Guidebook for Vidago

Hernâni
Guidebook for Vidago

Sightseeing

A medieval castle with an early occupation that goes back to a prehistoric fort. It was occupied by the Romans due to the proximity of a Roman road linking Braga to Astorga.
Águas Frias
A medieval castle with an early occupation that goes back to a prehistoric fort. It was occupied by the Romans due to the proximity of a Roman road linking Braga to Astorga.
On top of a hill, where you can see the mountains of Gerês (west) and Larouco (East) and the river Cávado (north), the castle dominates the village, a few miles from the border with Galicia - Spain.
Restaurante O Castelo
5 Terreiro Açougue
On top of a hill, where you can see the mountains of Gerês (west) and Larouco (East) and the river Cávado (north), the castle dominates the village, a few miles from the border with Galicia - Spain.
Visit a Galaico Warrior in the most important Gallaecian castro in Portugal, and several other castros dating back to the pre-roman castreja civilization, in addition to several Roman monuments.
Boticas
Visit a Galaico Warrior in the most important Gallaecian castro in Portugal, and several other castros dating back to the pre-roman castreja civilization, in addition to several Roman monuments.
The settlement of this region dates back to the 12th century and several ancient castros were discovered and other archaeological artefacts, including Byzantine coins, from the era of Emperor Ducas.
Covas do Barroso
The settlement of this region dates back to the 12th century and several ancient castros were discovered and other archaeological artefacts, including Byzantine coins, from the era of Emperor Ducas.
The settlement of this region dates back to prehistoric periods and you can visit remnants of a primitive castro of Cidadonha.
Bobadela
The settlement of this region dates back to prehistoric periods and you can visit remnants of a primitive castro of Cidadonha.
The settlement was also a Lusitanian village with a castro discovered on a hilltop, that was later Romanized, from vestiges of Roman mile markers and pavement stone discovered around the site.
Nogueira
The settlement was also a Lusitanian village with a castro discovered on a hilltop, that was later Romanized, from vestiges of Roman mile markers and pavement stone discovered around the site.
Visit church of Nossa Senhora da Azinheira
Outeiro Seco
Visit church of Nossa Senhora da Azinheira
National monument since 1938, King Denis built it in the 14th century, but its history is fused with the history of Chaves, a defensive structure during the Christian Reconquista.
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Lâu đài Chaves
14 Praça de Camões
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National monument since 1938, King Denis built it in the 14th century, but its history is fused with the history of Chaves, a defensive structure during the Christian Reconquista.
This forte has a long history since the Middle Ages the nearby hilltops required garrisons to defend the region and prevent an occupation from León and also during the Napoleonic invasions (in 1807).
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Forte de São Francisco Hotel Chaves
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This forte has a long history since the Middle Ages the nearby hilltops required garrisons to defend the region and prevent an occupation from León and also during the Napoleonic invasions (in 1807).
Built to protect the northern hill against a possible invasion from Spain during the Portuguese Restoration War in the 17th century. It was long connected to the defense system of Chaves.
Forte de São Neutel
9 Av. Heróis de Chaves
Built to protect the northern hill against a possible invasion from Spain during the Portuguese Restoration War in the 17th century. It was long connected to the defense system of Chaves.
The construction dates to 1100, in Romanesque-style consisting of a main nave and bell tower. During 16th century, renovations were completed in the Renaissance-style, which completely modified it.
Igreja Matriz,Santa Maria Maior em Chaves.
88 R. da Ordem Terceira
The construction dates to 1100, in Romanesque-style consisting of a main nave and bell tower. During 16th century, renovations were completed in the Renaissance-style, which completely modified it.
Santuário with festivals on 7 August every year, it was constructed in honor of Saint Cajetan, a Theatine orator of the Catholic Church during the Counter Reformation.
São Caetano
Santuário with festivals on 7 August every year, it was constructed in honor of Saint Cajetan, a Theatine orator of the Catholic Church during the Counter Reformation.
Constructed on the site of another Marian apparition in 1833, when also three shepherd children - similar to the events in Fátima - witnessed the Virgin Mary.
Calvão
Constructed on the site of another Marian apparition in 1833, when also three shepherd children - similar to the events in Fátima - witnessed the Virgin Mary.
If you like good wine, the surrounding area is the Monterrey wine region and the Carnival festivities are one of the most original in Spain. You can also visit the Monterrey Castle.
Verín
If you like good wine, the surrounding area is the Monterrey wine region and the Carnival festivities are one of the most original in Spain. You can also visit the Monterrey Castle.
The Church of São Domingos, was order, along with the convent with the same name, in the 15th century, at the behest of the religious of São Domingos of Guimarães. The architecture receives influences of two styles: The most obvious is the Romanesque, evident in the robustness and austerity of its lines, and the Gothic. In its facade we can see images of São Domingos and St. Francis of Assisi. In 1837 it suffered a major fire that wiped out most of the assets it held inside. The tower was added in the 18th century and the stained glass windows were placed during the last intervention works (2001-2005). It is open daily for worship.
Cathedral of Vila Real
89 Av. Carvalho Araújo
The Church of São Domingos, was order, along with the convent with the same name, in the 15th century, at the behest of the religious of São Domingos of Guimarães. The architecture receives influences of two styles: The most obvious is the Romanesque, evident in the robustness and austerity of its lines, and the Gothic. In its facade we can see images of São Domingos and St. Francis of Assisi. In 1837 it suffered a major fire that wiped out most of the assets it held inside. The tower was added in the 18th century and the stained glass windows were placed during the last intervention works (2001-2005). It is open daily for worship.
The Church of St. Peter is one of the best examples of religious baroque style in Vila Real. To the original building was built in 1528 and then various changes were introduced over time, until what we have today. Among these changes, mostly made in the 18th century (hence the Baroque style) are; the "azulejo" (tiles) in the main chapel; the introduction of panels on the roof and the construction of the facade. To the richness of the interior, we can add to the abundant decoration of the facade, with two imposing bell towers, making this Church the only example of this kind in the historic center of Vila Real.
Igreja de S.Pedro
49 R. dos Combatentes da Grande Guerra
The Church of St. Peter is one of the best examples of religious baroque style in Vila Real. To the original building was built in 1528 and then various changes were introduced over time, until what we have today. Among these changes, mostly made in the 18th century (hence the Baroque style) are; the "azulejo" (tiles) in the main chapel; the introduction of panels on the roof and the construction of the facade. To the richness of the interior, we can add to the abundant decoration of the facade, with two imposing bell towers, making this Church the only example of this kind in the historic center of Vila Real.
Diogo Cão was one of the most notable navigators of the Age of Discovery, who made two voyages sailing along the west coast of Africa to Namibia in the 1480s. You can visit his house and square with a small garden located in the heart of Vila Real. It has tables and benches and allows for the practice of sports.
Jardim da Praça Diogo Cão
Diogo Cão was one of the most notable navigators of the Age of Discovery, who made two voyages sailing along the west coast of Africa to Namibia in the 1480s. You can visit his house and square with a small garden located in the heart of Vila Real. It has tables and benches and allows for the practice of sports.
This "pelourinho", located in São Dinis (Vila Real), has been built in 1515, when Vila Real got a new charter given by D. Manuel. The current pillory only has the original the octagonal column while the rest is a copy of the original, which has been destroyed.
Largo do Pelourinho
This "pelourinho", located in São Dinis (Vila Real), has been built in 1515, when Vila Real got a new charter given by D. Manuel. The current pillory only has the original the octagonal column while the rest is a copy of the original, which has been destroyed.
Located near Ribeira da Marinheira, west of Vila Real, the Quintela Tower is one of the few examples of civil-military architecture that demonstrate the advancement of noble families, typically in the low-medieval, through this "transmontana" land. The history of this place goes back at least to the mid-eleventh century, when it appears as one of the main agricultural units of the land of Vila Real, closely linked to the counts that ruled over the region of chaves (D. Gotronde Nunes wife of D. Vasco). The tower we see today, however, is a product of the 13th-14th centuries, a period that corresponds to higher agricultural and demographic development of this region. At the turn of the fourteenth century, settled here D. Alda Vasques, who is credited with building the tower for their own residence. However, the fact that the property appears in the inquiries of D. Afonso III (1258), may delay its construction in about half a century, a circumstance that would put its architecture still in late-Romanesque. The building features some later reforms, but its structure should match the foundation plan from the thirteenth century. By testamentary disposition, D. Alda bequeathed the Tower to the Order of the "Hospitalários", an institution that kept it until the nineteenth century and it was one of the main references in medieval times, at the point of having inspired Camilo Castelo Branco himself in one of his novels riddled with Romanticism. The extinction of Religious Orders in 1834, has opened a new and disastrous period in the history of this monument. Sold to private interests, and having been almost destroyed, it would be saved from ruin by favorable economic conditions.
Quintela
Located near Ribeira da Marinheira, west of Vila Real, the Quintela Tower is one of the few examples of civil-military architecture that demonstrate the advancement of noble families, typically in the low-medieval, through this "transmontana" land. The history of this place goes back at least to the mid-eleventh century, when it appears as one of the main agricultural units of the land of Vila Real, closely linked to the counts that ruled over the region of chaves (D. Gotronde Nunes wife of D. Vasco). The tower we see today, however, is a product of the 13th-14th centuries, a period that corresponds to higher agricultural and demographic development of this region. At the turn of the fourteenth century, settled here D. Alda Vasques, who is credited with building the tower for their own residence. However, the fact that the property appears in the inquiries of D. Afonso III (1258), may delay its construction in about half a century, a circumstance that would put its architecture still in late-Romanesque. The building features some later reforms, but its structure should match the foundation plan from the thirteenth century. By testamentary disposition, D. Alda bequeathed the Tower to the Order of the "Hospitalários", an institution that kept it until the nineteenth century and it was one of the main references in medieval times, at the point of having inspired Camilo Castelo Branco himself in one of his novels riddled with Romanticism. The extinction of Religious Orders in 1834, has opened a new and disastrous period in the history of this monument. Sold to private interests, and having been almost destroyed, it would be saved from ruin by favorable economic conditions.
The temple is an enclosure with 3 large boulders and several open cavities. It has several inscriptions, in Latin and Greek, describing the ritual celebrated and the gods to whom they were dedicated.
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Santuário de Panóias
9 người dân địa phương đề xuất
The temple is an enclosure with 3 large boulders and several open cavities. It has several inscriptions, in Latin and Greek, describing the ritual celebrated and the gods to whom they were dedicated.
In the first century B.C. a Roman military fort was constructed to overlook the important roadway between Aquas Flavias (Chaves) and Lamecum (Lamego). At that time, the Romans were attracted to the region due to the presence of gold ore, silver and lead. In the following centuries, the region was successively occupied by Visigoths and Muslims until the eighth century. By the 11th century, following the Christian Reconquista of the territory, the Kings of León recovered and restructured the former Visigothic administrative center. Between the beginning of the 12th century and 13th century, this castle of Aguiar was constructed, and likely completed during the reign of Sancho I. At this time, the "castle" was an important strategic point in the Terra de Aguiar (the nucleus of municipality of Vila Pouca de Aguiar) and inhabited by partisans of D. Afonso Henriques (1112-1185), later referenced in a medieval hagiograph in Santa Senhorinha de Basto. An important event in the independence of Portugal, it was D. Gonçalo Mendes de Sousas, master of the dominions of Aguair and Panóis, and man-at-arms of the nascent King who quickly hastened to give aid to the forces at Pena de Aguiar. Later, during the reign of King D. Afonso III (1248-1279), the parish of Telões received its first Carta de Foral (Foral charter) on 10 July 1255. By the beginning of the 16th century, the village of Telões lost its administrative importance, and was integrated into the foral associated with Aguiar da Pena in 1515. The structure was finally abandoned in 1527, due to a progressive change in warfare dependent on gunpowder. On a 1804 report, there is evidence that the Province of Trás-os-Montes was unprotected, without fort or military fortifications, during the Spanish invasion of 1762, resulting in the assault of Chaves, Bragança and Miranda, and attacks on castles in the region.
Castle of Pena de Aguiar
In the first century B.C. a Roman military fort was constructed to overlook the important roadway between Aquas Flavias (Chaves) and Lamecum (Lamego). At that time, the Romans were attracted to the region due to the presence of gold ore, silver and lead. In the following centuries, the region was successively occupied by Visigoths and Muslims until the eighth century. By the 11th century, following the Christian Reconquista of the territory, the Kings of León recovered and restructured the former Visigothic administrative center. Between the beginning of the 12th century and 13th century, this castle of Aguiar was constructed, and likely completed during the reign of Sancho I. At this time, the "castle" was an important strategic point in the Terra de Aguiar (the nucleus of municipality of Vila Pouca de Aguiar) and inhabited by partisans of D. Afonso Henriques (1112-1185), later referenced in a medieval hagiograph in Santa Senhorinha de Basto. An important event in the independence of Portugal, it was D. Gonçalo Mendes de Sousas, master of the dominions of Aguair and Panóis, and man-at-arms of the nascent King who quickly hastened to give aid to the forces at Pena de Aguiar. Later, during the reign of King D. Afonso III (1248-1279), the parish of Telões received its first Carta de Foral (Foral charter) on 10 July 1255. By the beginning of the 16th century, the village of Telões lost its administrative importance, and was integrated into the foral associated with Aguiar da Pena in 1515. The structure was finally abandoned in 1527, due to a progressive change in warfare dependent on gunpowder. On a 1804 report, there is evidence that the Province of Trás-os-Montes was unprotected, without fort or military fortifications, during the Spanish invasion of 1762, resulting in the assault of Chaves, Bragança and Miranda, and attacks on castles in the region.
