April 12, 2019:
On this day we took an all-day guided tour of UNESCO World Heritage Sites Central Monasteries in Portugal (Tomar, Batalha, and Alcobaça) from Coimbra, hosted by Go! Leisure & Heritage.
Website of our tour company – www.gowalksportugal.com
It was a reasonable rate day excursion (€98/person – this tour is more than double this price coming from Lisbon) without the hassle of a rental car or difficult public transportation options – (mobile +351 910 163 118, www.gowalksportugal.com, booking@gowalksportugal.com).
The tour left Coimbra at 9 am and returned at 7 pm; it included a professional English speaking tour guide; transportation; road tolls, fuel, and parking fees; personalized pick-up and drop-off at our apartment in Coimbra (Largo da Portagem); site admission fees were extra.
Convent of Christ of Tomar (Convento de Cristo de Tomar):
The Convent of Christ of Tomar is a former Roman Catholic convent, church and castle that was originally a Templar stronghold, that, when the Templar order was dissolved in the 14th century, the Portuguese branch was turned into the Knights of the Order of Christ.
The convent, church and castle complex is a historic and cultural monument and was listed as a UNESCO World Heritage Site in 1983.
What is known today as Convent of Christ of Tomar is an impressive monumental set of more than forty-five hectares that includes different buildings from different eras throughout seven centuries of history, an authentic city on the right bank of the Nabão river on a hill, the Mata dos Sete Montes, dominating the entire horizon.
The Castle, Church, and Convent of Tomar – Photo: HistoricHotelsOfEurope.com
History of the Convent of Christ of Tomar
The Convent under the Templars:
The Order of Poor Knights of the Temple (or Templar Knights) came to Portugal in 1118 – In 1159, King D. Afonso Henriques I awarded them a vast territory situated halfway between Coimbra and Santarém, known as the Termo de Ceras, as a reward for their role in the conquests of Santarém and Lisbon (1147).
The Knights Templar founded the Castle and Village of Tomar in this region – In 1160, the first Grand Master of Knights Templar in Portugal, D. Gualdim Pais, constructed the famous round (rotunda) Church or Oratory of the Templars (Charola), in one of the angles of the Castle of Tomar.
The Church or Oratory constructed by the Knights Templar – Photo: Viator
Republic Square of Tomar, with a statue of Gualdim Paris and the castle
on the hill, dominating the town – AnnosSaCasaGrande
This Church or Oratory of the Templars was modeled after the Dome of the Rock in Jerusalem, which was believed by the Knights Templar to be a remnant of the Temple of Solomon.
Around 1190 the Convent/Church/Castle complex was encircled and resisted the armies of the caliph Abu Yusuf al-Mansur who was successful in taking strongholds in the south.
During the second quarter of the 13th century, Tomar became the principal seat of the Templars in Portugal – The castle became an integral part of the defense system created by the Templars to secure the border of the young Christian Kingdom of Portugal against the Moors, who at the time occupied the area to approximately the Tagus River.
The Convent under the Order of Christ:
The Templar Order was dissolved and suppressed in most of Europe by Pope Clement V in 1312 – 1314 with the bull Vox in excelso, following the persecutions against the Knights Templar by Philip IV of France.
On March 15, 1319, Pope John XXII transferred the members and assets of the Templar Order in Portugal to the Order of Christ at the request of King Denis.
Pope John XXII
This former seat of Knights Templar in Portugal was converted in 1357 into the seat of this new order – As a result, in the first half of the 15th century, work was completed to adapt the Church or Oratory of the Templars, introducing an open choir in the western niche, about half-way up the wall – What remains of this adaptation is a colonnade frame with interior arch.
Remains of the Adaptation of the Oratory of the Templars
During the internship of Prince Henry the Navigator (Infante D. Henrique) as its leader (1417 – 1450), the Order of Christ in Portugal initiated the construction of two cloisters under the direction of Master Fernão Gonçalves; the Claustro do Cemitério (Cemetery Cloister) and the Claustro das Lavagens (Washing Cloister).
Henry the Navigator,
Grand Master of the Order of Christ
Prior to these large works, Henry began work on constructing the Chapel of São Jorge sometime in 1426.
The Chapel of São Jorge is now the Ticket Office – Google Maps
Henry (Infante D. Henrique) also transformed the old Templar military house into a palace, the so-called Paço do Infante.
Ruins of the Paço do Infante – Photo: ViajarConElArte
In 1484, D. Manuel (who became Master of the Order in 1484 and King of Portugal in 1495) ordered the construction of a sacristy (today the Hall of Passage), that connected the choir to the Chapel of São Jorge, linking the choir with the wall of the strong house.
In Volume IV of the Leitura Nova da Estremadura, a book illuminated from the times of D. Manuel I preserved in the Arquivos Nacionais-Torre do Tombo in Lisbon, there is a representation of Tomar in which the walled enclosure, the Charola with its primitive entrance staircase, some houses of the village, the palace of the Temple and, westward, the wall that the Manueline and Johannine constructions demolished in the sixteenth century.
Tomar illustrated in the Leitura Nova da Estremadura
By the end of the century, the Convent’s General Chapter decided to expand the Convent (around 1492), with 3,500 reis being spent on public works in 1499 in expanding or remodeling the chapterhouse, main altar, Ironworks for the niche/archway, paintings and sculptures (for the same) and the choir.
A new meeting of the Chapter to reform the Order, ordered by the King in 1503, expropriated the old Vila de Dentro within the walls, and closed the Sun Gate and Almedina Gate of the Castle – By 1506, King D. Manuel I decided to order the construction of the Church’s nave (west of the Oratory of the Templars).
Church Nave – Photo: KellardMedia
The successor of D. Manuel I, King João III, demilitarized the Order, turning it into a more religious order with a rule based on that of Bernard of Clairvaux, subject to the abbot of Santa Maria de Alcobaça as its spiritual mentor and visitor, and with a very similar habit, white with a red ribbon and Greek cross with other silver inserts, the only thing that differentiated them.
Saint Bernard of Clairvaux
Decorations of the Order
King João III also ordered the construction of a new cloister in 1557 (the Cloister of the “Philips” or Cloister of João III or now simply “Principal or Main Cloister”), which is one of the best examples of Mannerist architecture in Portugal – This cloister’s first architect in 1557 was Diogo de Torralva, to be finished in 1591 by Philip II’s (or Philip I’s of Portugal – see below) architect, the Italian Filippo Terzi.
Cloister of João III or the Principal/Main Cloister – Wikimedia – ho visto nina volare
In 1581, after a succession crisis, the Portuguese nobility gathered in the Convent of Christ in Tomar and officially recognized Philip II of Spain (Philip I of Portugal) as King – This was the beginning of the Iberian Union (1581 – 1640), during which the Crowns of Portugal and Spain were united in a dynastic union.
