Abstract
The city of Santiago de Compostela was, for many centuries, an by virtue of his condition of archdiocese and place of peregrination, a center of reference for the religious arts, and very especial way, the silverwork, which gives name, precisely, to one of de most known squares of the city. The object of this article is to realize a shallow approximation to the vital incident of a silversmith, Rodrigo de Pardinas, across the testaments that he granted along his life, as well as of the documents of last wills of two os his wives.
Highlights
A condición, innegable, da urbe Compostelá como fin e remate do camiño e, porque non e en certo xeito, desexo de multitude de peregrinos que desde o “descubrimento” do corpo do apóstolo Santiago[1] ata hoxe percorreron os seus segredos, contribuíu a que a cidade se convertese nun centro, tanto relixioso como artístico, destacando unha arte de tipo suntuario, como a xoiería que transformou as materias primas en cálices, relicarios, cruces procesionais, exvotos e moitos outros testemuños que aínda se conservan en boa parte[2]
The object of this article is to realize a shallow approximation to the vital incident of a silversmith
he granted along his life
Summary
A condición, innegable, da urbe Compostelá como fin e remate do camiño e, porque non e en certo xeito, desexo de multitude de peregrinos que desde o “descubrimento” do corpo do apóstolo Santiago[1] ata hoxe percorreron os seus segredos, contribuíu a que a cidade se convertese nun centro, tanto relixioso como artístico, destacando unha arte de tipo suntuario, como a xoiería (ourivería, pratería e acibechería) que transformou as materias primas en cálices, relicarios, cruces procesionais, exvotos e moitos outros testemuños que aínda se conservan en boa parte[2].
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