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- Room 3  -


      The third room of the Museum assembled a magnificent selection of pieces that communicates to the parish life among 17th and 19th century, coincided with the declivity of the priory and its subsequent construction as Collegiate and finally as parish of Santiago’s council.

      The handicraft collection and liturgical ornaments of Baroque and Neoclassical epochs which are showed in that space served to explain the protagonism of the Church as the principal promoter of Galician Baroque artistically revives, through cathedral chapters, the monastic communities or the same town – with the participation in fraternities-.

      During that period (1650-1750) the organization of religious acts increases. That fact allows to do a lot of works connected with liturgical celebrations. As consecuence of that fertilized activity emerges a big variety of mixed holy pieces. Some of them, for a ceremonial use, as communion cups, patens, large communion cups, cruet-stand, etc; others, for enhances the ceremonies as monstrances, Eucharist chests, censers, ...

      Moreover during 18th century, increased -by a considerable form- the processional character pieces connected with commemorative acts organized by guilds and fraternities for reveres to their patrons. Between this pieces are some processional crosses and plates the emblems that represents the different fraternities of each parish.

      The communion cups, key element in catholic liturgy, forms the biggest group. The Museum shows in that Room five Baroque chalices, emphasizing one that was gave by Archbishop Yermo y Santibáñez in 1731, a piece of Toledo’s Trade School (middle of 18th century) or the one that was made, in 1799, by the famous goldsmith José de Novoa. From José de Nova we can see too a magnificent monstrance of 1801, in gilded silver, which joined to the reliquary of Saint Peter, made by an Cordovan school of silversmith, put the Neoclassical accent to the room.

      The processions were converted, too, during the Baroque in a commemorative act very habitual. That’s why, the processional cross of each parish church is, as the communion cups, other of the most common pieces of Baroque handicraft and the more important jowel from the treasure of the parishioners. The processional cross of Sar was made in 1758 by one of the most important silversmith of the moment, Francisco Turreira. That magnificent piece emphasizes by its ornamental resource and its chromatic set, a wonderful work that aestheticment tend to the forms and the spirit of Rococo Art.

      The patron plates are other of the most useful symbols in processional celebrations, which have got a significant presence inside the collection. Among the five plates that the sample shows, emphasizes the once appertaining to the fraternity “Cofradía del Santísimo de la Colegiata de Sar” make in gilded silver in 18th century.

      As a complement of those objects, the Museum has got a genteel selection of liturgical clothing, localized in the middle of the room and inside a glass case with an integral visibility, that allows observe every detail of its faultless confection. Rains caps, chasubles, dalmatics, … clothing from 18th century and made over silk and satin embroidered with golden and silver threads.

      Closing that space and by the side of the exit, we can admire, again, a rain cap from 18th century, similar the previous ones and that completes the liturgical clothing collection. Likewise, shuts that section two wood polychrome crucifixes made, in 18th century, by José Ferreiro.