Philip II of Spain (Philip I of Portugal)
The Aqueduto dos Pegões of the Convent was built during this period (completed in 1614) – consisting of about seven kilometers with about two hundred arches except in the area of greatest slope, Vale de Pegões, where these are superimposed on other lower ogival, and ends by crossing the entire southern facade of the Convent, which closes the Cloister of the Crows and the Principal Cloister.
Aqueduto dos Pegões (Aqueduct of Pegões) – Photo: ToursByLocals
Convent/Aqueduct blended together – Google Arts & Culture
South façade of the Convent, coupled to the Aqueduct – Photo: ViajarConElArte
Visiting the Castle/Church/Covent of Tomar:
As you approach the complex, you can admire the impressive Convent of Christ with the recent façade renovation, the Church sticking out and what remains of the Castle of Tomar
Castle-Church-Convent complex – RoadTripsAroundTheWorld
The entrance is via the castle side – Information and a large map is available near the gate entrance (Gate of St. James / Porta de São Tiago) – access to the Castle area is free.
Gate of St. James / Porta de São Tiago
Keyhole in the wall of the Castle
This castle, called the Castelor de Tomar (Castle of Tomar) or Castelo dos Templarios (Templar Castle), was built in the 12th century at a strategic location on a hill – It has one of the oldest keeps in the country (Torre de Menagem or Tower of Menagem), a novelty introduced by the Templars.
Castelor de Tomar (Castle of Tomar)
Before entering inside the castle wall, there is another gate to pass, the Sun Gate (Porta do Sol).
Sun Gate (Porta do Sol)
Inside the castle wall, you’ll discover the small gardens and Parade Ground (Praça de Armas) and have a beautiful view of the 12th century Church or Oratory of the Templars or Charola, and, after you walk up the stairs, its heavily sculpted Manueline door.
Small gardens and Parade Ground (Praça de Armas)
12th century Church or Oratory of the Templars or Charola
The Manueline door, the work of João de Castilho, shelters an armillary sphere and on which the Virgin with the Child is placed under canopy surrounded by prophets and doctors of the Church, all of them, in turn, framed by another mixti-linear arch finished off with a Cross of the Order of Christ over the Virgin with Child.
Manueline Door
Manueline Door Detail including symbols of the Order of Christ
(An Armillary sphere and the Cross of the Order of Christ)
To the right of the Manueline Door is the Aspe and Bell Tower of the Church.
Aspe and Bell Tower of the Church
To our left appears to be ruins of the Convent (in fact what we see is what remains of an unfinished Chapter House – see below).
Unfinished Chapter House
The original entrance to the Church used to be in the east façade, in what is now converted into a window.
Original entrance – now a window
The Manueline door is not where you enter the complex – the entrance is around to the right by the original east entrance.
Floor Plan of the Church of the Convent of Christ – Source: Wikipedia
When you enter, you pay the entrance fee in the old…
Capela de São Jorge (Chapel of St. George):
This chapel, at the end of the 15th century, already in the reign of D. Manuel I, began to perform sacristy functions until the construction of the New Sacristy in the west corridor.
This chapel is quadrangular with a ribbed vault and the western front, in contact with the church, and is occupied by the arcosolio of the founders of the chapel in 1426, D. Vasco Gonçalves de Almeida and his wife, D. Meça Lourenço
Arcosolio of the founders of the chapel
The Convent of Christ of Tomar is open 9 am – 5:30 pm, October to May, and 9 am – 6:30 pm, June – September (ticket office closes 30 minutes before closing time) – €12 (65+ half-price or €6).
Exiting this chapel, you’ll discover a small cloister with a lot of charm… the…
Claustro do Cemitério (Cloister of the Cemetery):
Built by the architect Fernão Gonçalves when the Infante D. Henrique (Prince Henry the Navigator) was Governor and Administrator of the Order of Christ (1420 – 1460), it was remodeled at the beginning of the 17th century. The Cloister of the Cemetery is surrounded by elegant columns decorated with beautiful Manueline motifs and the corridors around it are adorned with 16th century tiles.
This cloister holds the tombs of D. Diogo de Gama († 1523), brother of Vasco de Gama and chaplain of D. Manuel I, and D. Baltazar de Faria († 1584), diplomat in the service of D. João III, as well as Pedro Álvares Seco de Freitas († 1599), accountant of the Order.
Arcosolio of D. Diogo de Gama († 1523)
Arcosolio of D. Baltazar de Faria († 1584)
Arcosolio of Pedro Álvares Seco de Freitas († 1599)
Off the northwest corner of this cloister is housed the…
Capilla Portocarreiro (Portocarreiro Chapel):
This small chapel was built for the family of António Portocarreiros in 1626 – The walls are covered with diamond shaped tiles of the seventeenth century (in three colors) – The paving on the ground forms a kind of matching carpet – The walls are decorated with eleven panels illustrating the life of Christ and the Virgin Mary.
Capilla Portocarreiro (Portocarreiro Chapel)
Detail of tiles
Plaque and Coat of Arms
To the east of the Cloister of the Cemetery is the…
Claustro da Lavagem (Washing Cloister):
This two story-cloister was where the monks’ garments used to be washed – Built in the 15th century, It has beautiful arches all around with simple carvings of leaves.
Claustro da Lavagem (Washing Cloister) – Wikimedia – Daniel Villafruela
This cloister has good views of the Church and Bell Tower.
View of the Church and Bell Tower
And blue tiles everywhere…
Blue Tiles
The bottom floor of the cloister housed the kitchens, the warehouses and the rooms of the servants, organized by means of petril, thick pillars and pointed arches.
Bottom floor housed the kitchens, the warehouses and the rooms of the servants
Bottom floor with thick arches
On the top floor were located the bedrooms, with a solid parapet, double columns of unique capital with vegetable decoration and pointed arches.
Top floor housed the bedrooms – photo: Palickap
On the east side of this cloister, is the viewing area of the…
Ruinas del Paço do Infante (Ruins of the Palace of the Infante Dom Henrique):
This palace of the Infante D. Henrique (Henry the Navigator), Governor and Administrator of the Order of Christ from 1420 – 1460, was enlarged and transformed by King Dom Manuel I (1695-1521) and King Dom João III (1521-1557).
Ruinas del Paço do Infante (Ruins of the Palace of the Infante Dom Henrique)
Returning to the Cloister of the Cemetery, we can access a hallway to the Gift Shop (former Sala dos Reis or Hall of the Kings). And on the right, the…
Sacristía Nueva (New Sacristy):
Built in the late 16th century by the Master of the works of the Convent, Francisco Lopes, during the priorship of Friar Adrião Mendes (1575 – 1578), it was also the Chapter House in the time of the Infante D. Henrique (Prince Henry the Navigator).
