The discovery of the remains of the apostle Saint James took place at the beginning of the ninth century in the forest of Libredón. After the legitimation of the relics by Teodomiro, the bishop of Iria Flavia, and King Alfonso II, the sanctuary that precedes our current Cathedral was born, and the city of Compostela began to flourish around it. This basilica became the heart and raison d’être of the city, gathering around the main artists who enriched it with their works, including its beloved guild of Saint Eloy, which, like in most European cities, brought silversmiths together under the patronage and protection of that bishop and goldsmith.
Brotherhood of Cambeadores
We cannot determine exactly when the silversmiths of Santiago organised under a guild system. We know that they were linked to the legendary brotherhood of cambeadores —“money changers”—, which must has been the first guild in Compostela. In a city that attracted thousands of pilgrims from all over Europe, cambeadores were responsible for providing currency exchange services. López Ferreiro mentions a document that contains an agreement between goldsmiths and cambeadores, dated in 1298, demonstrating the joint obligations of both guilds and their close connection, including the regulation of silver prices.
The Concheiros
On the other hand, jet carvers have their origin in another legendary guild in Compostela, the concheiros —“shell makers”—, whose roots relate to the phenomenon of pilgrimage and the need to offer small shells, symbol of the Way to Compostela, to all those who wanted to take a tangible memento of their spiritual journey. This guild was gradually replaced by the jet carvers —under the patronage of Saint Sebastian— who began to carve these shells in jet, having a close connection with the silversmiths.
The guild of silversmiths of Compostela was geographically located around the Cathedral, from the Porta Santa —“Holy Door”— to the square known as “praza das Praterías” —“Silvers shops Square”—. The jet carvers gathered around the northern area of the Cathedral, still known today as “rúa da Acibechería” —“Jet carving street”— In both areas, some of their workshops, the places where these artisans crafted their pieces, remain open to the public.
Silversmiths and jet carvers supplied the city with pieces. Compostela was born because of religious devotion, and thus filled with churches. These artists created sumptuous items for a Cathedral that constantly needed to reaffirm itself as one of the centres of Christendom. Therefore, the basilica demanded pieces to exchange with important figures who visited Santiago, as diplomatic gifts. For example, from the Modern Age, it was common for ecclesiastical and political leaders who made offerings to Saint James on July 25th to receive a silver picture with the image of the Apostle. We have documented thousands of such pieces throughout history. Of course, they also created numerous items for many pilgrims who wanted to take home a memento of their spiritual journey. Jet and silver shells played a significant role in this souvenir culture. They also made pieces for the civilian clientele of the city, especially since the nineteenth century, when the bourgeoisie began to enhance their domestic collections with spectacular tableware, trays with iconographic scenes, or private devotional pieces such as holy water fonts.