The first reference to a monastery or religious institution came from a papel brief to Pope Leo IV (in 853). Its founding would not occur until 13 July 1059 by Dom Gomes Aciegas, and completed 1102; the remains of this original construction are two small chapels (below the main altar), the mail entrance door and the four fortified arches. It is still unclear on the precise period that monastery and church was founded. Afonso I of Portugal provided privileges and patronage in 1155 to the monastery and its prelate Gonçalo de Sousa. The abbot (Gonçalo de Sousa) would initiate remodeling and renovations in 1199. The monastery continued to be favoured by the monarchy, and throughout the 12th century a number of reliquaries were deposited in the altars of the Church. On 6 March 1586, the monastery's rich patrimony was taken by King Philip I of Portugal and transferred to the Jerónimos Monastery. But, this did not limit the growth of the church and monastery, as major projects continued between the 16th and 18th century, with Jerónimo Luís being the principal contractor in 1600 constructing the two exterior towers. After the 19th century, the church and monastery were progressively falling into ruin, after the Benedictine monks were expelled in 1834, and a significant part of the altar and construction stone were removed to support other projects within the region. Since 1910, the monastery has been considered a National Monument.
Monastery of Santa Maria de Pombeiro
The first reference to a monastery or religious institution came from a papel brief to Pope Leo IV (in 853). Its founding would not occur until 13 July 1059 by Dom Gomes Aciegas, and completed 1102; the remains of this original construction are two small chapels (below the main altar), the mail entrance door and the four fortified arches. It is still unclear on the precise period that monastery and church was founded. Afonso I of Portugal provided privileges and patronage in 1155 to the monastery and its prelate Gonçalo de Sousa. The abbot (Gonçalo de Sousa) would initiate remodeling and renovations in 1199. The monastery continued to be favoured by the monarchy, and throughout the 12th century a number of reliquaries were deposited in the altars of the Church. On 6 March 1586, the monastery's rich patrimony was taken by King Philip I of Portugal and transferred to the Jerónimos Monastery. But, this did not limit the growth of the church and monastery, as major projects continued between the 16th and 18th century, with Jerónimo Luís being the principal contractor in 1600 constructing the two exterior towers. After the 19th century, the church and monastery were progressively falling into ruin, after the Benedictine monks were expelled in 1834, and a significant part of the altar and construction stone were removed to support other projects within the region. Since 1910, the monastery has been considered a National Monument.
The Saviour of Unhão is an important religious temple, thus reflecting the importance and scope of the settlement process in the region throughout the thirteenth century. Regardless of the transformations suffered in time, with profound alterations to the Romanesque construction, the epigraphy recording the Church Dedication, on January 28th 1165, was kept. This inscription is the oldest testimony of its history, since the known documented references only go as far back as 1220. The inscription commemorating the Dedication of the Church is engraved after the south wall is built, which allows dating that phase of construction or completion of the temple. Of modest proportions, Unhão has a single nave and rectangular chancel, whose greatest source of interest lies in its main portal, engraved in gable and composed of four round arch archivolts, decorated with geometric and botanic motifs, framing a tympanum filled with the typical hollow cross which is traditionally from Braga. The eighteenth and nineteenth centuries brought greater wealth to its interior, including altarpieces that flank the triumphal arch and the main altarpiece, carved and gilded, reporting its origin to the nineteenth century.
Igreja do Salvador de Unhão
215 R. da Igreja
The Saviour of Unhão is an important religious temple, thus reflecting the importance and scope of the settlement process in the region throughout the thirteenth century. Regardless of the transformations suffered in time, with profound alterations to the Romanesque construction, the epigraphy recording the Church Dedication, on January 28th 1165, was kept. This inscription is the oldest testimony of its history, since the known documented references only go as far back as 1220. The inscription commemorating the Dedication of the Church is engraved after the south wall is built, which allows dating that phase of construction or completion of the temple. Of modest proportions, Unhão has a single nave and rectangular chancel, whose greatest source of interest lies in its main portal, engraved in gable and composed of four round arch archivolts, decorated with geometric and botanic motifs, framing a tympanum filled with the typical hollow cross which is traditionally from Braga. The eighteenth and nineteenth centuries brought greater wealth to its interior, including altarpieces that flank the triumphal arch and the main altarpiece, carved and gilded, reporting its origin to the nineteenth century.
The current building does not correspond the date of the Church's foundation, which is documented since 1091. In 1220’s "Inquirições" [administrative enquiries], the Church is referred to as ecclesia de Arães, in the “Julgado” [jurisdiction] of Felgueiras. There are records made by Francisco Craesbeeck, in 1726, of the existence of an inscription at the pulpit, now missing, referring to the year of 1184. The Church’s patronage suffered consecutive transfers, already belonging to the Crown in 1394, which in turn assigned it to the Order of Aviz. In 1517, it became a commendation of the Order of Christe. However, the later aspect of some elements of its construction points to a building from the late 13th century or even the beginning of the 14th century. The successive changes that the Church suffered changed its initial character. The renovations it was subject to between the 13th and 14th centuries brought in architectural elements and decorative grammar inspired by the Gothic. It was pursuant to this campaign that the interior of the Church was refurbished, presenting three naves. Later on, the Baroque movement adds to the chancel a coating with tiling panels, the centre altar and gold gilding sacrarium. The full perception of the building's history and artistic aspects includes the understanding of relevant data, such as the fact that it was an important commendation of the Military Order of Malta in the Early Modern Period, becoming the parish Church only in 1834, after the extinction of religious orders in Portugal. In 1726, the Chapels of Saint Maurus, Our Lady of the Assumption and Our Lady of Nazareth, as subsidiaries, depended on the Church of Saint Mary of Airães. Moreover, it is known that, nearby the Church, there were several stately buildings inhabited by deans and commanders.
Junta de Freguesia de Airães
The current building does not correspond the date of the Church's foundation, which is documented since 1091. In 1220’s "Inquirições" [administrative enquiries], the Church is referred to as ecclesia de Arães, in the “Julgado” [jurisdiction] of Felgueiras. There are records made by Francisco Craesbeeck, in 1726, of the existence of an inscription at the pulpit, now missing, referring to the year of 1184. The Church’s patronage suffered consecutive transfers, already belonging to the Crown in 1394, which in turn assigned it to the Order of Aviz. In 1517, it became a commendation of the Order of Christe. However, the later aspect of some elements of its construction points to a building from the late 13th century or even the beginning of the 14th century. The successive changes that the Church suffered changed its initial character. The renovations it was subject to between the 13th and 14th centuries brought in architectural elements and decorative grammar inspired by the Gothic. It was pursuant to this campaign that the interior of the Church was refurbished, presenting three naves. Later on, the Baroque movement adds to the chancel a coating with tiling panels, the centre altar and gold gilding sacrarium. The full perception of the building's history and artistic aspects includes the understanding of relevant data, such as the fact that it was an important commendation of the Military Order of Malta in the Early Modern Period, becoming the parish Church only in 1834, after the extinction of religious orders in Portugal. In 1726, the Chapels of Saint Maurus, Our Lady of the Assumption and Our Lady of Nazareth, as subsidiaries, depended on the Church of Saint Mary of Airães. Moreover, it is known that, nearby the Church, there were several stately buildings inhabited by deans and commanders.
The most ancient documents refer the existence of a Church of Saint Mammes in 1220, then integrated in the patronage of the Monastery of Saint Mary of Pombeiro. However, the current building corresponds to a later reform, already in mid Gothic period, although it still resorts to the Romanesque construction. The "Inquirições" [administrative enquiries] of 1258 indicate that D. Mendo de Sousa settled in the place of Vila Verde in 1258. The chapel would, most probably, be erected in the 13th century. Martim Anes and his sister, Maria Anes, donated the Quintã of Vila Verde to the Monastery of Pombeiro, on the 20th February 1301. Some details of the frescoes that we may admire today in the chancel were painted by Master Arnaus, in the 16th century. The tiling and plastering decorated with painting is still visible in the nave. The patron saint was Saint Mammes. For a long time in ruins, without any roofing, the Church has suffered the effects of weather and neglect. This neglect would have begun after 1866, when a new parish Church was built in Vila Verde. In 1959 it had already lost its roof.
Polidesportivo de Vila Verde
The most ancient documents refer the existence of a Church of Saint Mammes in 1220, then integrated in the patronage of the Monastery of Saint Mary of Pombeiro. However, the current building corresponds to a later reform, already in mid Gothic period, although it still resorts to the Romanesque construction. The "Inquirições" [administrative enquiries] of 1258 indicate that D. Mendo de Sousa settled in the place of Vila Verde in 1258. The chapel would, most probably, be erected in the 13th century. Martim Anes and his sister, Maria Anes, donated the Quintã of Vila Verde to the Monastery of Pombeiro, on the 20th February 1301. Some details of the frescoes that we may admire today in the chancel were painted by Master Arnaus, in the 16th century. The tiling and plastering decorated with painting is still visible in the nave. The patron saint was Saint Mammes. For a long time in ruins, without any roofing, the Church has suffered the effects of weather and neglect. This neglect would have begun after 1866, when a new parish Church was built in Vila Verde. In 1959 it had already lost its roof.
The first references to the Church of the Savior of Aveleda dates back to 1177, when Vela Rodrigues donates to the Monastery of the Savior of Paço de Sousa (Penafiel) the property he had inherited in Lousada from his father, Rodrigo Viegas and his grandparents, Egas Moniz and Teresa Afonso. The Church’s devotion appears in the document of 1218, as well as in the "Inquirições" [administrative enquiries] of 1258. The current building, despite these references, does not date that back, having been reformed in the Modern Era, retaining only the nave and western facade of Romanesque features. The Church of the Savior of Aveleda is thus a late Romanesque building, whose interior was object of a decorative campaign during the eighteenth century.
Igreja do Salvador (Aveleda)
The first references to the Church of the Savior of Aveleda dates back to 1177, when Vela Rodrigues donates to the Monastery of the Savior of Paço de Sousa (Penafiel) the property he had inherited in Lousada from his father, Rodrigo Viegas and his grandparents, Egas Moniz and Teresa Afonso. The Church’s devotion appears in the document of 1218, as well as in the "Inquirições" [administrative enquiries] of 1258. The current building, despite these references, does not date that back, having been reformed in the Modern Era, retaining only the nave and western facade of Romanesque features. The Church of the Savior of Aveleda is thus a late Romanesque building, whose interior was object of a decorative campaign during the eighteenth century.
The Church of Saint Mary of Meinedo, although its foundation date remains unknown, would have been built between late 13th century and early 14th century, even though the temple perpetuates decorative schemes and building solutions that follow the Romanesque path. In spite of this late date, the Church’s prestige is enormous, considering that Meinedo was the head of a Bishopric in the 6th century. Meinedo is identified with the toponym “Magnetum”, in the “Paroquial Suévico” [Suevic Parochial], by A. de Almeida Fernandes, quoted by Marcelo Mendes Pinto, locating here a Paroécia [of the ancient Greek, parish] in 572, whose see would have been later transferred to Portucale, since its Bishop attended the Third Council of Toledo, in 589, and upon this date no reference is made to "Magnetum". From this period to the 13th century, when the Church is consecrated, as we currently know it, little is known on the development of the site, although archaeological excavations carried out in 1991 revealed a circular apsidal structure belonging to a pre-Romanesque primitive temple.
Igreja Matriz de Meinedo
The Church of Saint Mary of Meinedo, although its foundation date remains unknown, would have been built between late 13th century and early 14th century, even though the temple perpetuates decorative schemes and building solutions that follow the Romanesque path. In spite of this late date, the Church’s prestige is enormous, considering that Meinedo was the head of a Bishopric in the 6th century. Meinedo is identified with the toponym “Magnetum”, in the “Paroquial Suévico” [Suevic Parochial], by A. de Almeida Fernandes, quoted by Marcelo Mendes Pinto, locating here a Paroécia [of the ancient Greek, parish] in 572, whose see would have been later transferred to Portucale, since its Bishop attended the Third Council of Toledo, in 589, and upon this date no reference is made to "Magnetum". From this period to the 13th century, when the Church is consecrated, as we currently know it, little is known on the development of the site, although archaeological excavations carried out in 1991 revealed a circular apsidal structure belonging to a pre-Romanesque primitive temple.
The origin of the Monastery of Saint Peter of Ferreira dates back to the 10th century, based on the reference made to it in the will of Mumadona Dias, in 959. The construction works of the temple began in 1182 and the elements of a first Romanesque church, which would have been built between the late 11th century and the beginning of the 12th century, may be identified. The Monastery was part of the Order of Clerics Regular in the 13th century, between 1258 and 1293, which was extinguished in the 15th century when it ceased to belong to the Clerics and became part of the House of the Bishop of Oporto, including the "couto" [place of privileges] and adjacent properties. This monument constitutes a unique case in the Portuguese Romanesque by being preceded by a narthex surrounded by a wall, a double spanned belfry and a gabled epistyle. This structure would correspond to the funerary exonarthex.
Igreja de São Pedro de Ferreira
124 Rua do Cruzeiro
The origin of the Monastery of Saint Peter of Ferreira dates back to the 10th century, based on the reference made to it in the will of Mumadona Dias, in 959. The construction works of the temple began in 1182 and the elements of a first Romanesque church, which would have been built between the late 11th century and the beginning of the 12th century, may be identified. The Monastery was part of the Order of Clerics Regular in the 13th century, between 1258 and 1293, which was extinguished in the 15th century when it ceased to belong to the Clerics and became part of the House of the Bishop of Oporto, including the "couto" [place of privileges] and adjacent properties. This monument constitutes a unique case in the Portuguese Romanesque by being preceded by a narthex surrounded by a wall, a double spanned belfry and a gabled epistyle. This structure would correspond to the funerary exonarthex.