Sacristía Nueva (New Sacristy)
The front is framed by Doric pilasters and a pediment – It has a rectangular floor plan, illuminated by openings in its eastern and western walls and organized by pilasters in stipes under a Doric entablature that supports a vault of caisson with painted gold grotesques, royal arms, armillary spheres and crosses of the Order of Christ on a black background that responds to works of stylistic unification in 1629.
Ceiling with symbols of the Order of Christ – Photo: lilianlau.com
Taking the hallway to the left, past the gift shop, leads us to the…
Nave de la Iglesia (Nave of the Church):
During the administration of Prince Henry the Navigator (first half of the 15th century), a gothic nave was added to the round church of the Convent, thus turning the Round Church into a Church Apse. From 1510 onwards, King Manuel I ordered the rebuilding of the nave in the style of the time, a mix of late Gothic and Renaissance that would be called the Manueline style by art historians – The architects involved were the Portuguese Diogo de Arruda and the Spaniard João de Castilho.
Nave of the Church
The nave is covered by beautiful ribbed vaulting and has a High Choir (Coro Alto) that used to have Manueline choir stalls, unfortunately destroyed by invading Napoleonic troops in the early 19th century.
Beautiful ribbed vaulting in the nave
High Choir (Coro Alto) – Wikimedia – ho visto nina volare
Under the high choir there is a room that used to be the sacristy of the church – Its west window is the famous Window of the Chapter House.
Room under the High Choir (Coro Alto)
The Manueline nave is connected to the Romanesque round church by a large arch.
Large arch connecting the Manueline Nave to the Templars Round Church
Enter under the arch into the…
Under the arch between the Manueline Nave and Templar Round Church
Charola (Round Oratory of the Templars):
The Romanesque round church is a Roman Catholic Church from the castle (Charola, rotunda) that was built in the second half of the 12th century by the Knights Templar.
Inside, the round church has a central, octagonal structure, connected by arches to a surrounding gallery (ambulatory) – The general shape of the church is modelled after similar round structures in Jerusalem: the Dome of the Rock and the Church of the Holy Sepulchre.
Charola (Round Oratory of the Templars)
The capitals of the columns are still Romanesque (end of the 12th century) and depict vegetal and animal motifs, as well as a scene from Daniel in the Lions’ Den – The style of the capitals shows the influence of artists working on the Cathedral of Coimbra, which was being built at the same time as the round church.
Romanesque capitals
The pillars of the central octagon and the walls of the ambulatory have polychrome statues of saints and angels under exuberant Gothic canopies, while the walls and ceilings of the ambulatory are painted with Gothic patterns and panels depicting the life of Christ and the disciples.
Saints and angels and Christ and his disciples
Martyrdom of St Sebastian by Gregório Lopes, c. 1536
Exit by the glass door between the south portal and the high choir to reach the…
Claustro Principal (Principal/Main or King João Cloister):
You enter a stairwell of this cloister, started under King João III of Portugal, and finished during the reign of Philip II of Spain (Philip I of Portugal).
Manueline South Window under the High Choir (Coro Alto)
The first architect was Diogo de Torralva, who began the work in 1557, to be finished in 1591 by Philip I’s architect, the Italian Filippo Terzi. This magnificent cloister connects the dormitory of the monks to the Church, and is considered one of the most important examples of Mannerist architecture in Portugal.
Claustro Principal (Principal/Main or King João Cloister)
The central fountain is dated in 1619, attributed to Pedro Fernandes Torres – It has two bowls superimposed on an octagonal platform and the bottom shows a Greek cross plan, that of the Order of Christ.
Central Fountain – the base the Cross of the Order of Christ
You can explore the rooftop – Terraco da Cera (Terrace of Cera) using the helicoidal stairways in the northeast and southwest corners of the Principal Cloister.
Not this staircase (it’s closed)
Exterior Manueline/Templar Church:
From the cloister rooftop, you can get really close to all the sculpted elements of the Manueline/Templar Church.
West and South Facades of the Nave
From the outside, the rectangular nave is covered by abundant Manueline motifs, including gargoyles, gothic pinnacles, statues and “ropes” that remind the ones used in the ships during the Age of Discovery, as well as the Cross of the Order of Christ and the emblem of King Manuel I, the armillary sphere.
The so-called Window of the Chapter House (Janela do Capítulo), a huge window visible from the western façade of the nave (bottom window below), carries most of the typical Manueline motifs: the symbols of the Order of Christ and of Manuel I, and fantastic and unprecedented elaborations of ropes, corals and vegetal motifs
Window of the Chapter House (Janela do Capítulo)
Detail – Window of the Chapter House (Janela do Capítulo)
Ornamentation of the right buttress
Gigantic garter alluding to the Order of Garter of D. Manuel I
Angel and chains on left butress
Western Conventual Area:
The Principal Cloister is just a part of a fabulous expansion of the Western Conventual Area that began in 1528, when King D. João III entrusted Brother Antonio de Lisboa, a Hieronymite monk of Guadalupe, for a profound reform of the Order of Christ.
View of Western Conventual Area from the Principal Cloister rooftop
Convent of Christ Floor Plan – Source: Wikipedia
Our tour guide led us through various parts of the Western Conventual area…
Claustro Primitivo Vestígos (Remains of the Primitive Cloister), Vestibule of the Unfinished Chapter House:
Medallions of St. Jerome (Hieronymus) and St. Augustine – Photo: ViajarConElArte
Vestibule – Photo: ViajarConElArte
View of Unfinished Chapterhouse from the Vestibule – Wikimedia – Tomar
Claustro do Micha (Micha Cloister):
This cloister, designed by João de Castilho and finished in 1543, it owes its name to the face that this was where bread leftovers were distributed to the poor. In this cloister, there is also the largest cistern or water-tank of the Convent.
The 16th century portal leading to the outside – Antigua Portería (Ancient Portal) from the north wing, designed also by João de Castilho, was originally in the former entrance-hall and was transferred here in 1620 (the inscription over the portal indicates it was started in 1534 and completed in 1546.
Claustro do Micha (Micha Cloister)
Bloco das Necessaria (Block of the Necessities/Lavatories):
A work by João de Castilho from 1546, this block consists of five floors reserved for hygienic facilities and latrines, including the appropriate plumbing system and a large ventilation chimney.
Wash area – Photo: conventocristo.gov.pt
Latrines
The sewers were drained into the manure chamber located on the grounds of the Convent enclosure.
Cocinas (Kitchen):
This room functioned as a kitchen for the Convent.
Cocinas (Kitchen) – Photo: TripAdvisor
Warehouses:
The warehouses contain barrels.
