhistory.unite.it\/en\/wp-json\/wp\/v2\/media?parent=6429"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}