In addition to the issue of naming the Tower - popularly known as "Tower of the Moors", "Tower of Lordelo" or "High Tower", and officially known as "Tower of the Alcoforados" - there is also another discussion regarding the founders of this property. While Felgueiras Gayo and Alão de Morais claim that this Tower was the manor house of the Alcoforados, A. de Almeida Fernandes ascribes its foundation to the clan of milites Brandão, from the lower nobility, who had assets in the area during a period that lasted between the 12th and 13th centuries. The Tower was surely built after 1258 and fits into the so-called domus fortis or fortified manorial residence typology. This type of residence follows the military architecture of the keeps, but uses them for civilian, namely housing, purposes. However, by applying this military design, they associated to them and through them, a family, an image of power and a demonstration of strength. As a result, these residential towers were eventually used by noble families while they were in a full assertion and ascension period. In other words, the Tower of the Alcoforados represents the power of a family over a given territory in its surrounding area. It was mainly second-line lineages, milites aspiring to become noblemen who adopted this architectural solution of the domus fortis in the first place, as a way to lead their domains. As time went on and with the dispersion of its lords among families from Porto and from the entre-douro-e-minho region - in other words, with the fading of a given manorial lineage -, this Tower lost its main function, and it was probably left uninhabited from a very early stage. Once the idea of territorial control had been lost, the property eventually turned into an empty building, which was strongly affected by the constructions that were built around it over time.
Rua da Torre Alta
Rua da Torre Alta
In addition to the issue of naming the Tower - popularly known as "Tower of the Moors", "Tower of Lordelo" or "High Tower", and officially known as "Tower of the Alcoforados" - there is also another discussion regarding the founders of this property. While Felgueiras Gayo and Alão de Morais claim that this Tower was the manor house of the Alcoforados, A. de Almeida Fernandes ascribes its foundation to the clan of milites Brandão, from the lower nobility, who had assets in the area during a period that lasted between the 12th and 13th centuries. The Tower was surely built after 1258 and fits into the so-called domus fortis or fortified manorial residence typology. This type of residence follows the military architecture of the keeps, but uses them for civilian, namely housing, purposes. However, by applying this military design, they associated to them and through them, a family, an image of power and a demonstration of strength. As a result, these residential towers were eventually used by noble families while they were in a full assertion and ascension period. In other words, the Tower of the Alcoforados represents the power of a family over a given territory in its surrounding area. It was mainly second-line lineages, milites aspiring to become noblemen who adopted this architectural solution of the domus fortis in the first place, as a way to lead their domains. As time went on and with the dispersion of its lords among families from Porto and from the entre-douro-e-minho region - in other words, with the fading of a given manorial lineage -, this Tower lost its main function, and it was probably left uninhabited from a very early stage. Once the idea of territorial control had been lost, the property eventually turned into an empty building, which was strongly affected by the constructions that were built around it over time.
Built not very far from the place of Quintã, the Chapel of Our Lady of Piety is located in the village that was once part of the "honra" [land with privileges] of Baltar and close to the old road which connected Porto with Penafiel and Amarante. Despite the fact that the parish priest of Baltar declared this Chapel as being Gothic in 1864, this building is difficult to date. The Chapel falls within the community or patronage devotional building typology, which was dedicated to saints or had Christological or Marian invocations. Here, the Marian worship took over, being later dedicated to the Virgin of Piety - an expression of maternal distress in response to the Golgotha tragedy and a subject that pleased the Counter Reformation. It may be characterized as a hermitage, due to its constructive context - built in a formerly bleak, isolated or peripheral site -, the Chapel was probably built in two different phases, starting with the chancel - which suggests its function as a hermitage - and, in a second phase, with the construction of the remaining part of its body. Taking the vernacular method of its construction as a starting point - in which the building's technical, cultural, economic and social isolation may have had some influence in the construction, leading to the survival and stagnation of specific Romanesque construction formulas to the detriment of the adoption of more recent and well-known styles, such as those from the Gothic or Renaissance periods; we can fit it into the so-called “românico de resistência” [resistance Romanesque] style, since this style is likely to be identified even during the 16th century.
Rua da Quinta
Rua da Quinta
Built not very far from the place of Quintã, the Chapel of Our Lady of Piety is located in the village that was once part of the "honra" [land with privileges] of Baltar and close to the old road which connected Porto with Penafiel and Amarante. Despite the fact that the parish priest of Baltar declared this Chapel as being Gothic in 1864, this building is difficult to date. The Chapel falls within the community or patronage devotional building typology, which was dedicated to saints or had Christological or Marian invocations. Here, the Marian worship took over, being later dedicated to the Virgin of Piety - an expression of maternal distress in response to the Golgotha tragedy and a subject that pleased the Counter Reformation. It may be characterized as a hermitage, due to its constructive context - built in a formerly bleak, isolated or peripheral site -, the Chapel was probably built in two different phases, starting with the chancel - which suggests its function as a hermitage - and, in a second phase, with the construction of the remaining part of its body. Taking the vernacular method of its construction as a starting point - in which the building's technical, cultural, economic and social isolation may have had some influence in the construction, leading to the survival and stagnation of specific Romanesque construction formulas to the detriment of the adoption of more recent and well-known styles, such as those from the Gothic or Renaissance periods; we can fit it into the so-called “românico de resistência” [resistance Romanesque] style, since this style is likely to be identified even during the 16th century.
The Castle is part of the history of the Christian Reconquest, and was attacked in 995, by Almançor. He was the leader of a “Terra” [territory] in the process of territorial reorganization, occurred throughout the eleventh century, and a “Julgado” [jurisdiction] in the 13th century. Its location deployment reveals the defensive concerns used in the construction - it is very difficult to access and it's surrounded by higher hills that make it hard to perceive. The Asturian kings gave particular attention to the Castle of Aguiar de Sousa, which was part of the defensive network of the territory at this time. The Tower might not have existed in the twelfth century, although the construction of watchtowers within the fortified walls would be normal in Romanesque times. The Julgado of Aguiar de Sousa [jurisdiction of Aguiar de Sousa] was one of the most powerful of the entre-douro-e-minho region, accumulating considerable wealth, and bordered by the rivers Sousa and Ferreira and the tributaries Eiriz and Mesio. The territory of this “Julgado” [jurisdiction] extended from Porto till the vicinity of Penafiel, including all the parishes of what is today the municipality of Paredes, with the exception of Recarei, plus 42 parishes of the neighboring municipalities, as evidenced by the "Inquirições" [administrative inquiries] of 1220.
Castelo
The Castle is part of the history of the Christian Reconquest, and was attacked in 995, by Almançor. He was the leader of a “Terra” [territory] in the process of territorial reorganization, occurred throughout the eleventh century, and a “Julgado” [jurisdiction] in the 13th century. Its location deployment reveals the defensive concerns used in the construction - it is very difficult to access and it's surrounded by higher hills that make it hard to perceive. The Asturian kings gave particular attention to the Castle of Aguiar de Sousa, which was part of the defensive network of the territory at this time. The Tower might not have existed in the twelfth century, although the construction of watchtowers within the fortified walls would be normal in Romanesque times. The Julgado of Aguiar de Sousa [jurisdiction of Aguiar de Sousa] was one of the most powerful of the entre-douro-e-minho region, accumulating considerable wealth, and bordered by the rivers Sousa and Ferreira and the tributaries Eiriz and Mesio. The territory of this “Julgado” [jurisdiction] extended from Porto till the vicinity of Penafiel, including all the parishes of what is today the municipality of Paredes, with the exception of Recarei, plus 42 parishes of the neighboring municipalities, as evidenced by the "Inquirições" [administrative inquiries] of 1220.
The architecture of this Chapel shows a construction methodology typical of late 15th century or early 16th century, with similarities with the architecture of the Monastery of Saint Peter of Cête, particularly with regard to the stone coat of arms. The person who commissioned the works of the Manueline period of the Monastery of Cête is likely to have been the same responsible for the construction of the chevet of the Chapel.
Capela da Senhora do Vale ou Ermida da Senhora do Vale
The architecture of this Chapel shows a construction methodology typical of late 15th century or early 16th century, with similarities with the architecture of the Monastery of Saint Peter of Cête, particularly with regard to the stone coat of arms. The person who commissioned the works of the Manueline period of the Monastery of Cête is likely to have been the same responsible for the construction of the chevet of the Chapel.
The foundation of this monastic community dates back to the 10th century and is considered the origin of this Benditine Monastery. The will of abbot Randulfo, in 994, who escaped from a monastery to the south, during the incursions of Almançor, contains the first references to this Monastery. The foundation of the Monastery credits Trutesendo Galindes and his wife Anímia, who followed the peninsular monastic habits and adopted the Rule of Saint Benedict, during the abbacy of Sisnando, between 1085 and 1087. In 1088, the will of D. Egas Ermiges and his wife Gontinha Eriz donates property and other assets to the Church of the Saviour, for the redemption of their souls. This church does not correspond to the current Romanesque temple, but its architecture left marks in the construction that would be erected in the 13th century, featuring different periods. Count D. Henrique donates the Monastery as head of a "Couto" [place of privileges] associated to the Ribadouro, one of the most important families in the Entre-Douro-e-Minho, of which descends Egas Moniz who, according to tradition, would have founded this Monastery. The family comes from foreign roots, and the first representative, Mónio Viegas I, was born in the Gascogne, according to the information on the Livros de Linhagem [Books of Lineage].
8 người dân địa phương đề xuất
Mosteiro de São Salvador de Paço de Sousa
Rua de Franco
8 người dân địa phương đề xuất
The foundation of this monastic community dates back to the 10th century and is considered the origin of this Benditine Monastery. The will of abbot Randulfo, in 994, who escaped from a monastery to the south, during the incursions of Almançor, contains the first references to this Monastery. The foundation of the Monastery credits Trutesendo Galindes and his wife Anímia, who followed the peninsular monastic habits and adopted the Rule of Saint Benedict, during the abbacy of Sisnando, between 1085 and 1087. In 1088, the will of D. Egas Ermiges and his wife Gontinha Eriz donates property and other assets to the Church of the Saviour, for the redemption of their souls. This church does not correspond to the current Romanesque temple, but its architecture left marks in the construction that would be erected in the 13th century, featuring different periods. Count D. Henrique donates the Monastery as head of a "Couto" [place of privileges] associated to the Ribadouro, one of the most important families in the Entre-Douro-e-Minho, of which descends Egas Moniz who, according to tradition, would have founded this Monastery. The family comes from foreign roots, and the first representative, Mónio Viegas I, was born in the Gascogne, according to the information on the Livros de Linhagem [Books of Lineage].
Already in 1105 the Church of São Pedro de Abragão was mentioned. Over the centuries, it has undergone several reconstructions, recoveries and restorations. The last was done by the Romanesque Route. The trip through Tamega's Valley starts here, in a church that still has a chancel with Romanesque style. Outside the chapel is observable a frieze composed of geometric motifs that may have Mozarabs and Visigothic influences. Inside, the rectangular chevet consists of two sections in rhythm and staggered abutments. The chapel decoration is vegetal themed including the triumphal arch which is surmounted by a rosette in the shape of a five-pointed star. The rounded bases, addorsed columns and the capitals, very bulky compared to the low height of the chevet, feature decorative themes similar to those of the main portal of the monastery of Travanca (Amarante). The gilded altarpiece is already Baroque We cannot fail to mention the contrast that exists between the whitewashed walls of the nave and the mural in shades of blue from the wall of the triumphal arch that conveys a light and a unique character to this church. In 2006, when doing reconstruction works in a building (that was once used as a blacksmith's workshop) near the Parish Council the workers began to discover parts, some with apparels, others carved, belonging to the former nave of the church. It were found capitals, bases, ashlars and staves within a portal that leads to the conclusion that the nave would have unusual big dimensions for the time. These pieces have been the motto for the construction of the Interpretation Centre of Romanesque Sculpture, in the vicinity of the Church of Abragão.
Igreja de São Pedro ou Igreja Matriz de Abragão
Already in 1105 the Church of São Pedro de Abragão was mentioned. Over the centuries, it has undergone several reconstructions, recoveries and restorations. The last was done by the Romanesque Route. The trip through Tamega's Valley starts here, in a church that still has a chancel with Romanesque style. Outside the chapel is observable a frieze composed of geometric motifs that may have Mozarabs and Visigothic influences. Inside, the rectangular chevet consists of two sections in rhythm and staggered abutments. The chapel decoration is vegetal themed including the triumphal arch which is surmounted by a rosette in the shape of a five-pointed star. The rounded bases, addorsed columns and the capitals, very bulky compared to the low height of the chevet, feature decorative themes similar to those of the main portal of the monastery of Travanca (Amarante). The gilded altarpiece is already Baroque We cannot fail to mention the contrast that exists between the whitewashed walls of the nave and the mural in shades of blue from the wall of the triumphal arch that conveys a light and a unique character to this church. In 2006, when doing reconstruction works in a building (that was once used as a blacksmith's workshop) near the Parish Council the workers began to discover parts, some with apparels, others carved, belonging to the former nave of the church. It were found capitals, bases, ashlars and staves within a portal that leads to the conclusion that the nave would have unusual big dimensions for the time. These pieces have been the motto for the construction of the Interpretation Centre of Romanesque Sculpture, in the vicinity of the Church of Abragão.
The Church of Saint Genesius of Boelhe stands out immediately, not only for its small size, but also by the stunning landscape around. Located in a slope of the Tâmega River, this church that has no cult and it's almost naked on the interior has still the affection of the people. Tradition attributes the foundation of the Church of Boelhe to D. Mafalda, daughter of D. Sancho I, or of her grandmother that shares the same name. But the theory that it was the young Mafalda won advantage since she was raised by Urraca Viegas de Ribadouro, patron of the monastery of Tuías (Marco de Canaveses), in honour of Louredo, owned by her scholar. This must have contributed to support the tradition that has been D. Mafalda, the goody, the founder of Boelhe and Abragão. This church of a single nave and rectangular chevet features high quality of ashlars where are visible marks of half a dozen masons. The decor is above average, particularly the capitals with palms done by bevel, typical of the "rural Romanesque" from the Sousa's river, the crosses within circles that point to decorative influences of pre-Romanesque architecture of Visigothic and Mozarab times. The quality of the decoration can be also seen in the corbels, especially on the north side, with motifs that go from bull heads to men carrying stones or even geometric elements. The portal is very similar to the churches of Unhão, Airães and Sousa, in the council of Felgueiras. Many of the elements that have reach us are the result of the interpretation made during the renovation carried out by the General Direction of National Monuments and Buildings between 1929 and 1948, so many of the Romanesque features are misleading.