Warehouses
Claustro da Hospedaria (Hostelry Cloister):
In the last quarter of the 17th century, during the reign of King D. João IV, it was decided to convert the upper northern wing of the Claustro da Hospedaria (Hostelry Cloister) as an Enfermería (Infirmary) and Botica (Warehouse), and already in the 18th century the facilities would be extended constructing a whole new wing that started from the Portaria Real o Filipina (Royal of Philippine Portal) until arriving at the area of the Templar Castle.
Claustro da Hospedaria (Hostelry Cloister)
Claustro dos Corvos (Cloister of the Crows):
The Cloister of the Crows is one of the later interventions of João de Castilho, beginning to rise at the end of the 1530s south of the Micha Cloister.
Claustro dos Corvos (Cloister of the Crows)
Scriptorum y Librería (Writing Area and Library):
This is a rectangular room with large windows facing the south facade of the Convent and covered with a vaulted ceiling. Today it has a painting with the Holy Trinity dated to the middle of the 18th century and attributed to Manuel José Gonçalves, coming from the Convent of Trinas do Mocambo in Lisbon.
Scriptorum y Librería (Writing Area and Library)
In the mid-twentieth century this room was adapted as a chapel of the Missions Seminary that was installed in the convent until the 1970s.
Antecámara del Refectorio / e Refectorio (Antechamber of the Refectory, and the Refectory):
The Refectory is a large rectangular hall with a barrel vault with casetones, two interesting pulpits with bas-relief Renaissance decoration.
The Refectory
The Refectory is connected to the kitchens by a semicircular arch in its northern front opening into an antechamber, an area that is unusual as a work of João de Castilho for its Italianate appearance, especially compared to the south portal of the Church or the cloisters that he designed at the Convent.
City of Tomar:
We drove to the nearby city of Tomar for lunch and afterwards toured some of its sights.
At Praça da República (Republic Square), we visited Câmara Municipal de Tomar (Town Hall), Statua Guildim Pais and Igreja de São João Baptista (Church of Saint John the Baptist).
Câmara Municipal de Tomar (Town Hall) with the Statua Guildim Pais
(notice the Castle/Convent/Church of Tomar on the hill behind)
Igreja de São João Baptista (Church of Saint John the Baptist) – Wikipedia – Ingo Mehling
Detail – Saint John the Baptist Church
As we walked the city of Tomar, we discovered pavement with Templars Crosses.
Templar crosses on the pavement
Also, this unusual engraving on a wall…
Engraving on a wall
In the entrance to the Seven Hills Forest, there is a Monumento em homenagem ao Infante Dom Henrique (Monument in Homage to the Infante D. Henrique).
Monumento em homenagem ao Infante Dom Henrique (Monument in Homage to the Infante D. Henrique)
Mosteiro da Batalha (Monastery of Batalha):
A decisive event for the development of the Portuguese nation took place on August 14, 1385, near the spot where the Monastery of Batalha stands: D. João, Master of Avis and the future King of Portugal, overcame the Castilian armies in the battle of Aljubarrota. This victory put an end to a dynastic crisis that had dragged on since 1383, since the death of King Ferdinand, whose only daughter was married to the King of Castile, an aspirant to the throne of Portugal.
D. João dedicated the monastery to the Virgin Mary, who he had invoked to intercede his triumph and donated it to the Dominican Order, to which his confessor belonged. This gave way to the birth of a work whose construction would last for almost two centuries and which resulted in one of the most fascinating Gothic monuments of the Iberian Peninsula. The construction of the monastery also embodied the consecration of King João I as King of Portugal, thus assuming itself as a symbol of the new dynasty and legitimised by divine will.
King João I
Its architectural value and historical significance spurred the classification of the monument as a UNESCO World Heritage Site in 1983.
Cost and Hours: Church – free; worthwhile additional sights (Founders’ Chapel, Unfinished Chapels, Cloisters) – €6, except free the first Sunday of every month (€3 – 65+); Open Daily, April – September, 8 am – 6 pm; October – March until 5 pm; last entry 30 minutes before closing; +351 244 765 497.
Floor Plan – Source: Wikipedia
Start with the Church Exterior…
Church Exterior:
The Church of Our Lady of Victory (c. 1388 – 1550) is a fancy late Gothic (pointed-arch) structure decorated with lacy Gothic tracery – stained-glass windows, gargoyles, railings, and flamboyant pinnacles representing the flickering flames of the Holy Spirit (inside, we’ll see even more elaborate Manueline-style ornamentation, added toward the end of its construction) – The Church’s limestone has mellowed over time into a warm, rosy golden color.
Church of Our Lady of Victory
The equestrian statue outside the church is of Nuno Alvares Pereira, who commanded the Portuguese in the battle and masterminded the victory over Spain – He became a Carmelite and was canonized in 2009 – The statue is fairly recent, from 1968, created by Leopoldo Almeida.
Nuno Alvares Pereira equestrian statue
Before entering the church, study the carvings on the main entrance (much-restored after serious damage in the 1755 earthquake).
Carvings over the entrance
Notice the six lanes of heavenly traffic in the archway over the entrance: 1) the inside track – angels with their modesty wings; 2) the second track – the angel band with different instruments, including a hillbilly washboard; 3) the third track – evangelists (those holding scrolls are from the Old Testament, those holding books are from the New Testament); 4) the fourth track – Biblical kings and secular kings (those with globes in their hands); 5) the fifth track – doctors of the Church with symbols of their martyrdom; and 6) and the last track – female saints.
Six tracks of different types of statues
Overseeing all this traffic is Jesus with the Four Evangelists in the tympanum.
Jesus with the Four Evangelists
And the twelve apostles provide a foundation for it all – The statues are 19th century copies of 14th century originals.
The Apostles – Flickr – uempe
At the top of the pointed arch are two small coats-of-arms: Portugal’s on the right and the House of Lancaster’s on the left (a reminder of the marriage of João I and Philippa of Lancaster that cemented centuries of friendship between Portugal and England).
Coats of Arms
There is also a south portal…
South portal
Enter the Main Entrance of the church…
Church Interior:
Nave Sign
The tall pillars leading your eye up to the “praying hands” of pointed arches, the warm light from stained-glass windows, the air of sober simplicity – this is a classic Gothic nave, from Europe’s Age of Faith.
Classic Gothic Nave
Lateral Aisle
Nave ceiling
Apse
Altar – Flickr: Francisco Aragao
The church’s lack of ornamentation reflects the vision of the project’s first architect, Afonso Domingues (worked 1388 – 1402) – Compared with Alcobaça’s monastery (see below), this interior is dimmer and feels more somber, though the stained glass more dramatically colors the floors and columns (only the glass around the altar is original).
Effect of light on the church
The Church has a standard Latin cross plant, with transept, three naves, and five side chapels in the apse. One of these side chapels has a tomb of D. Diogo Lopes de Sousa, steward of King D. Duarte and King D. Afonso V, son of D. Lopo Días de Sousa, Lord of the House of Sousa and Master of the Order of Christ.
