Part 4 of the Exhibition Camino El Origen (The Way The Origin) which was held between days March 13 and September 13 of this year 2015 in the Museum Centro Gaiás in the Ciudad de la Cultura of Santiago de Compostela.
Click Here for Part 1.
Click Here for Part 2.
Click Here for Part 3.
Room 17
The Patronage of Saint James and the Voto a Santiago Apóstol.
After the battle of Clavijo, in gratitude for the Apostle Saint James´ intercession, Ramiro I granted the church of Santiago to provide that the farmers who owned at least one team of oxen would annually pay one measure of grain and another of wine, and that in each victorious expedition against the Saracens the part of the bounty corresponding to one miles would be given to the Apostle Saint James.
The privilege from 834, regardless of its authenticity, was adopted and reconfirmed by the Catholic Kings, which meant that the cathedral council and the archbishopric provided royal charters to remind and demand the payment. This gave way to a period between 1504 an 1788 when the income from the voto saw its greatest territorial and economic expansion, until it was cancelled by the Courts of Cadiz.
Saint James of the accolade. Anonymous, 14th century. Coloured and gold leaf wood. 108 x 55 cm. Patromonio Nacional, Monastery de Santa María la Real de las Huelgas, Burgos.
Memorial por el Patronato de Santiago. Francisco de Quevedo, 1628. Ink printed on paper, binding in leather and cardboard. 20 x 13 cm. Private collection, Santiago de Compostela.
Royal sentence by Felipe II in defense of the voto de Santiago en the cities, towns and locations of the District of the Royal Audience of Granada. Granada, 2 August 1576. Ink on parchment. 31.7 x 48.6 cm. Archivo de la Catedral de Santiago. Santiago de Compostela.
Privilege and confirmation by Felipe III to the Archbishop, Dean, Council and Royal Hospital of Santiago, so that they may appoint specific judge one of the judges of the Royal Chancery of Granada and Valladolid. Madrid, 13 April 1615. Ink on parchment hanging lead seal. 36.7 x 53.6 cm. Archivo de la Catedral de Santiago. Santiago de Compostela.
Cover of the privilege of King Ramiro. Anonymous, 1566. Xylography on paper. 40 x 31 cm. Museo de Pontevedra. Diputación de Pontevedra.
Privilegio del voto de Santiago. Copy by Pedro Marcio. 12th century. Parchment. 71 x 56 cm. Archivo de la Catedral de Santiago. Santiago de Compostela.
Portrait of Francisco de Quevedo y Villegas. Juan van der Hamen, second third of the 17th century. Oil on canvas. 60.5 x 48 cm. Instituto de Valencia de Don Juan, Madrid.
A Saint James knight. Juan Pantoja de la Cruz, 1601. Oil on canvas. 51 x 47 cm. Museo Nacional del Prado, Madrid.
Portrait of Benito Arias Montano. Anonymous Spanish, second third of the 17th century. Oil on canvas. 62 x 51.2 cm. Patrimonio Nacional, Madrid.
Saint James, protector of the dame commanders of his order. Anonymous, Valladolid atelier, second quarter of the 17th century. Oil on canvas. 143 x 113 cm. Museo Nacional de Escultura, Valladolid.
Room 18
Armour.
During the first half of the 16th century the main European centres for the production of luxury armour were located in the south of Germany and northern Italy, both territories controlled by the emperor Carlos V of Spain. For this reason their armour was among the most sophisticated and expensive of the period. In central Europe the production was lead in Augsburg by the atelier of the Helmschmid family, imperial arms manufacturers since the time of their grandfather, the emperor Maximilian I of Austria, and which, no doubt, was his favourite. The atelier manufactures the majority of his armour, included within the concept of armour garniture.
This breastplate is one of the reinforcement pieces belonging to the so-called Algerian garrison, in allusion to the military campaign commanded by the emperor in 1541 against the Berber pirates in the Mediterranean.
Because it was destined to be worn in a campaign against Islam which was foreseen to be victorious, it was decorated with the image of Saint James the Moor-slayer and it is the only one that boasts it.
Reinforcing Breastplate of the Emperor Charles V. Algerian Garrison. Desiderius Helmschmid, Augsburgo circa 1540. Engraved and gilded steel, gold. 37.3 x 33.7 cm. Patrimonio Nacional, Real Armería, Madrid.
The Apostle Saint James. Manuel Gómez Moreno, 1878. Oil on canvas. 104,5 x 72 cm. Museo de Bellas Artes de Córdoba.
Saddle of emperor Charles V. Spain (¿), ca. 1515-1520. Engraved, embossed and gilded steel, wood, leather and cloth. 47.5 x 66 x 47.6 cm. Patrimonio Nacional, Real Armería, Madrid.
Portrait of Álvaro Bazán, I Marchee of Santa Cruz and Knight of the Order of Saint James. Julio García Condoy, 20th century. Oil on canvas. 84.5 x 101 cm. Museo Archivo Don Álvaro de Bazán, Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real.
We can also see from the exterior of the Room 18 (of which we see the work Santiago Apóstol of painter Manuel Gómez Moreno) the Pennant from the Captain nau in the Battle of Lepanto.
It is located in the space between the Room 18 (ending part of the exhibition referred to the theme of The Way) and the Room 19 in which the theme The Pilgrim starts.
Pennant from the Captain nau in the Battle of Lepanto. Anonymous, 1570. Tempera on linen. 17,65 x 1,40 m. Museo Catedral de Santiago, Santiago de Compostela.
It is a linen fabric 17 meters long tempera decorated with colorful scenes and escutcheons.
Starting the description from the top of the pennant are represented on a background of three stripes red, gold and blue: a Calvary, a Throne of Grace, the Lion of San Marcos (Venice), the imperial coat of arms of the House of Austria, the Griffin (Genoa), the images of Saint John the Evangelist, Saint James (dressed as a pilgrim) and Saint John the Baptist, the escutcheons of Castile and of the House of Savoy.
General view.
Partial view.
Partial view. Coat of Arms of the House of Savoy.
Partial view. The imperial coat of arms of the House of Austria.
Partial view. Throne of Grace.
This is the part of the Pennant in which a Calvary is represented.
End of Part 4.
Click Here for Part 5.
No comments:
Post a Comment