Boelhe
The Church of Saint Genesius of Boelhe stands out immediately, not only for its small size, but also by the stunning landscape around. Located in a slope of the Tâmega River, this church that has no cult and it's almost naked on the interior has still the affection of the people. Tradition attributes the foundation of the Church of Boelhe to D. Mafalda, daughter of D. Sancho I, or of her grandmother that shares the same name. But the theory that it was the young Mafalda won advantage since she was raised by Urraca Viegas de Ribadouro, patron of the monastery of Tuías (Marco de Canaveses), in honour of Louredo, owned by her scholar. This must have contributed to support the tradition that has been D. Mafalda, the goody, the founder of Boelhe and Abragão. This church of a single nave and rectangular chevet features high quality of ashlars where are visible marks of half a dozen masons. The decor is above average, particularly the capitals with palms done by bevel, typical of the "rural Romanesque" from the Sousa's river, the crosses within circles that point to decorative influences of pre-Romanesque architecture of Visigothic and Mozarab times. The quality of the decoration can be also seen in the corbels, especially on the north side, with motifs that go from bull heads to men carrying stones or even geometric elements. The portal is very similar to the churches of Unhão, Airães and Sousa, in the council of Felgueiras. Many of the elements that have reach us are the result of the interpretation made during the renovation carried out by the General Direction of National Monuments and Buildings between 1929 and 1948, so many of the Romanesque features are misleading.
The territory of Tâmega and Sousa assumes strategic importance during the Christian Reconquest of King D. Alfonso III of Asturias. The domain upon the river Douro constituted, from the proto-history, a feature that made Entre-os-Rios a prime location for the deployment of housing. Traces of a fortified wall and the discovery of late Roman pottery are evidence of the occupation of this territory. The Church of Saint Michael stands on a small plateau, illustrating the strategic importance of the site chosen to build this monument in late Romanesque. The first time that the Church is referenced in documents is in the “Livro de Testamentos de Paço de Sousa” [Book of Testaments of Paço de Sousa], dated 1095, which mentions a donation of part of the Monastery Church. Another document from 1120 gives notice of a new donation of part of the same Church Monastery. The late Romanesque architecture dates it construction after the fourteenth century, i.e., the original building would have undergone profound remodeling over time. Experts believe that when the building was erected, the center of regional decision-making had long left, fact explained by the modesty of the building. The Low Middle Ages and Modernity left few marks on the Church, which was not verified in the baroque period, during which the altar was renewed, with placement of gold leaf gild, of national style, cut by three round arches. In the following century, the works of aesthetic upgrade continued, erecting the choir and introducing the side altars.
Igreja de São Miguel da Eja ou Igreja de São Miguel de Entre-os-Rios
The territory of Tâmega and Sousa assumes strategic importance during the Christian Reconquest of King D. Alfonso III of Asturias. The domain upon the river Douro constituted, from the proto-history, a feature that made Entre-os-Rios a prime location for the deployment of housing. Traces of a fortified wall and the discovery of late Roman pottery are evidence of the occupation of this territory. The Church of Saint Michael stands on a small plateau, illustrating the strategic importance of the site chosen to build this monument in late Romanesque. The first time that the Church is referenced in documents is in the “Livro de Testamentos de Paço de Sousa” [Book of Testaments of Paço de Sousa], dated 1095, which mentions a donation of part of the Monastery Church. Another document from 1120 gives notice of a new donation of part of the same Church Monastery. The late Romanesque architecture dates it construction after the fourteenth century, i.e., the original building would have undergone profound remodeling over time. Experts believe that when the building was erected, the center of regional decision-making had long left, fact explained by the modesty of the building. The Low Middle Ages and Modernity left few marks on the Church, which was not verified in the baroque period, during which the altar was renewed, with placement of gold leaf gild, of national style, cut by three round arches. In the following century, the works of aesthetic upgrade continued, erecting the choir and introducing the side altars.
The Church of Saint Martin of Mouros stands on a mountain top that elevates itself over the final stretch of the Bestança brook, on its way to the Douro river. Built on an easily defensible area, featuring steep slopes and remarkable granite massifs, this Church, with a silhouette that imposes itself from the different points of the valley, stands out from the landscape of the Meadas mountain range in a very peculiar way due to its unique physiognomy. The first news about any kind of spatial occupation date back to the hill fort occupation and to the subsequent Romanization period, of which this territory has very abundant traces. However, we should highlight that, mainly in the Middle Ages, there were already news about the taking of the castle by the army of Ferdinand the Great - King of Castile (1035-1065) and Leon (1037-1065) -, thus integrating São Martinho into an important defensive line along the Douro river that included the Castles of Lamego and of Castro de Rei (Tarouca). Although the historical data relating to the Church of Saint Martin of Mouros are scarce, the first documented references to the building may be found from the 13th century onward. From being a royal patronage - according to the information of the “Inquirições” [administrative enquiries] of 1258 - the Church was handed over to the House of Marialva (15th century) and to the University of Coimbra (16th century). The existence of an inscription, dated back to 1217, engraved on the chancel's outer face (north side, first row above the footing and fifth ashlar from the right) takes us back to the beginning of the construction of this Church or marks the completion of a first constructive phase, possibly of the chevet. Its initial design was bold, foreseeing the existence of three vaulted naves, but these were never built.
Rua da Calçada
Rua da Calçada
The Church of Saint Martin of Mouros stands on a mountain top that elevates itself over the final stretch of the Bestança brook, on its way to the Douro river. Built on an easily defensible area, featuring steep slopes and remarkable granite massifs, this Church, with a silhouette that imposes itself from the different points of the valley, stands out from the landscape of the Meadas mountain range in a very peculiar way due to its unique physiognomy. The first news about any kind of spatial occupation date back to the hill fort occupation and to the subsequent Romanization period, of which this territory has very abundant traces. However, we should highlight that, mainly in the Middle Ages, there were already news about the taking of the castle by the army of Ferdinand the Great - King of Castile (1035-1065) and Leon (1037-1065) -, thus integrating São Martinho into an important defensive line along the Douro river that included the Castles of Lamego and of Castro de Rei (Tarouca). Although the historical data relating to the Church of Saint Martin of Mouros are scarce, the first documented references to the building may be found from the 13th century onward. From being a royal patronage - according to the information of the “Inquirições” [administrative enquiries] of 1258 - the Church was handed over to the House of Marialva (15th century) and to the University of Coimbra (16th century). The existence of an inscription, dated back to 1217, engraved on the chancel's outer face (north side, first row above the footing and fifth ashlar from the right) takes us back to the beginning of the construction of this Church or marks the completion of a first constructive phase, possibly of the chevet. Its initial design was bold, foreseeing the existence of three vaulted naves, but these were never built.
Although we can date the foundation of the Church of Barrô back to the 12th century - as the private Church of Egas Moniz (1080-1146), the Schoolmaster and Governor of the first king of Portugal, D. Afonso Henriques, we know nothing about the time it was built or transformed, or if it was just a matter of giving continuity to a worship that was probably being practiced in an already existing temple. On the other hand, according to a different testimony by Pedro Gonçalves, the villa de Barriolo belonged entirely to the Monastery of Paço de Sousa (Penafiel). Therefore, there were many conflicting interests within this area (both from the church and territorial), although they all had a common link to the heritage of the Gascões lineage, to which Egas Moniz belonged. Here, on the banks of the Douro river, people believed that there were traces of a bridge commissioned by one of the royal Mafaldas. This tradition is echoed by the Vicar José Mendes de Azevedo, when he refers traces of pillars on both banks, namely on the opposite parish of Barqueiros. The parish Church was not the only religious centre in Barrô because, in the 17th century (in 1693) a group of nuns who took the Franciscan habit settled in the area; after this group had been extinct (in 1780) and the resisting nuns had been incorporated in the Convent of Stigmata, in Lamego, this became an important teaching centre during the 19th and 20th centuries. It was the Convent of Jesus-Mary-Joseph, referred to in 1758 as Claras urbanas.
Igreja Matriz de Barrô
Although we can date the foundation of the Church of Barrô back to the 12th century - as the private Church of Egas Moniz (1080-1146), the Schoolmaster and Governor of the first king of Portugal, D. Afonso Henriques, we know nothing about the time it was built or transformed, or if it was just a matter of giving continuity to a worship that was probably being practiced in an already existing temple. On the other hand, according to a different testimony by Pedro Gonçalves, the villa de Barriolo belonged entirely to the Monastery of Paço de Sousa (Penafiel). Therefore, there were many conflicting interests within this area (both from the church and territorial), although they all had a common link to the heritage of the Gascões lineage, to which Egas Moniz belonged. Here, on the banks of the Douro river, people believed that there were traces of a bridge commissioned by one of the royal Mafaldas. This tradition is echoed by the Vicar José Mendes de Azevedo, when he refers traces of pillars on both banks, namely on the opposite parish of Barqueiros. The parish Church was not the only religious centre in Barrô because, in the 17th century (in 1693) a group of nuns who took the Franciscan habit settled in the area; after this group had been extinct (in 1780) and the resisting nuns had been incorporated in the Convent of Stigmata, in Lamego, this became an important teaching centre during the 19th and 20th centuries. It was the Convent of Jesus-Mary-Joseph, referred to in 1758 as Claras urbanas.
Built on a slope facing the Douro river, the Church dedicated to the Apostle Saint Andrew, in Ancede, was the leading figure of an extensive religious, spiritual and economic heritage. The charter of privileges, from 1141, defined the boundaries of a considerable area of influence from which the Canons Regular of Saint Augustine ran an important humanisation work. But their area of influence was established way beyond the monastic fence and the "couto" [place with privileges] itself. The traces left by the Medieval Period are scarce. The most significant elements are the late Romanesque rose window, which is preserved on the back wall of the Church's chancel, and a wall section from the chevet's north side elevation. All the remaining ecclesial body, monastery and monastic premises are already the result of the artistic movements that marked the 16th to the 19th centuries. Despite the fact that almost since its foundation until its extinction, in 1834, the Monastery of Ancede built a prosperous institution, there are two particularly remarkable periods in the building's history: the turn of the Middle Ages to the Modern Period (15th and 16th centuries) and the 18th century. We should highlight the 14th-century processional cross; the sculpture of Saint Lucy and the triptych of Saint Bartholomew, a couple of pieces of Flemish origin from the early 16th century; the series of paintings invoking the Way to the Cross and the Passion of Christ, all works from the second half of the 17th century; as well as the sculptural collection scattered across the Church and sacristy, with a Baroque matrix and manufactured between the mid-17th and the late 18th centuries. We should also highlight the Holy Head of Ancede. A silver casing, without any ornaments, conceals part of a human skull, supposedly belonging to an ancient canon regular of Ermelo who, during his life, cured rabies; after his death, his relics maintained their miraculous reputation.
Escola E B 2,3 De Ancede
Built on a slope facing the Douro river, the Church dedicated to the Apostle Saint Andrew, in Ancede, was the leading figure of an extensive religious, spiritual and economic heritage. The charter of privileges, from 1141, defined the boundaries of a considerable area of influence from which the Canons Regular of Saint Augustine ran an important humanisation work. But their area of influence was established way beyond the monastic fence and the "couto" [place with privileges] itself. The traces left by the Medieval Period are scarce. The most significant elements are the late Romanesque rose window, which is preserved on the back wall of the Church's chancel, and a wall section from the chevet's north side elevation. All the remaining ecclesial body, monastery and monastic premises are already the result of the artistic movements that marked the 16th to the 19th centuries. Despite the fact that almost since its foundation until its extinction, in 1834, the Monastery of Ancede built a prosperous institution, there are two particularly remarkable periods in the building's history: the turn of the Middle Ages to the Modern Period (15th and 16th centuries) and the 18th century. We should highlight the 14th-century processional cross; the sculpture of Saint Lucy and the triptych of Saint Bartholomew, a couple of pieces of Flemish origin from the early 16th century; the series of paintings invoking the Way to the Cross and the Passion of Christ, all works from the second half of the 17th century; as well as the sculptural collection scattered across the Church and sacristy, with a Baroque matrix and manufactured between the mid-17th and the late 18th centuries. We should also highlight the Holy Head of Ancede. A silver casing, without any ornaments, conceals part of a human skull, supposedly belonging to an ancient canon regular of Ermelo who, during his life, cured rabies; after his death, his relics maintained their miraculous reputation.
Bound to the medieval land of Baião and its masters from early on, both at the ecclesiastical and the secular level, Valadares reveals in its toponym the importance of geography in the humanization of this territory: a mild valley which allowed the creation of living and vicinity at 500 meters of altitude. In the Catalogue of the Bishops of Porto, of 1623, states that the Church possessed the Blessed Sacrament (its isolation so required) and was a profitable abbey. The Church of Saint James of Valadares has suffered deep changes throughout its existence, and today, it embodies the medieval language of outwardly smooth vestments with a Baroque grammar, which, inside, leaves its mark on the entire space. The medieval space was lined with altarpieces in polychrome and gilt wood. The taste for the Baroque filled the small Church with brightness and colour, highlighting the quality of the side and main altarpieces and the cruise arch. The interior of this Church dedicated to Saint James, the Greater, is, therefore, a good testimony of how easily a Romanesque Church modernizes its aesthetics, adapting it to new tastes and the different liturgies. Although hidden by the modern mobile setting, fine examples of frescoes, from the late 15th century, may be appreciated.