Tomb of D. Lopo Días de Sousa – Wikimedia – Jl FilpoC
D. Diogo Lopes de Sousa fought in the Hundred Years’ War in the service of Portugal, of King D. João I – Under the tomb the following name appears on the epitaph: “Didactus Lopez de So[uza]”.
Buy a ticket for the cloisters and chapels (at the ticket counter on your immediate left as you enter) – You’ll need this ticket to enter the rest of the sights described here.
The first chapel on the right – directly across from the ticket desk – is the…
Founders’ Chapel (Capela do Fundador):
Founder’s Chapel Sign
Center-stage is the double sarcophagus (that’s English-style) of King João I and his English Queen, Philippa – This husband-wife team ushered in Portugal’s two centuries of greatness.
Tombs of King João I and his English Queen, Philippa
King João I and Queen Philippa
João I (born 1357, ruled 1385 – 1433), the bastard son of Dom Pedro I (King Pedro I), repelled the Spanish invaders, claimed the throne, consolidated his power by confiscating enemies’ land to reward his friends, gave Lisbon’s craftsmen a voice in government, and launched Portugal’s expansion overseas.
King João I of Portugal
His five-decade reign greatly benefited Portugal – João’s motto: “Por bem” (“For Good”), as well as “Il Me Plet” (“I Like It”) is carved on his tomb – He established the House of Avis (see the coat-of-arms carved into the tomb) that would rule Portugal through the Golden Age – João’s descendants – through both the Avis and Bragança lines – would rule Portugal until the last Portuguese king, in 1910.
João, indebted to English soldiers for their help in the battle, signed the friendship Treaty of Windsor with England (in 1386) – To seal the deal, he was requested to marry Philippa of Lancaster, the granddaughter of England’s king – You can see their respective coats-of-arms carved at the head of the tomb.
Philippa (c. 1360 – 1415) – intelligent, educated, and moral – had already been rejected in marriage by two kings – João was also reluctant, reminding the English of his vow of celibacy as Grand Master of the Order of the Cross – He retreated to a monastery (with his mistress) before finally agreeing to marry Philippa (1387).
Queen Consort Philippa of Portugal
Exceeding expectations, Philippa won João’s admiration by overseeing domestic policy, boosting trade with England, reconciling Christians and Jews, and spearheading the invasion of Ceuta (1415) that launched the Age of Discovery.
Invasion of Ceuta by D. Henrique
At home, she used her wide knowledge (she was trained personally by Geoffrey Chaucer and John Wycliffe) to inspire her children to greatness – She banished João’s mistress to a distant convent, but raised his bastard children almost as her own, thus sparking the rise of the Bragança line that would compete for the throne.
Bragança Line – Monarchs of Portugal
João and Philippa produced a slew of talented sons, some of whom rest in tombs along their spouses in the nearby wall – These are the golden youth of the Age of Discovery that the Portuguese poet Luis de Camões dubbed “The Marvelous Generation” (Inclita Geração):
• Blanche (July 13, 1388 – March 6, 1389), died in infancy
• Afonso (July 30, 1390 – December 22, 1400), heir of the throne, died in childhood at the age of 10
• Duarte (Edward) (October 31, 1391 – September 13, 1438), a writer and an intellectual who succeeded his father as King of Portugal in 1433
• Pedro (December 9, 1392 – May 20, 1449), Duke of Coimbra, a well-travelled man who served as regent during the minority of his nephew Afonso V
• Henrique (March 4, 1394 – November 13, 1460), called “Henry the Navigator”, first Duke of Viseu, who guided Portugal to the Age of Discovery
• Isabel (February 21, 1397 – December 11, 1471), married Philip III of Burgundy
• Blanche (April 11, 1398 – July 27, 1398), died in infancy
• João (January 13, 1400 – October 18, 1442), Constable of Portugal, Lord of Reguengos, grandfather of two 16th century Iberian monarchs (Manuel I of Portugal and Isabella I of Castile)
• Fernando (September 29, 1402 – June 5, 1443), called the “Holy Prince”, a warrior who was captured during the disaster of Tangier in 1437 and died a prisoner of the Moors
From left to right next to the tomb of King João I and his English Queen, Philippa, are the tombs of their children (and spouses): 1) D. Fernando, 2) D. João and his wife D. Isabel de Barcelos (with a “Crucifixion” in the tympanum), 3) D. Henrique (Henry the Navigator), 4) D. Pedro, Duke of Coimbra and his wife D. Isabel de Aragão.
Tombs of the four princes (from left to right): Fernando, D. João and his wife D. Isabel de Barcelos, D. Henrique, and D. Pedro and his wife D. Isabel de Aragão – Wikimedia – Daniel VILLAFRUELA
Tomb of D. Henrique (Henry the Navigator)
D. Fernando (tomb on far left), Henry’s kid brother, attacked the Muslims at Tangier (1437) and was captured – When his family refused to pay the ransom (which would have meant returning the city of Ceuta), he died in captivity there in 1443.
Tomb of D. Fernando – Wikimedia – Joseolgon
D. João and his wife D. Isabel de Barcelos (with a “Crucifixion” in the tympanum) – Wikimedia – Daniel VILLAFRUELA
The son Pedro (tomb on far right), a voracious traveler and student of history, ruled Portugal as regent while his six-year-old nephew Afonso grew to manhood (Afonso’s father, Duarte [Edward] – João and Philippa’s eldest – died of the plague after ruling for only five years).
Tomb of D. Pedro
Tombs of D. Afonso V and D. Isabel de Coimbra
The Founder’s Chapel is a square room with an octagonal dome – Gaze up (like João and Philippa) at the ceiling, an eight-pointed star of crisscrossing pointed arches – a masterpiece of the Flamboyant Gothic style – that glow with light from stained glass – The central keystone (with João’s coat-of-arms) holds all the arches-within-arches in place.
Founder’s Chapel ceiling
Go back into the main part of the church, cross the nave, and bear right to find the entrance to the adjoining…
Royal Cloister (Claustro Real):
Royal Cloister Sign
Architecturally, this open courtyard exemplifies Batalha’s essence: Gothic construction from circa 1400 (the pointed arches surrounding the courtyard) filled in with Manueline decoration from circa 1500.
Open courtyard with Manueline decoration
View from the courtyard – Wikimedia – Alvesgaspar
The tracery in the arches features the cross of the Order of Christ (headed at one time by Prince Henry the Navigator) and armillary spheres – skeletal “globes” that showed what was then considered the center of the universe: planet Earth.
The Cross of the Order of Christ – Wikimedia – Gerd Eichmann
The tracery is supported by delicate columns with shells, pearls, and coils of rope, plus artichokes and lotus flowers from the recently explored Orient.
