The current building was commissioned in 1501 by the Catholic Monarchs to care for the sick and pilgrims of the divine Xacobe, as can be read in the Latin inscription that runs along the upper frieze of the façade. Its construction, however, was decided in 1492 coinciding with the discovery of America. The project of the works is attributed to the royal architect Enrique Egas. In front of the façade, we can see a strong 16th-century chain supported by meticulously carved pillars that delimit the property of the hospital and originate from property disputes between the City Council and the Hospital authorities. It features a beautiful Plateresque doorway by the French masters Martín de Blas and Guillén de Colás. On the pilasters of this doorway, we can see from bottom to top, the figures of Adam, Saint Catherine, and Saint John the Baptist on the left and those of Eve, Saint Lucy, and Mary Magdalene on the right. On the frieze of the door, structured as a Roman triumphal arch, the figures of the twelve apostles are aligned. In the spandrels above the arch, we can see medallions with the busts of King Ferdinand and Queen Isabella. Above the frieze, in the upper body, the window of the Royal Chamber opens, reserved for hosting the monarchs when they came to Compostela, flanked by the images of Christ, the Virgin, Saint James, Saint John the Evangelist, Saint Peter, and Saint Paul. Two large shields, with the arms of Castile, also flank the doorway. Running along the entire front of the building, we see balconies designed by Friar Tomás Alonso, supported by highly worked corbels representing fanciful figures. The cornice is decorated with a meticulous chain in which grotesque and obscene gargoyles stand out. The interior space is structured in a rectangular plan with four courtyards. The most artistic of these courtyards is the first one we find upon entering on the left, where the door leading to the old San Luis room stands out. The interior of the Hostal houses a beautiful Gothic chapel, declared a National Monument in 1912. The most interesting part of this Latin cross-shaped chapel, located between the four courtyards, is the transept, which is accessed through a beautifully crafted iron grille, the work of the French locksmith Guillén. The vault of the transept, made of lithographic stone from Coimbra, is of a beautiful filigree.