Junta de Freguesia de Valadares
13 Rua Campo de Jogos
Bound to the medieval land of Baião and its masters from early on, both at the ecclesiastical and the secular level, Valadares reveals in its toponym the importance of geography in the humanization of this territory: a mild valley which allowed the creation of living and vicinity at 500 meters of altitude. In the Catalogue of the Bishops of Porto, of 1623, states that the Church possessed the Blessed Sacrament (its isolation so required) and was a profitable abbey. The Church of Saint James of Valadares has suffered deep changes throughout its existence, and today, it embodies the medieval language of outwardly smooth vestments with a Baroque grammar, which, inside, leaves its mark on the entire space. The medieval space was lined with altarpieces in polychrome and gilt wood. The taste for the Baroque filled the small Church with brightness and colour, highlighting the quality of the side and main altarpieces and the cruise arch. The interior of this Church dedicated to Saint James, the Greater, is, therefore, a good testimony of how easily a Romanesque Church modernizes its aesthetics, adapting it to new tastes and the different liturgies. Although hidden by the modern mobile setting, fine examples of frescoes, from the late 15th century, may be appreciated.
Commonly known as Chapel of Fandinhães, this building was once a private church building that belonged to an archdeacon from Viseu, whose lineage held its patronage, in 1258. However, nowadays only the chancel of this primitive Church remains. Apparently, the evolution of local parishes would have been the main reason for its current state: the Church was located in the small parish of Fonte de Cova, which included the hamlets of Fandinhães, Ambrões, Mourilhermo and Paços de Gaiolo. The facts that the hamlet of Fandinhães is located on a mountain - 500 meters above sea level -, that there was a growing population in the hamlet of Paços de Gaiolo - which stood on a milder and more central place -, and that the Hermitage of Saint Clement was built, may have caused the loss of importance of Fonte de Cova in favour of Paços de Gaiolo. Although some authors refer 1873 as the year when the Church's nave was dismantled, the fact is that in 1864 it was already mutilated, with its remaining structure (chancel) showing a state of decay. Since it was ruined, it began being dismantled and its stone was reused to extend the current parish church. However, there is the perception, among several researchers, that the Church built during the Romanesque period would not have been fully completed. We may refer what has been previously described as one of the possible causes for its non-completion: the villages located at a higher altitude, such as Fandinhães, would have begun to lose their interest from the Romanesque period onwards, in favour of other villages located in low altitude areas, close to watercourses, encouraging the displacement of populations to these places and, in this particular case, to Paços de Gaiolo. However, there is still no concrete evidence to back up this thesis.
Capela de Fandinhães
Commonly known as Chapel of Fandinhães, this building was once a private church building that belonged to an archdeacon from Viseu, whose lineage held its patronage, in 1258. However, nowadays only the chancel of this primitive Church remains. Apparently, the evolution of local parishes would have been the main reason for its current state: the Church was located in the small parish of Fonte de Cova, which included the hamlets of Fandinhães, Ambrões, Mourilhermo and Paços de Gaiolo. The facts that the hamlet of Fandinhães is located on a mountain - 500 meters above sea level -, that there was a growing population in the hamlet of Paços de Gaiolo - which stood on a milder and more central place -, and that the Hermitage of Saint Clement was built, may have caused the loss of importance of Fonte de Cova in favour of Paços de Gaiolo. Although some authors refer 1873 as the year when the Church's nave was dismantled, the fact is that in 1864 it was already mutilated, with its remaining structure (chancel) showing a state of decay. Since it was ruined, it began being dismantled and its stone was reused to extend the current parish church. However, there is the perception, among several researchers, that the Church built during the Romanesque period would not have been fully completed. We may refer what has been previously described as one of the possible causes for its non-completion: the villages located at a higher altitude, such as Fandinhães, would have begun to lose their interest from the Romanesque period onwards, in favour of other villages located in low altitude areas, close to watercourses, encouraging the displacement of populations to these places and, in this particular case, to Paços de Gaiolo. However, there is still no concrete evidence to back up this thesis.
Tradition says that this monastery was founded between 990 and 1022 by D. Monio Viegas, brother of D. Sisnando, bishop of Oporto between 1049 and 1085, built on the site where there was a skirmish between Christians and Moors and where D. Sisnando eventually fell. Mentioned in the 11th and 12th. centuries as “Monastery of Holy Mary of Vila Boa”, this monastery was already linked to the Monks of Saint Augustine in the mid-12th. century and closely connected to the powerful family of the Gascos de Ribadouro. In the centuries. 13th and 14th it was one of the richest and most powerful monasteries in the region. In front of the church we find the original Romanesque elements. Although incomplete, the two blind arcades that flank the main portal, completely refurbished during the modern times, It is still possible to view on the ashlar, and the animals set face to face. Vila Boa do Bispo may well be a unique example in Portuguese Romanesque architecture due to how the facade is decorated that reflects foreign influence. Inside the temple, the white walls of the nave contrasts with the ostentatious altar and gilded triumphal arch. On the ceiling of the chancel, were discovered, in 2006, magnificent 17th century paintings representing hagiographic themes.
Rua dos Toirais
Rua dos Toirais
Tradition says that this monastery was founded between 990 and 1022 by D. Monio Viegas, brother of D. Sisnando, bishop of Oporto between 1049 and 1085, built on the site where there was a skirmish between Christians and Moors and where D. Sisnando eventually fell. Mentioned in the 11th and 12th. centuries as “Monastery of Holy Mary of Vila Boa”, this monastery was already linked to the Monks of Saint Augustine in the mid-12th. century and closely connected to the powerful family of the Gascos de Ribadouro. In the centuries. 13th and 14th it was one of the richest and most powerful monasteries in the region. In front of the church we find the original Romanesque elements. Although incomplete, the two blind arcades that flank the main portal, completely refurbished during the modern times, It is still possible to view on the ashlar, and the animals set face to face. Vila Boa do Bispo may well be a unique example in Portuguese Romanesque architecture due to how the facade is decorated that reflects foreign influence. Inside the temple, the white walls of the nave contrasts with the ostentatious altar and gilded triumphal arch. On the ceiling of the chancel, were discovered, in 2006, magnificent 17th century paintings representing hagiographic themes.
The Church of Saint Andrew of Vila Boa de Quires, one of the most elaborate of the lower Tâmega, It was surely founded before 1118 because it was in writings of this time. The facade consists of two takes: the main portal and the window immediately above. This model is similar to the Church of Barrô (Resende) and derives from the see of Coimbra. The window in Manueline style, with tympanum with a opened cross (IE, with a opening to the inside), it is flanked by elongated archivolts, based on columns with carved capitals. The portal has influences of the monastery of Paço de Sousa (Penafiel) with its capitals of vegetal motifs. The present Corbels shaped like heads of oxen as in the Church of the Saviour of the Tabuado. Inside the building the colour of the chancel in contrast to the bare walls of the nave. The triumphal arch, composed of three archivolts, supports capitals where are carved palms and mermaids with intertwined tails. In the chancel, the main altarpiece is neoclassical and the walls are lined with tiles characteristic of the first half of the 17th. century. The set is complete with the dome paintings that narrate scenes of the process and of the passion of Christ whose route ends in the paint on the triumphal arch, on the nave.
Igreja de Santo André
979 CM1245
The Church of Saint Andrew of Vila Boa de Quires, one of the most elaborate of the lower Tâmega, It was surely founded before 1118 because it was in writings of this time. The facade consists of two takes: the main portal and the window immediately above. This model is similar to the Church of Barrô (Resende) and derives from the see of Coimbra. The window in Manueline style, with tympanum with a opened cross (IE, with a opening to the inside), it is flanked by elongated archivolts, based on columns with carved capitals. The portal has influences of the monastery of Paço de Sousa (Penafiel) with its capitals of vegetal motifs. The present Corbels shaped like heads of oxen as in the Church of the Saviour of the Tabuado. Inside the building the colour of the chancel in contrast to the bare walls of the nave. The triumphal arch, composed of three archivolts, supports capitals where are carved palms and mermaids with intertwined tails. In the chancel, the main altarpiece is neoclassical and the walls are lined with tiles characteristic of the first half of the 17th. century. The set is complete with the dome paintings that narrate scenes of the process and of the passion of Christ whose route ends in the paint on the triumphal arch, on the nave.
To reach the Church of Saint Mary of Sobretâmega is to create a link with the river, is letting yourself go in the calm waters that bathe Marco de Canaveses. We are on the right bank of the Tâmega River, on a hill overlooking the new bridge. A small church, example of what is called "Romance of Resistance", rises sober and closed on it's own, without columns or capitals at the entry portal. The crevices let in enough light to illuminate the white walls of the nave. Inside little remains of the Romanesque, having been replaced by modern styles such as the main altarpiece in gilded. On the other side of the river, the Church of Saint Nicholas of Canaveses calls us. In the medieval era, D. Mafalda, daughter of D. Sancho I, may have built the Canaveses crossing. The bridge, of extraordinary dimensions for the time (would have 5 arches), was replaced by another in 1940 and a few decades later, submerged as a result of the construction of the dam of Torrão (Marco de Canaveses).
Igreja Românica de Sobretâmega
To reach the Church of Saint Mary of Sobretâmega is to create a link with the river, is letting yourself go in the calm waters that bathe Marco de Canaveses. We are on the right bank of the Tâmega River, on a hill overlooking the new bridge. A small church, example of what is called "Romance of Resistance", rises sober and closed on it's own, without columns or capitals at the entry portal. The crevices let in enough light to illuminate the white walls of the nave. Inside little remains of the Romanesque, having been replaced by modern styles such as the main altarpiece in gilded. On the other side of the river, the Church of Saint Nicholas of Canaveses calls us. In the medieval era, D. Mafalda, daughter of D. Sancho I, may have built the Canaveses crossing. The bridge, of extraordinary dimensions for the time (would have 5 arches), was replaced by another in 1940 and a few decades later, submerged as a result of the construction of the dam of Torrão (Marco de Canaveses).
What draws attention in the outset Church of the Saviour of Tabuado is the bell tower glued to the main façade of the temple. It creates a perpendicular effect different of other buildings of the Route. The main portal stands out for the quality of its design. The tympanum supported on two ox heads corbels, the pearls, the face to face animals, the design of the surrounding arc which forms a network of lozenges and the "half-spheres" or pearls, recurring motifs in the Romanesque of Tâmega's Valley. Inside we see again smooth ashlars, the naked walls deeply connected to the imaginary of the interventions of the 20th. century had of medieval times. The crevices are there to let pass the necessary light to illuminate the little decoration on the nave as well as in the main chapel. It was during a deep intervention that it was discovered the only remaining mural in this church, on the back wall. It is an image of Christ the Saviour flanked by St. John the Baptist and Saint James. Made at the beginning of 16th. century, the mural of Tabuado is a unique work, because is not known other work carried out by the same workshop.
Capela de São Tiago
5 R. 5
What draws attention in the outset Church of the Saviour of Tabuado is the bell tower glued to the main façade of the temple. It creates a perpendicular effect different of other buildings of the Route. The main portal stands out for the quality of its design. The tympanum supported on two ox heads corbels, the pearls, the face to face animals, the design of the surrounding arc which forms a network of lozenges and the "half-spheres" or pearls, recurring motifs in the Romanesque of Tâmega's Valley. Inside we see again smooth ashlars, the naked walls deeply connected to the imaginary of the interventions of the 20th. century had of medieval times. The crevices are there to let pass the necessary light to illuminate the little decoration on the nave as well as in the main chapel. It was during a deep intervention that it was discovered the only remaining mural in this church, on the back wall. It is an image of Christ the Saviour flanked by St. John the Baptist and Saint James. Made at the beginning of 16th. century, the mural of Tabuado is a unique work, because is not known other work carried out by the same workshop.
It is a small church dedicated to the Virgin Mary. Its foundation is linked to the "Gundar" lineage. This family controlled a large area in the surrounding region, on a geographical level, and social. This Abbey was the host location for the daughters of "Gundar" which later turned out to be converted to family Pantheon. The feminine order that frequented this area was extinguished by the Bishop of Oporto and delivered to the secular. The first parish priest, Pedro Afonso, was the responsible for bringing one of the most iconic pieces of this place (and that is now in the new parish church): Our Lady of the Chair, a statue in which the Virgin appears sitting breastfeeding her child. The traces of the Romanesque present in this temple are proof of a late construction, at the end of 13th. century or early in the 14th. century. The main portal no longer presents any of the typical Romanesque ornaments. It has no columns, the archivolts are supported by linear structures and the tympanum is smooth. The only decorative element lies in the outer archivolt where is visible the tartan ornament. Inside, the church is practically stripped. The grey granite walls and the floor is only interrupted by a mural that adorns the soffit of the niche of the back wall. Don't miss the opportunity to visit the village of Ovelhinha, on the bank of the Fornelo River. This village of Portugal was burned down during the French invasions, keeping, even today, some houses then destroyed.
Mosteiro
It is a small church dedicated to the Virgin Mary. Its foundation is linked to the "Gundar" lineage. This family controlled a large area in the surrounding region, on a geographical level, and social. This Abbey was the host location for the daughters of "Gundar" which later turned out to be converted to family Pantheon. The feminine order that frequented this area was extinguished by the Bishop of Oporto and delivered to the secular. The first parish priest, Pedro Afonso, was the responsible for bringing one of the most iconic pieces of this place (and that is now in the new parish church): Our Lady of the Chair, a statue in which the Virgin appears sitting breastfeeding her child. The traces of the Romanesque present in this temple are proof of a late construction, at the end of 13th. century or early in the 14th. century. The main portal no longer presents any of the typical Romanesque ornaments. It has no columns, the archivolts are supported by linear structures and the tympanum is smooth. The only decorative element lies in the outer archivolt where is visible the tartan ornament. Inside, the church is practically stripped. The grey granite walls and the floor is only interrupted by a mural that adorns the soffit of the niche of the back wall. Don't miss the opportunity to visit the village of Ovelhinha, on the bank of the Fornelo River. This village of Portugal was burned down during the French invasions, keeping, even today, some houses then destroyed.