Look for inscriptions (crosses) and other marks on the pavement…
Marks on the pavement
The monks would stop to wash their hands at the washbasin (Lavabo or Lavatorium, in the northwest corner, with a great view back at the church) before stepping into the adjoining rectory (dining hall) for a meal.
Lavabo or Lavoratorium – Wikimedia – Antonio Periago Miñarro
Circle the courtyard counterclockwise, stepping into the…
Chapter Room:
Chapter House (Chapter Room)
The self-supporting star-vaulted ceiling spans 60 feet, an engineering tour-de-force by Master Huguet, a foreigner who became chief architect in 1402 – Huguet brought Flamboyant Gothic decoration to the church’s sober style.
Chapter Room – Photo: TheIndependentTourist
Chapter Room – Wikimedia – Concierge.2C
Chapter Room ceiling
The architect who helped Huguet come up with the strong-enough, interlocking, spider-web design for this vast vault supposedly silenced skeptics by personally spending the night in this room – Besides this ceiling, Huguet designed the Founders’ Chapel and the Unfinished Chapels.
Entrance to the chapter room
Portugal’s Tomb of the Unknown Soldier (holds the bodies of two Portuguese soldiers, one dead in France, the other in Africa during WWI) sits under a mutilated crucifix called Christ of the Trenches, which accompanied Portuguese soldiers into battle on the western front of World War I.
Tomb of the Unknown Soldier
Of note is the stained glass window of 1514 attributed to Francisco Henriques of Flemish origin; a Triptych of the Passion (Crucifixion / Calvary / Descent from the Cross), with predominance of color on the drawing – In one of the angular misulas, the figure of an architect (Huguet?) seems, even today, to receive from the visitors a tribute of his constructive daring.
Triptych of the Passion (Crucifixion / Calvary / Descent from the Cross)
Leaving the Chapter Room through the ornate doorway…Turn right and enter through the archway (notice the tiny ornamental knots) and go into the…
Former Dormitory:
Dormitory Sign
Pass through the dormitory while immersing yourself in the walk-through audiovisual history of the church and monastery.
Dormitory Exhibit – From: Google Earth
Exit left from the Dormitory to the…
Refectory:
During the meals sacred texts were read aloud from the reader’s pulpit (one of the loveliest architectural elements of the refectory).
The Refectory is now converted into a museum, with a collection of all the offerings from various countries to the Portuguese Unknown Soldier.
The Refectory is now a museum – Wikimedia – Daniel VILLAFRUELA
Of particular interest is a photograph taken in the trenches of the WWI crucifix (on the wall of the gift shop; the crucifix itself is the one that is displayed in the Chapter Room you just visited).
Dead Soldier Beneath Crucifix – From: BBC Walter Kleinfeldt –
Photo: https://rarehistoricalphotos.com/walter-kleinfeldt-album-battle-of-somme-1916/
Go back past the exit of the Former Dormitory and continue through the…
D. Afonso V Cloister:
Cloister of Afonso V
Not nearly as interesting as the Royal Cloister (although you may see art students learning about sculpture on the far side) – This was the first cloister built in Portugal with two floors (the top floor with a wood roof) – It housed individual rooms, a library and a study and a work area.
It was constructed in the second half of the 15th century by the architect Fernão de Évora – It stands in contrast with the Manueline flamboyance of the somewhat larger Royal Cloister.
D. Afonso V Cloister
Follow the exit signs to a square outside the church – Head right, to the…
Unfinished Chapels (Capelas Imperfeitas):
Unfinished Chapels Sign
The Unfinished Chapels are called that name because, well, that’s not a Gothic sunroof overhead – This chapels behind the main altar were intended as an octagonal room with seven niches for tombs, topped with a rotunda ceiling (similar to the Founders’ Chapel).
Built by King D. Duarte (Edward) (reigned 1433 – 1438), for his pantheon, they were designed by Huguet, continued by Mateus Fernandes, to whom we owe the monumental portal of entry (1509), and by Joao de Castilho from 1528.
Madeline Window
The upper floor, already Renaissance (1533), attributed to Miguel de Arruda, represents the last attempt of D. Joao III (r. 1521 – 1557) to complete the Unfinished Chapels before the definitive closure of the work – But only the walls, support pillars for the ceiling, and a double tomb were completed.
Open to the skies
King Duarte (Edward) and his wife, Queen Leonor (Eleanor), lie hand-in-hand on their backs, watching the clouds pass by, blissfully unaware of the work left undone.
Room of the tombs
Tomb of King Duarte (Edward) and Queen Leonor (Eleanor)
Another tomb
Duarte (1391 – 1438), the oldest of João and Philippa’s sons, was the golden boy of the charmed family – He wrote a how-to book on courtly manners – When, at age 42, he became king (1433); he called a cortes (parliament) to enact much-needed legal reforms.
King Duarte (Edward) of Portugal
He financed and encouraged his brother Prince Henry’s initial overseas explorations – And he began work on these chapels, hoping to make a glorious family burial place – But Duarte died young of the plague, leaving behind unfinished chapels, a stunned nation, and his six-year-old son, Afonso, as the new king.
Queen Leonor (Eleanor) became Regent while Afonso grew up, but she proved unpopular as a ruler, being both Spanish and female – Duarte’s brother Pedro then ruled as Regent before being banished by rivals.
D. Leonor (Eleanor of Aragon)
Doorway:
Duarte’s grandson, King Manuel I, added the elaborately decorated doorway (by Mateus Fernandes) entering the Unfinished Chapels, a masterpiece of the Manueline style. The series of ever larger arches that frame the door are carved in stone so detailed that they look like stucco – See carved coils of rope with knots, some snails along the bottom, artichokes (used to fend off scurvy), corn (from American discoveries), and Indian-inspired motifs (from the land of pepper).
Manueline Doorway
This concludes our tour of the Monastery of Batalha – our next stop is the…
Monastery of Alcobaça (Mosteiro de Alcobaça):
This Cistercian abbey church, despite its mainly Baroque façade, represents the best Gothic building in Portugal – It’s also the country’s largest church, and a clean and light break from the heavier Iberian norm – King D. Afonso Henriques I began construction in 1178 after taking the nearby town of Santarém from the Moors.
Monastery of Alcobaça (Mosteiro de Alcobaça)
The first Cistercian monks arrived in 1228 and proceeded to make this one of the most powerful abbeys of the Cistercian Order and a cultural center of 13th century Portugal – This simple abbey was designed to be filled with hard work, prayer, and total silence – With a finely preserved old dormitory and dining hall, it’s the easiest place in Portugal to really envision the life monastic.
