[Illustration: GENERAL VIEW OF MONDOÑEDO]
As will have been seen, Mondoñedo is a city without history, and without a past; doubtless it will for ever remain a village without a future. Its doings, its _raison d'être_, are summed up in the cathedral that stands in its centre, just as in Santiago, though from different motives.
It is, perhaps, the most picturesque spot in Galicia, a gently sloping landscape buried in a violet haze, reminding one of Swiss valleys in the quiet Jura. Besides, the streets are silent and often deserted, the village inn or _fonda_ is neither excellent nor very bad, and as for the villagers, they are happy, simple, and hospitable dawdlers along the paths of this life.
According to a popular belief, the life of one man, a bishop named Don Martin (1219-48), is wrapped up in Mondoñedo's cathedral, so much so, in fact, that both their lives are one and the same. He began building his see; he saw it finished and consecrated it--_construxit, consumavit et consacravit_; then he died, but the church and his name lived on.
Modern art critics disagree with the above belief; the older or primitive part of the church dates from the twelfth and not from the thirteenth century. Originally, as can easily be seen upon examining the older part of the building, it was a pure Romanesque basilica, the nave and the two aisles running up to the transept, where they were cut off, and immediately to the east of the latter came the apse with three chapels, the lady-chapel being slightly larger than the lateral ones.
In the primitive construction of the building--and excepting all later-date additions, of which there are more than enough--early Gothic and Romanesque elements are so closely intermingled that one is perforce obliged to consider the monument as belonging to the period of Transition, as being, perhaps, a unique example of this period to be met with in Galicia or even in Spain. Of course, as in the case of the other Galician cathedrals, the original character of the interior, which if it had remained unaltered would be both majestic and imposing, has been greatly deformed by the addition of posterior reforms. The form of the apse has been completely changed by the introduction of an ambulatory or circular apsidal aisle dating at least from the fifteenth century, as shown by the presence of the late Gothic and Renaissance elements.