The Church of the Saviour of Real lives up to the name because it rises above the path that takes us there. Because it has no worship since 1938, when it was built the new parish church, it was in a state of advanced degradation that the Romanesque Route, in good time, contradicted with a full intervention. The Church still has some traces of Romanesque, however, its late construction, maybe already in the 14th. century, explains the absence of a tympanum, on the main portal. The columns have capitals with barely voluminous sculptures and the two archivolts, in addition to being bended, have a frame. An adaptation of the Romanesque from Oporto that must have arrived through the monastery of Travanca (Amarante). Before the intervention of the Romanesque Route, the interior featured a triumphal arch made with two archivolts. The stripped character of this church is accented by plaster coating that covers it entirely, standing out the Roman crosses, opened and inscribed in a circle. The intervention that this church is having leaves us hopeful about its future and to the improvement of the surrounding area.
Rua do Churrascal
Rua do Churrascal
The Church of the Saviour of Real lives up to the name because it rises above the path that takes us there. Because it has no worship since 1938, when it was built the new parish church, it was in a state of advanced degradation that the Romanesque Route, in good time, contradicted with a full intervention. The Church still has some traces of Romanesque, however, its late construction, maybe already in the 14th. century, explains the absence of a tympanum, on the main portal. The columns have capitals with barely voluminous sculptures and the two archivolts, in addition to being bended, have a frame. An adaptation of the Romanesque from Oporto that must have arrived through the monastery of Travanca (Amarante). Before the intervention of the Romanesque Route, the interior featured a triumphal arch made with two archivolts. The stripped character of this church is accented by plaster coating that covers it entirely, standing out the Roman crosses, opened and inscribed in a circle. The intervention that this church is having leaves us hopeful about its future and to the improvement of the surrounding area.
The Church of St. Andrew of Telões is surrounded by the houses of the small village. Is an impressive building where stands out the Bell Tower, with three bells, at the top of the narthex. Behind it, a six-pointed rosette has the company of a contemporary watch. The building, probably built at the end of the 12th. century or at the beginning of the 13th. century, has several visible scars as a result of the interventions and renovations made over the years. Doors and crevices that have been closed, windows that were opened... The abutments remain, to sustain the ceiling of the chancel. The main portal features arches without decoration and a plain tympanum supported by ribbed corbels which denotes an architecture of resistance. Deeply transformed, it is at the head that are the remaining Romanesque features. On the triumphal arch the bases are rounded and evolved, the imposts have a late appearance and robust capitals depict vegetal themes The church is richly ornamented with various modern-style altars. The mural is the highlight. It Depicts the Nativity on a previous layer, work that can be attributed to the workshop identified as the Delusional master of Guimarães, due to twists and gestures that emphasize the movement. Worthy of note is, also a last supper, depicted in bas-relief dating from the 18th. century. It is a magnificent work that appears to be a challenge to restoration professionals. We hope it lasts for a long time.
Igreja Românica de Telões / Igreja de Santo André
The Church of St. Andrew of Telões is surrounded by the houses of the small village. Is an impressive building where stands out the Bell Tower, with three bells, at the top of the narthex. Behind it, a six-pointed rosette has the company of a contemporary watch. The building, probably built at the end of the 12th. century or at the beginning of the 13th. century, has several visible scars as a result of the interventions and renovations made over the years. Doors and crevices that have been closed, windows that were opened... The abutments remain, to sustain the ceiling of the chancel. The main portal features arches without decoration and a plain tympanum supported by ribbed corbels which denotes an architecture of resistance. Deeply transformed, it is at the head that are the remaining Romanesque features. On the triumphal arch the bases are rounded and evolved, the imposts have a late appearance and robust capitals depict vegetal themes The church is richly ornamented with various modern-style altars. The mural is the highlight. It Depicts the Nativity on a previous layer, work that can be attributed to the workshop identified as the Delusional master of Guimarães, due to twists and gestures that emphasize the movement. Worthy of note is, also a last supper, depicted in bas-relief dating from the 18th. century. It is a magnificent work that appears to be a challenge to restoration professionals. We hope it lasts for a long time.
Gatão was a great opportunity to witness, live, the important work that the Route of Romanesque does for the monuments to gain the splendour of the past and to deliver them again to the community. Until a few years ago it was cut by the romantic railroad of Livração (Marco de Canaveses) to Arco de Baúlhe (Cabeceiras de Basto), today it is a cycling road that runs through stunning scenery. When we arrived was happening the recovery works of this church that was built during the 13th or 14th centuries. Typically Romanesque feature is the cornice above little arches supported by slick corbels, influence of the See of Coimbra. As we enter we heard music that seemed to us to be Baroque music played by a Harpsichord. On the wall of the transept, an artist was recovering a fresco representing the Martyrdom of St Sebastian. We stopped for a moment to observe the expertise and patient manner of how the work was done. On the left side is noticeable the fresco Coronation of the Virgin and at the top a representation of the Calvary. The triumphal arch is composed of two bent but smooth and faceted archivolts and it is surrounded by a tartan frieze. The interior archivolt stands on two columns, that boasts two imposing capitals of vegetal and winding motifs. In the chancel there are still two representations in good condition: on the side of the Gospels, Christ carrying the cross and, on the opposite side, Saint Antony of Lisbon. On the back wall remains a crevice that illuminates the entire space. We turned around and walked out towards a new monument, not before a visit to the tomb of the great Portuguese writer Teixeira de Pascoaes, that rests in the cemetery in front.
Junta de Freguesia de Gatão
Gatão was a great opportunity to witness, live, the important work that the Route of Romanesque does for the monuments to gain the splendour of the past and to deliver them again to the community. Until a few years ago it was cut by the romantic railroad of Livração (Marco de Canaveses) to Arco de Baúlhe (Cabeceiras de Basto), today it is a cycling road that runs through stunning scenery. When we arrived was happening the recovery works of this church that was built during the 13th or 14th centuries. Typically Romanesque feature is the cornice above little arches supported by slick corbels, influence of the See of Coimbra. As we enter we heard music that seemed to us to be Baroque music played by a Harpsichord. On the wall of the transept, an artist was recovering a fresco representing the Martyrdom of St Sebastian. We stopped for a moment to observe the expertise and patient manner of how the work was done. On the left side is noticeable the fresco Coronation of the Virgin and at the top a representation of the Calvary. The triumphal arch is composed of two bent but smooth and faceted archivolts and it is surrounded by a tartan frieze. The interior archivolt stands on two columns, that boasts two imposing capitals of vegetal and winding motifs. In the chancel there are still two representations in good condition: on the side of the Gospels, Christ carrying the cross and, on the opposite side, Saint Antony of Lisbon. On the back wall remains a crevice that illuminates the entire space. We turned around and walked out towards a new monument, not before a visit to the tomb of the great Portuguese writer Teixeira de Pascoaes, that rests in the cemetery in front.
Behold the only Castle belonging to the Romanesque Route. Although it takes an eye of Lynx to find it out through the forest that precedes it. We had to be almost under its shadow to see it. We stopped, first, near the Interpretative Centre for the Castle of Arnoia, for a visit and prior explanation of several distinctive aspects of this monument. The way to the castle's walls is done on foot, through the village of Castelo, considered a must see Village of Portugal. Known in ancient times as "Villa de Basto", was head of council until 1717. It had, even, a pillory, a pharmacy and a Hearings House at which we cut to the right to start our ascent. With the houses at our feet, we entered a triangular shaped courtyard. Four elements compete to frame this castle in the Romanesque military architecture: the keep (brought by the Templar Order); the quadrangular Tower; the existence of a single port and the underground tank in the courtyard to, if it is necessary, resist to long periods of siege. Built on top of a mountain head, the Castle of Arnoia has a panoramic view from where you can admire the ridges of Marão and Alvão, on the eastern side, and the ridges of Cabreira and Lameira, to the North and West. Easy to identify is the mountain Farinha, best known as Senhora da Graça, in the council of Mondim de Basto.
8 người dân địa phương đề xuất
Lâu đài Arnoia
8 người dân địa phương đề xuất
Behold the only Castle belonging to the Romanesque Route. Although it takes an eye of Lynx to find it out through the forest that precedes it. We had to be almost under its shadow to see it. We stopped, first, near the Interpretative Centre for the Castle of Arnoia, for a visit and prior explanation of several distinctive aspects of this monument. The way to the castle's walls is done on foot, through the village of Castelo, considered a must see Village of Portugal. Known in ancient times as "Villa de Basto", was head of council until 1717. It had, even, a pillory, a pharmacy and a Hearings House at which we cut to the right to start our ascent. With the houses at our feet, we entered a triangular shaped courtyard. Four elements compete to frame this castle in the Romanesque military architecture: the keep (brought by the Templar Order); the quadrangular Tower; the existence of a single port and the underground tank in the courtyard to, if it is necessary, resist to long periods of siege. Built on top of a mountain head, the Castle of Arnoia has a panoramic view from where you can admire the ridges of Marão and Alvão, on the eastern side, and the ridges of Cabreira and Lameira, to the North and West. Easy to identify is the mountain Farinha, best known as Senhora da Graça, in the council of Mondim de Basto.
This time we began to visit the interior. A top floor stores objects that show the transformations that this church has suffered. The most drastic (and, maybe, less obvious) is that is in the wrong way around. To say the truth, is oriented in a manner opposite to all other. The reconstruction of 1732 forced a reorientation of the church, having being added a new chevet, now put the to West and bigger. It is built contrary to the rule in the canonical architecture. Inside little remains of the Romanesque style. The entire space was changed to receive several side altars. The main altarpiece put in sight all the splendour of Johannine or national Baroque. Here, the Eucharistic Throne is almost covered by a dome where hang two curtains held by angels. To the full extent of the nave stretches a footer of cobalt blue on white background tile. This temple has its origins in a small Hermitage founded on private property in the 13th. century it was linked to the family of Guedões. Before 1258 the Dean Garcia Alvites turned out to sell the church and all its houses to the Order of the Hospital. Outside, the main portal, belongs to the Baroque era. The north portal is in a curious position, today almost in the middle of the facade due to the changes of the pavement. At the South portal, you have to see the pair of mermaids with double tails that decorate the archivolts. The surrounding space is quite nice, however, in a few years, the church of Saint Mary of Veade can have a bay right at its feet. With the construction of a new dam on the river Tâmega (if the building goes ahead) the South fields will be flooded, radically transforming the surrounding landscape.
Veade
This time we began to visit the interior. A top floor stores objects that show the transformations that this church has suffered. The most drastic (and, maybe, less obvious) is that is in the wrong way around. To say the truth, is oriented in a manner opposite to all other. The reconstruction of 1732 forced a reorientation of the church, having being added a new chevet, now put the to West and bigger. It is built contrary to the rule in the canonical architecture. Inside little remains of the Romanesque style. The entire space was changed to receive several side altars. The main altarpiece put in sight all the splendour of Johannine or national Baroque. Here, the Eucharistic Throne is almost covered by a dome where hang two curtains held by angels. To the full extent of the nave stretches a footer of cobalt blue on white background tile. This temple has its origins in a small Hermitage founded on private property in the 13th. century it was linked to the family of Guedões. Before 1258 the Dean Garcia Alvites turned out to sell the church and all its houses to the Order of the Hospital. Outside, the main portal, belongs to the Baroque era. The north portal is in a curious position, today almost in the middle of the facade due to the changes of the pavement. At the South portal, you have to see the pair of mermaids with double tails that decorate the archivolts. The surrounding space is quite nice, however, in a few years, the church of Saint Mary of Veade can have a bay right at its feet. With the construction of a new dam on the river Tâmega (if the building goes ahead) the South fields will be flooded, radically transforming the surrounding landscape.
The architecture of the Church of the Saviour of Ribas is still fairly well preserved on the outside although it was added a Bell Tower in the second half of the 18th century. The ashlars do not bear markings that indicate interruptions or changes to the project and there is a great consistency in terms of decoration. Looks like it was built all at once. Here reigns the pearl ornament. It can be seen in two main portal archivolts and decorate the wide gap above it, in the cornices on the main façade, on the triumphal arch and on the back wall of the chevet, as well as along the side of the nave and apsiole. Inside, the grey walls, interrupted by small crevices, give space the side altars and the presence of images of Saints. In the nave stands out, as well, the dark colour of the ceiling. In the chancel, the gilt prevails, however, on the back wall, behind the main altarpiece, it was identified an important mural where is represented the patron saint of the church. We go back outside to walk through the well maintained garden and recover energy for the end of this second coming to the Romanesque Route.
Jardim de Ribas
The architecture of the Church of the Saviour of Ribas is still fairly well preserved on the outside although it was added a Bell Tower in the second half of the 18th century. The ashlars do not bear markings that indicate interruptions or changes to the project and there is a great consistency in terms of decoration. Looks like it was built all at once. Here reigns the pearl ornament. It can be seen in two main portal archivolts and decorate the wide gap above it, in the cornices on the main façade, on the triumphal arch and on the back wall of the chevet, as well as along the side of the nave and apsiole. Inside, the grey walls, interrupted by small crevices, give space the side altars and the presence of images of Saints. In the nave stands out, as well, the dark colour of the ceiling. In the chancel, the gilt prevails, however, on the back wall, behind the main altarpiece, it was identified an important mural where is represented the patron saint of the church. We go back outside to walk through the well maintained garden and recover energy for the end of this second coming to the Romanesque Route.