Aerial View – Largest church in Portugal –
Photo: Monastery of Alcobaça – World Heritage site
The church and monastery were the first Gothic buildings in Portugal, and, together with the roughly older Augustinian Monastery of Santa Cruz in Coimbra, it was one of the most important medieval monasteries in Portugal. Due to its artistic, cultural and historical relevance, it was included in UNESCO’s World Heritage Site list in 1989.
Cost and Hours: Church and tombs – free; Cloisters – €6, free first Sunday of every month; Open Daily, April – September, 9 am – 7 pm; October – March until 5 pm; +351 262 505 128, www.moteiroalcobaca.pt.
Church Exterior:
As you view the church exterior from the expansive square facing it, you can sense its former importance – The wings stretching to the right and left from the façade housed monks and pilgrims.
The monastery housed monks and pilgrims – Wikimedia – Karstenkascais
The façade of the church is a mix of styles: the portal and the rose window above were part of the original church, while the statues and the two flanking towers were added in the beginning of the 18th century. The side walls of the church have crenellations and the apse has eight flying buttresses to support the weight of the vault of the apse, a typical feature of Gothic architecture.
Main Entrance
Plan of the Monastery of Alcobaça – Source: Nexus 2002 Post-Conference Excursion, João Pedro Xavier
Church Interior:
Stepping inside the church interior, you will find a suitably grand yet austere house of prayer – just straight Gothic lines – The only décor is organic (such as leafy capitals).
Nave
There is a rose window above the entrance.
Rose window over the entrance
The long and narrow central nave leads to a pair of finely carved tombs that flank the main altar…
High Altar – Wikimedia – Bernardo de Oliveira Nunes
Tombs of Dom Pedro and Doña Inês de Castro:
These 1360 Gothic tombs belong to Portugal’s most tragic romantic couple, Dom Pedro (King Pedro I, b. 1320, d. 1367, on the right); and Doña Inês de Castro (b. 1323, d. 1355, on the left).
Tombs of Dom Pedro (on the right) and Doña Inês de Castro (on the left) – Photo: Get Your Guide
D. Pedro and D. Inês
Twenty-year-old Prince Pedro met 17-year-old Inês, a Galician noblewoman, at his wedding to Inês’ cousin Constance – The politically motivated marriage to Constance was arranged by Pedro’s father, the Portuguese King Afonso IV.
Constance (Constanza Manuel de Villena), cousin of Inês, first wife of D. Pedro
D. Pedro dutifully fathered his son, the future King D. Fernando I, with Constance in Lisbon, while seeing Inês on the side in Coimbra – When Constance died, D. Pedro settled in with D. Inês de Castro.
D. Inês de Castro
Concerned about Spanish influence, Pedro’s father, Afonso IV, forbade their marriage – They were married secretly, and the couple had four children
King D. Afonso IV
When King D. Afonso IV, fearing rivals to his (“legitimate”) grandson’s kingship, had Inês de Castro murdered, Prince Pedro went ballistic – He staged an armed uprising (1355) against his father, only settled after much bloodshed.
The murder of Inês de Castro
Once he was crowned King D. Pedro I the Just (1357), the much-embellished legend begins – D. Pedro summoned his enemies, exhumed Inês body, dressed it in a bridal gown, and put it on the throne, making the murderers kneel and kiss her putrid rotting hand.
Exhumation of Inês’ body
The legend continues… Pedro then executed Inês’ two murderers – personally – by ripping out their hearts, eating them, and washing them down, it is said, with a fine vinho verde (green wine) – Now that’s real love (amor)…
Tomb of D. Pedro:
Start with D. Pedro’s tomb (on the right), and examine the exquisite carvings – Like religious alarm clocks, the attending angels are poised to wake the couple on Judgment Day – Pedro will lie here (as inscribed on the tomb) “Até ao fim do mundo” (“Until the end of the world”), when he and Inês are reunited.
The figure of D. Pedro I appears crowned, with the sword in his hands. He is flanked by four angels who support his head and shoulders, followed by two thurifer angels.
Recumbent figure of D. Pedro I – Photo: artsandculture.google.com
Scenes from the life of St. Bartholomew – famous for being skinned alive (Pedro’s patron saint, reflecting his life of sacrifice) – circle the tomb – The martyrdom of St. Bartholomew is depicted on a relief directly below the king’s head on his left side – along with the creepy aftermath – D. Pedro’s tomb is supported by lions, a symbol of royalty.
The martyrdom of St. Bartholomew on D. Pedro’s tomb
The “Wheel of Life” and the “Wheel of Fortune”
On the head side of the tomb of Pedro we can see three concentric wheels – The bigger one, called the “Wheel of Life”, has twelve petals and shows episodes from D. Pedro’s and Inês’s life together; the second one, the “Wheel of Fortune”, has only six petals and its images are interpreted to symbolize purity of love between them and the immortality and resurrection they will eventually achieve.
The “Wheel of Life” and the “Wheel of Fortune”
The “Wheel of Life” shows the following moments, (upward direction from left to right):
Inês cuddling her children; The couple and their kids; Inês and Pedro playing chess; The couple spending time together; Inês watching someone on the floor; Pedro seated on a big throne; Inês caught by her killers; Inês unveiling the face of one of her killers; Inês’s assassination; Inês lying dead; The punishment of one of Inês’s killers; King D. Pedro wrapped in a shroud.
The “Wheel of Fortune” shows the following moments, (upward direction from left to right):
Inês seated on Pedro’s left side (which indicates that they were not married yet); Inês is now on Pedro’s right side (they’re married now); The couple side by side looking like they’re posing for an official portrait; King Afonso IV expelling Queen Inês from the kingdom; Queen Inês repelling king Afonso IV; King Pedro and Queen Inês lying on the floor.
Tomb of Inês de Castro:
The tomb of Inês de Castro rests on six hybrid figures with human faces with the bodies of beasts.
The tomb of Inês de Castro supported by humans/beasts
See how one of humans/beasts is carrying a monkey – a sign of evil
The sides of the tomb are fully decorated with scenes from the New Testament, culminating in the head side with a depiction of the Crucifixion.
Scenes of the Crucifixion
At the foot end, the side features a representation of the Final Judgement in three registers along a sinuous line that starts at the mouth of Leviathan.
The Final Judgment
Christ in his majesty presides over the Divine court. One can identify the Virgin Mary on her knees surrounded by angels and apostles and the miracle of the Resurrection.
Christ in his Majesty presides over the Divine Court
The recumbent figure of Inês de Castro wears a crown and her head and mantle are borne by four angels accompanied by two incense swinging angels.
Recumbent figure of Inês de Castro – From: artsandculture.google.com
To the right of the tomb of D. Pedro is the Altarpiece of the Transit of St. Bernard – the sculptural ensemble in terracotta represents the Transit (Death) of St. Bernard. It was built when Frei Sebastião de Sottomayor was the Abbot of the Monastery (1675–1678).
The ensemble can be divided into two groups: at the lower level is a group of free-standing sculptures and another of high-relief figures inserted at the back of the altar. St. Bernard is shown in agony at the centre of the scene, while close to his feet Cistercian monks mourn his death. Close to St. Bernard’s head, the kneeling General Abbot and a group of musician angles glorify his death. At the top, surrounded by two musician-angels and cherubs, the Virgin welcomes the soul of St. Bernard with opened arms. The life-size sculptures are built in overlapping horizontal blocks.
Transit of St. Bernard
Detail of the Transit of St. Bernard
Also, next door, see the Virgin with the Child of Santa Maria de Alcobaça of the 18th century – the statue is of polychrome and upholstered wood.
Virgin with the Child of Santa Maria de Alcobaça – Photo: The Rosary Blog
Sign about sculpture
Royal Pantheon:
Inside the church are also the tombs of the king D. Afonso II (1185-1223, tomb dated 1224) and D. Afonso III (1210-1279) – The tombs are located on both sides of the Chapel of St. Bernard (containing the representation of his death) in the transept to the south.
In front of these tombs, in a side room, eight other tombs stand, in which are D. Beatrice, wife of D. Afonso III, and three of his sons – Another sarcophagus belongs to D. Urraca, the first wife of D. Afonso II.
Tomb of Queen D. Urraca
Stroll through the ambulatory (behind the altar). You’ll see several side chapels.
Side chapel
There is also the sacristy entrance – two Manueline doors, courtesy of King Manuel I, add a touch of grandeur to the rather plain but elegant church.
Manueline Doors – Photo: ChrisTravelBlog
Manueline door to the Sacristy
Sacristy:
Destroyed in 1755, the present Sacristy was rebuilt in the second half of the 18th century under the Rocócó style, and is a large room with the ceiling richly worked in stucco painted in blue, gold and white, and the floor covered with marble in geometric designs.
Sacristy – Photo: artsandculture.google.com
At the far end of the Sacristy stands an octagonal Reliquary lined with gilt carvings and niches containing busts and statues in wood and clay.
This is an octagonal reliquary lined with gilt carvings and niches containing busts and statues in wood and clay – It is lighted by a large lantern and dates during the incumbency of abbot Constantino Sampaio, 1661-1672.
This reliquary is often referred to as “The Mirror of Heaven” – Among the busts are many belonging to the Order of St. Francis of Assisi including St. Francis himself, St. Anthony (Patron of Lisbon, where he was born but also known as St. Anthony of Padua after the Italian town where he spent most of his life), and that of St. John the Baptist.
Reliquary – Photo: artsandculture.google.com
Return toward the entrance to the church and find the doorway on the right to the…
Hall of Kings:
This hall features terra-cotta ceramic statues of most of Portugal’s kings – The last king portrayed is José I (Joseph), who ruled when the earthquake hit in 1755 – Since then there has been no money for fancy statues.
Portugal’s Kings and Queens
The walls feature 18th century tiles telling the story of the 12th century conquest of the Moors and the building of the monastery (each with Latin supertitles and Portuguese subtitles) – In the last scene, the first king lays the monastery’s first stone.
Tiles tell of the 12th century conquest of the Moors and the building of the monastery
The biggest sculpture – in its own niche – features a fantastical image of D. Afonso Henriques I, first king of Portugal and founder of this monastery, being crowned by Innocent III and St. Bernard.
D. Afonso Henriques I, first king of Portugal and founder of this monastery, being crowned by Innocent III and St. Bernard
From here, steps lead to the…
Cloister:
Cistercian monks built the abbey in 40 years, starting in 1178 – They inhabited it until 1834 (when the Portuguese king disbanded all monasteries) – The monks spent most of their lives in silence, and were allowed to speak only when given permission by the abbot.
Cloister
Circle clockwise until you reach the fountain or lavabo – this is where the monks washed before eating in the Refectory.
Lavabo – Wikimedia – José Luis Filpo Cabana
Traditionally, in any cloister, the fountain or lavabo marks the entry to the…
Refectory (Dining Hall):
Imagine the Refectory filled with monks eating in silence as one reads text from the Bible atop the “Reader’s Pulpit” during meals – Food was prepared next door.
“Reader’s Pulpit” in the Rectory
The interior is constituted by three vaulted naves, divided by two rows of four columns, which confers harmony and spatial unity to the whole – The room has windows on both the north and east sides.
Three vaulted naves
The monks sat with their faces turned to the wall and took their meal in silence. The abbot sat with his back turned to the north wall and watched the room.
There is an opening two meters high and 32 cm wide, leading to the room, there being no scientific explanation for it – According to a legend, this opening was aimed at controlling the monks’ weight – Once a month, the monks had to pass through this door, which was only possible by putting it aside – If, because of the excess weight, the monks could not get through the opening, they had to diet.
Narrow door
Continue around the cloister clockwise and into the…
Kitchen:
The 18th century kitchen’s giant three-part oven could roast seven oxen simultaneously – This kitchen fed huge numbers: the population of monks here maxed out at 999 (triple the Trinity), and peasants who worked the church-owned land were rewarded with meals here.
Giant Three-Part Oven
The industrious monks rerouted part of the River Alcoa to bring in running water.
Running Water
Head back out into the Cloister, turn left, and take the stairs up to the bare…
Dormitory:
This is the hall where the monks slept.
Dormitory
You can peer down on the transept of the church where Inês and Pedro lie buried.
View down into the transept of the church
On this floor, there is also a terrace onto the adjacent cloister, with a rose garden.
Cloister with a rose garden
Gargolye – Photo: by Palickap
As you return down the stairs to the Cloister, turn left to the…
Chapter House:
The Chapter House, forming a square with a ceiling in diagonal rib vaulting, supported by four bundle-column pillars with octagonal capitals, was, after the Church itself, the community´s most important place.
Chapter House
At the entrance of the Chapter House is the tomb of the Abbot of Alcobaça, dated from 1638.
Tomb of the Abbot of Alcobaça (c. 1638)
Here the friars elected their abbots, dealt with important matters made public accusation against those in default as regards observance of the Rule, distributed work and performed the ceremony of monastic profession of new monks.
Every morning, after the office of prime, the community met here to hear a chapter of the Rule of Saint Benedict, read from a pulpit in the center of the room – The monks sat on benches with their backs against the wall – In the center, facing the door, was the Abbot´s Chair.
The Chapter House has several sculptures that were transferred here from the church in the 1930s.
Baroque sculptures
Continue around the cloister until you see the sculpture of Our Lady of the Cloister, by Nicolau de Chanterenne, which belonged to the primitive façade.
Our Lady of the Cloister, by Nicolau de Chanterenne
Our guided tour monasteries for the day is over. Back to Coimbra…