Situated in a high part of Valle, near the city of Verín. Built in the 12th century by Alfonso Henríquez. It had enormous importance in the times of Pedro I the Cruel. In the 16th century it was used by Felipe el Hermoso to meet Cardinal Cisneros. It is built of stone in regular blocks. From the outside, the two towers - the Lady Tower and the Keep, built by Sancho Sánchez de Ulloa in 1482 - are outstanding. This Castle played an important role during the Spanish war, and is strategically built on the border - but Monterey is more than a castle, because it includes a monastery, hospital and a small town that was abandoned in the nineteenth century. Carnival in Verin is one of the most original in Spain. During the carnival, a procession passes through the streets with masked figures, brandishing whips and making an interesting sound with bells tied to their waist.
Monterrei Castle
Situated in a high part of Valle, near the city of Verín. Built in the 12th century by Alfonso Henríquez. It had enormous importance in the times of Pedro I the Cruel. In the 16th century it was used by Felipe el Hermoso to meet Cardinal Cisneros. It is built of stone in regular blocks. From the outside, the two towers - the Lady Tower and the Keep, built by Sancho Sánchez de Ulloa in 1482 - are outstanding. This Castle played an important role during the Spanish war, and is strategically built on the border - but Monterey is more than a castle, because it includes a monastery, hospital and a small town that was abandoned in the nineteenth century. Carnival in Verin is one of the most original in Spain. During the carnival, a procession passes through the streets with masked figures, brandishing whips and making an interesting sound with bells tied to their waist.
Archeological evidence shows human settlements in this region in the Paleolithic. During the Neolithic there was a growth of productive human settlements which concentrated on planting and domestication of animals, with the beginnings of a nascent religion. Roman colonization, which occurred late in the Roman era, resulted in the establishment of private property and movement away from the forests, in addition to organizational changes resulting administrative, material and cultural evolution. There are many vestiges of these ancient communities, including ceramics, agricultural implements, weights, arrowheads and modest jewelry, all forged from rock. Many of these artefacts were found in funerary mounds, such as the tumulus of Donai (mostly destroyed). The origin of the city of Bragança dates from the 10th or 11th century. The strategic importance of Bragança, which was the first in the Trás-os-Montes region to receive the title of town, resulted from its localization and was reinforced by administrative institutions established by the King. Of the 18 Portuguese historical district capitals, Bragança is the farthest from Lisbon, the national capital.
24 người dân địa phương đề xuất
Bragança
24 người dân địa phương đề xuất
Archeological evidence shows human settlements in this region in the Paleolithic. During the Neolithic there was a growth of productive human settlements which concentrated on planting and domestication of animals, with the beginnings of a nascent religion. Roman colonization, which occurred late in the Roman era, resulted in the establishment of private property and movement away from the forests, in addition to organizational changes resulting administrative, material and cultural evolution. There are many vestiges of these ancient communities, including ceramics, agricultural implements, weights, arrowheads and modest jewelry, all forged from rock. Many of these artefacts were found in funerary mounds, such as the tumulus of Donai (mostly destroyed). The origin of the city of Bragança dates from the 10th or 11th century. The strategic importance of Bragança, which was the first in the Trás-os-Montes region to receive the title of town, resulted from its localization and was reinforced by administrative institutions established by the King. Of the 18 Portuguese historical district capitals, Bragança is the farthest from Lisbon, the national capital.
Travelling down a road, that looses it's tarmac, the Bridge of Arco. The bridge is surrounded by a lush landscape where the Ovelha River passes without a hurry. Until the 19th. century was at the heart of the council of Gouveia. Currently connects the banks of two parishes, Folhada and Várzea of Ovelha and Aliviada. It is a single-arch bridge, of large dimensions, on which stands a trestle deck, with it's guards. Despite its Romanesque appearance, It is likely that its construction has been done in more recently, during which they continue to reproduce models that were of the middle ages. The fact that it's not use a broken arch indicates a later construction. Where there is no doubt is in wanting to stay forever in this place and absorb the sounds of nature.
Arco
Travelling down a road, that looses it's tarmac, the Bridge of Arco. The bridge is surrounded by a lush landscape where the Ovelha River passes without a hurry. Until the 19th. century was at the heart of the council of Gouveia. Currently connects the banks of two parishes, Folhada and Várzea of Ovelha and Aliviada. It is a single-arch bridge, of large dimensions, on which stands a trestle deck, with it's guards. Despite its Romanesque appearance, It is likely that its construction has been done in more recently, during which they continue to reproduce models that were of the middle ages. The fact that it's not use a broken arch indicates a later construction. Where there is no doubt is in wanting to stay forever in this place and absorb the sounds of nature.
Built where it is, today, the Village of Fundo de Rua, classified as must see village by the Village Tourism Association, the Bridge of Fundo de Rua was one of two paths that face the Marão mountain. Constructed more recently, maybe in 1630 as stated on the base of the column on the left side, this bridge must have been built on the site where there must have been another one from the medieval times. It is a stone bridge, supported by four unequal arches (yes, look closely, some are bigger than others), on which rests a slightly raised deck, above the higher arch. The pillars are protected, upstream, by sharp cutwaters, and downstream, by abutments. The historical importance of this bridge is highlighted throughout the ages. It suffered the consequences of the French invasions in 1809 having been, later, immortalized in the novels of Camilo Castelo Branco. The surrounding area is amazing and invites to take a rest. We can stretch for a few moments on the green mantle, or dip our feet on the fresh and calm waters of the river Ovelha. The bar, that should open only in summer season, is an asset for full enjoyment of this landscape.
Rua
Built where it is, today, the Village of Fundo de Rua, classified as must see village by the Village Tourism Association, the Bridge of Fundo de Rua was one of two paths that face the Marão mountain. Constructed more recently, maybe in 1630 as stated on the base of the column on the left side, this bridge must have been built on the site where there must have been another one from the medieval times. It is a stone bridge, supported by four unequal arches (yes, look closely, some are bigger than others), on which rests a slightly raised deck, above the higher arch. The pillars are protected, upstream, by sharp cutwaters, and downstream, by abutments. The historical importance of this bridge is highlighted throughout the ages. It suffered the consequences of the French invasions in 1809 having been, later, immortalized in the novels of Camilo Castelo Branco. The surrounding area is amazing and invites to take a rest. We can stretch for a few moments on the green mantle, or dip our feet on the fresh and calm waters of the river Ovelha. The bar, that should open only in summer season, is an asset for full enjoyment of this landscape.
Beautiful village in the heart of the Alto Douro Wine Region, within one of the areas classified by UNESCO as humanity's cultural heritage. The surrounding landscape is of unique beauty, surrounded by lush nature with the Douro River as companion. Don't leave before visiting the beautiful Train Station, built in the nineteenth century, with typical tile panels depicting everyday scenes, as well as the production of Port wine. You can visit by land or using Douro river cruises, offering a good range of catering and accommodation.
54 người dân địa phương đề xuất
Pinhão
54 người dân địa phương đề xuất
Beautiful village in the heart of the Alto Douro Wine Region, within one of the areas classified by UNESCO as humanity's cultural heritage. The surrounding landscape is of unique beauty, surrounded by lush nature with the Douro River as companion. Don't leave before visiting the beautiful Train Station, built in the nineteenth century, with typical tile panels depicting everyday scenes, as well as the production of Port wine. You can visit by land or using Douro river cruises, offering a good range of catering and accommodation.
Natural heir to the very old parish of São Vicente do Gerês, in the depths of the river Beredo, this is the highest village of Barroso region (altitude 1100 meters). This contributes greatly the high quality ham produced here. It has always been known as a land of fighters and warriors that resisted the looting and systematic assaults from the Castilians during the War of Restoration between Portugal and Spain from 1640 to 1668. In this village you can also visit the court of the people, now rebuilt as an Ecomuseum.
8 người dân địa phương đề xuất
Pitões das Junias
8 người dân địa phương đề xuất
Natural heir to the very old parish of São Vicente do Gerês, in the depths of the river Beredo, this is the highest village of Barroso region (altitude 1100 meters). This contributes greatly the high quality ham produced here. It has always been known as a land of fighters and warriors that resisted the looting and systematic assaults from the Castilians during the War of Restoration between Portugal and Spain from 1640 to 1668. In this village you can also visit the court of the people, now rebuilt as an Ecomuseum.
This Bridge was built in the Middle Ages by the Devil himself. Legend has it that a criminal fleeing from justice is cornered in the cliffs overlooking the Rabagão river. In desperation, he appealed to the devil's help which agreed, asking in exchange for his soul. The devil then made the bridge appear, the criminal crossed and then the bridge disappeared thus blocking the authorities. Then the criminal feeling regret decides to seek the help of a friar in order to have his soul back. The friar's simple plan was for the criminal to ask the Devil's help again, making reappear bridge. The friar then bless the bridge with holy water, the penitent criminal recovers his lost soul and the Devil loses another battle of good against evil. The bridge then assumes a sacred character and it's said that if something goes wrong in a pregnancy, the woman should stay overnight under the bridge, and the first person to pass in the morning should become the godfather or godmother of the child, who should also receive the name of Gervásio or Senhorinha. From long ago several Gervásios and Senhorinhas gather here regularly to celebrate this legend, which may have saved their lifes!
17 người dân địa phương đề xuất
Ponte de Misarela
17 người dân địa phương đề xuất
This Bridge was built in the Middle Ages by the Devil himself. Legend has it that a criminal fleeing from justice is cornered in the cliffs overlooking the Rabagão river. In desperation, he appealed to the devil's help which agreed, asking in exchange for his soul. The devil then made the bridge appear, the criminal crossed and then the bridge disappeared thus blocking the authorities. Then the criminal feeling regret decides to seek the help of a friar in order to have his soul back. The friar's simple plan was for the criminal to ask the Devil's help again, making reappear bridge. The friar then bless the bridge with holy water, the penitent criminal recovers his lost soul and the Devil loses another battle of good against evil. The bridge then assumes a sacred character and it's said that if something goes wrong in a pregnancy, the woman should stay overnight under the bridge, and the first person to pass in the morning should become the godfather or godmother of the child, who should also receive the name of Gervásio or Senhorinha. From long ago several Gervásios and Senhorinhas gather here regularly to celebrate this legend, which may have saved their lifes!
The superb landscapes, rich heritage and picturesque rural life make Gimonde the perfect place to commune with nature and enjoy the best and most genuine human warmth and hospitality well recognized in the people from this region.
Gimonde
The superb landscapes, rich heritage and picturesque rural life make Gimonde the perfect place to commune with nature and enjoy the best and most genuine human warmth and hospitality well recognized in the people from this region.
Rio de Onor Village is in the Montesinho Natural Park, in Bragança Municipality and is crossed by the border with Spain - on one side, Rio de Onor, on the other, Rihonor of Castilla. This old community village is one of the best preserved with typical schist mountain houses with beautifully porches and balconies. The border village is crossed by the Onor River, also known as the Contensa River, and its river beach is an invitation to relaxation, next to its clear waters! You can discover the Roman Bridge, the Parish Church, the oven, the forge and the community mills. Venture out to explore the beauty of this region taking the Baixa Lombada and Onor Route, which goes through Baçal, Sacoias, Aveleda and Varge villages. The typical craftsmanship of the village comprises basket weaving and carpentry and the highlight of the cuisine is the tasty regional sausages. Of its ancient traditions, rionorês deserves to be mentioned - it is a local dialect originating from a mixture of Spanish and Portuguese and that is spoken in the village to this day.
6 người dân địa phương đề xuất
Aveleda e Rio de Onor
6 người dân địa phương đề xuất
Rio de Onor Village is in the Montesinho Natural Park, in Bragança Municipality and is crossed by the border with Spain - on one side, Rio de Onor, on the other, Rihonor of Castilla. This old community village is one of the best preserved with typical schist mountain houses with beautifully porches and balconies. The border village is crossed by the Onor River, also known as the Contensa River, and its river beach is an invitation to relaxation, next to its clear waters! You can discover the Roman Bridge, the Parish Church, the oven, the forge and the community mills. Venture out to explore the beauty of this region taking the Baixa Lombada and Onor Route, which goes through Baçal, Sacoias, Aveleda and Varge villages. The typical craftsmanship of the village comprises basket weaving and carpentry and the highlight of the cuisine is the tasty regional sausages. Of its ancient traditions, rionorês deserves to be mentioned - it is a local dialect originating from a mixture of Spanish and Portuguese and that is spoken in the village to this day.
A kind of Portuguese Garden of Eden, it's considered one of the most picturesque villages of this region, for its original houses and because it's located on a narrow and beautiful river peninsula - thus a land that sees itself in the mirror every day and is distinguishable from a distance by its perfect symmetry.
Vilarinho de Negrões
A kind of Portuguese Garden of Eden, it's considered one of the most picturesque villages of this region, for its original houses and because it's located on a narrow and beautiful river peninsula - thus a land that sees itself in the mirror every day and is distinguishable from a distance by its perfect symmetry.
Montesinho is a typical Transmontana village, located on the foothills of the Serra de Montesinho, to which it gives its name. It is inhabited by about 20 families. It's poor in agricultural resources but strong in livestock resources. The goat of Montesinho still has a lot of fame and also a not less famous lamb, raised in the mountains surrounding the wind and the rigorous cold of the Winter and in the harsh heats of the Summer.
6 người dân địa phương đề xuất
Montesinho
6 người dân địa phương đề xuất
Montesinho is a typical Transmontana village, located on the foothills of the Serra de Montesinho, to which it gives its name. It is inhabited by about 20 families. It's poor in agricultural resources but strong in livestock resources. The goat of Montesinho still has a lot of fame and also a not less famous lamb, raised in the mountains surrounding the wind and the rigorous cold of the Winter and in the harsh heats of the Summer.

Parks & Nature

If you like to spend some time with your kids.
Jardim Público de Chaves
If you like to spend some time with your kids.
If you want to play with your children.
Parque de Lazer do Ribeiro de Fontão
36 R. Município
If you want to play with your children.
Jardim do Conde de Vila Real
To play and visit.
To play with your children.
Jardim das Lágrimas
To play with your children.
If your want to visit and relax.
Jardim da Câmara Municipal de Valpaços
If your want to visit and relax.
Relax or play.
Jardim do Tabolado
Relax or play.
Relax or play.
Cod Garden
9 R. Dragões
Relax or play.
Visit this natural park because the Alvão Park takes increasingly a decisive role in the tourist offer of this region, considering its diversity of cultural and environmental assets.
42 người dân địa phương đề xuất
Công viên tự nhiên Alvao
42 người dân địa phương đề xuất
Visit this natural park because the Alvão Park takes increasingly a decisive role in the tourist offer of this region, considering its diversity of cultural and environmental assets.
With 4897 acres of protected Landscape located in the municipality of Macedo de Cavaleiros, near Mirandela, Alfândega da Fé and Mogadouro. The wolf, the wildcat, the wild boar, the roe deer, the storks, the herons and the wild rabbit are just a few species that can be found scattered across this park. The river Azibo shreds the landscape, creating a blue flag river beach. In this landscape there is also a dam.
17 người dân địa phương đề xuất
Cảnh quan được bảo vệ của hồ chứa Azibo
17 người dân địa phương đề xuất
With 4897 acres of protected Landscape located in the municipality of Macedo de Cavaleiros, near Mirandela, Alfândega da Fé and Mogadouro. The wolf, the wildcat, the wild boar, the roe deer, the storks, the herons and the wild rabbit are just a few species that can be found scattered across this park. The river Azibo shreds the landscape, creating a blue flag river beach. In this landscape there is also a dam.

Drinks & Nightlife

For your night-life.
8 người dân địa phương đề xuất
Hotel Casino Chaves
8 người dân địa phương đề xuất
For your night-life.
Drink a glass of wine listening to live music with a wonderful river view. This Bar was born by restoring old granite houses within an ancient defense wall - this is why it can lead us to dream of other times.
Ilha do Cavaleiro
Ilha do Cavaleiro
Drink a glass of wine listening to live music with a wonderful river view. This Bar was born by restoring old granite houses within an ancient defense wall - this is why it can lead us to dream of other times.

Food Scene

If you need a good meal.
7 người dân địa phương đề xuất
Carvalho
7 người dân địa phương đề xuất
If you need a good meal.
If you want to try traditional local foods or just pizza this is your local place.
Avenida Conde Caria
Avenida Conde Caria
If you want to try traditional local foods or just pizza this is your local place.

Arts & Culture

Visit the archaeology and numismatic Museum.
Museu de Arqueologia e Numismatica de Vila Real
60 Av. 1º de Maio
Visit the archaeology and numismatic Museum.
The Casa de Mateus Foundation is on of the most active cultural organisations in the country, acting on a regional, national and international level. Amongst other regular activities, the Foundation promotes and hosts concerts, seminars, training courses – mainly in the fields of music – exhibitions and similar events. The Casa de Mateus was built in the first half of the 18th Century by António José Botelho Mourão (1688-1746), 3rd Morgado of Mateus. The chapel was finished by his son, D. Luís António de Sousa Botelho Mourão (1722-1798). The architectural design of the house, ex-libris of the Portuguese baroque, is attributed to the great Italian architect Nicolau Nasoni and manages to harmonize the traditionally comfortable dimensions of the Portuguese noble house to the baroque exuberance displayed in the main façade, the decorative motifs of the roofs and in the chapel designed by Master José Álvares do Rego. Very well preserved and improved in the course of generations, the gardens are amongst the most beautiful of the country. In the house, the entrance hall and six rooms of the south wing, the library and four rooms of the North wing are open to the public. Two of the South wing rooms were turned into a museum with nearly 2000 parchments and Royal Charters, the oldest dating from the 15th Century, the unique two-volume parchenent copy of the 1817’s Morgado de Mateus edition of the “Lusíadas”, as well as several objects related to the memory of the House and the family. The contents of other rooms include Portuguese, French and English furniture, mainly from the 17th and 18th Centuries, as well as paintings from the same period. In the chapel you can admire sculptures in wood and stone from the 16th to 18th Centuries. The ceiling of the sacristy is covered with 17th Century paintings representing religious figures.
32 người dân địa phương đề xuất
Casa de Mateus
32 người dân địa phương đề xuất
The Casa de Mateus Foundation is on of the most active cultural organisations in the country, acting on a regional, national and international level. Amongst other regular activities, the Foundation promotes and hosts concerts, seminars, training courses – mainly in the fields of music – exhibitions and similar events. The Casa de Mateus was built in the first half of the 18th Century by António José Botelho Mourão (1688-1746), 3rd Morgado of Mateus. The chapel was finished by his son, D. Luís António de Sousa Botelho Mourão (1722-1798). The architectural design of the house, ex-libris of the Portuguese baroque, is attributed to the great Italian architect Nicolau Nasoni and manages to harmonize the traditionally comfortable dimensions of the Portuguese noble house to the baroque exuberance displayed in the main façade, the decorative motifs of the roofs and in the chapel designed by Master José Álvares do Rego. Very well preserved and improved in the course of generations, the gardens are amongst the most beautiful of the country. In the house, the entrance hall and six rooms of the south wing, the library and four rooms of the North wing are open to the public. Two of the South wing rooms were turned into a museum with nearly 2000 parchments and Royal Charters, the oldest dating from the 15th Century, the unique two-volume parchenent copy of the 1817’s Morgado de Mateus edition of the “Lusíadas”, as well as several objects related to the memory of the House and the family. The contents of other rooms include Portuguese, French and English furniture, mainly from the 17th and 18th Centuries, as well as paintings from the same period. In the chapel you can admire sculptures in wood and stone from the 16th to 18th Centuries. The ceiling of the sacristy is covered with 17th Century paintings representing religious figures.
Visit Vila Velha Museum.
8 người dân địa phương đề xuất
Museu da Vila Velha
Rua de Trás-os-Muros
8 người dân địa phương đề xuất
Visit Vila Velha Museum.
Visit Geology Museum at the Universidade de Trás-os-Montes e Alto Douro.
Museu de Geologia da UTAD
Visit Geology Museum at the Universidade de Trás-os-Montes e Alto Douro.
This building dates from the fifteenth century (1410-1446) to accommodate D. Afonso, the future 1st Duke of Bragança, illegitimate son of D. João I, who was married with D.ª Brites, the daughter of D. Nuno Álvares Pereira. In 1739 the Governor of Arms of this region, General Francisco da Veiga Cabral, ordered the restoration of the building to install here the Guard barracks and the military prison. Since 1978, the building lodges the collection of the duke and the Museum of the Flaviense Region. Apart from the main room, where is the permanent exhibition, there is also a room dedicated to the local painter Nadir Afonso.
Praça de Camões
Praça de Camões
This building dates from the fifteenth century (1410-1446) to accommodate D. Afonso, the future 1st Duke of Bragança, illegitimate son of D. João I, who was married with D.ª Brites, the daughter of D. Nuno Álvares Pereira. In 1739 the Governor of Arms of this region, General Francisco da Veiga Cabral, ordered the restoration of the building to install here the Guard barracks and the military prison. Since 1978, the building lodges the collection of the duke and the Museum of the Flaviense Region. Apart from the main room, where is the permanent exhibition, there is also a room dedicated to the local painter Nadir Afonso.

Entertainment & Activities

Want to spend a refreshing afternoon by the pool! This is the place for you.
PARQUE DE CAMPISMO - VIRGÍLIO ANTÓNIO DE MIRANDA
Avenida Avelino Alves Miranda
Want to spend a refreshing afternoon by the pool! This is the place for you.
Want to spend a refreshing afternoon by the pool! This is the place for you.
Parque De Campismo Quinta Do Rebentão
109 R. Freixo
Want to spend a refreshing afternoon by the pool! This is the place for you.
For golf lovers you have this designed by Mackenzie Ross and recently completely remodeled by Cameron Powell. There is also a golf academy with driving range and associated practice facilities.
Vidago Golf Club
For golf lovers you have this designed by Mackenzie Ross and recently completely remodeled by Cameron Powell. There is also a golf academy with driving range and associated practice facilities.
Offers lively activities and adventure sports for people who like being in contact with nature. Diverse activities suitable for all age groups.
22 người dân địa phương đề xuất
Pena Aventura Park
2 Travessa do Complexo Turístico de Lamelas
22 người dân địa phương đề xuất
Offers lively activities and adventure sports for people who like being in contact with nature. Diverse activities suitable for all age groups.

Shopping

The market every Thursday where you can by all kinds of local products. There are also nearby all kinds of stores for you convenience.
Largo Mercado
Largo Mercado
The market every Thursday where you can by all kinds of local products. There are also nearby all kinds of stores for you convenience.
buy meat sourced in the famous region of barroso.
Talho Campilho
192 N2
buy meat sourced in the famous region of barroso.