Municipal Square, in Braga
The Braga Episcopal Palace or Paço Arquiepiscopal is located in Praça do Município, parish of Sé, city of Braga, northern Portugal.
The building is currently occupied by the rectory of the University of Minho and the Public Library of Braga, and the facilities of the current Archbishop's Palace of Braga have been located in Casa do Tanque in São Victor since 1920.
The building is currently occupied by the rectory of the University of Minho and the Public Library of Braga, and the facilities of the current Archbishop's Palace of Braga have been located in Casa do Tanque in São Victor since 1920.
The History of the Braga Episcopal Palace
The Braga Episcopal Palace or Paço Arquiepiscopal de Braga was a palace of the Archbishops of Braga.
This building is considered the oldest in the complex and faces the Jardim de Santa Bárbara, and is known as the Medieval Palace of Braga.
This Palace was built at the end of the Middle Ages on the initiative of the archbishops D. Gonçalo Pereira and D. Fernando da Guerra, in the 14th and 15th centuries.
This building is considered the oldest in the complex and faces the Jardim de Santa Bárbara, and is known as the Medieval Palace of Braga.
This Palace was built at the end of the Middle Ages on the initiative of the archbishops D. Gonçalo Pereira and D. Fernando da Guerra, in the 14th and 15th centuries.
The Characteristics of the Braga Episcopal Palace
This building is a sober building with the appearance of a fortification, which stands out for the solidity of its regular arrangement of granite blocks, pointed arch window openings, topped by battlements.
The buildings with their facades facing Largo do Paço were the work of archbishops D. Manuel de Sousa, D. Agostinho de Jesus and D. Rodrigo de Moura Teles.
The rectory of the University of Minho is located in this group of buildings (three wings), including the Noble Hall where the most important ceremonies of the Minho academy take place.
The buildings with their facades facing Largo do Paço were the work of archbishops D. Manuel de Sousa, D. Agostinho de Jesus and D. Rodrigo de Moura Teles.
The rectory of the University of Minho is located in this group of buildings (three wings), including the Noble Hall where the most important ceremonies of the Minho academy take place.
The West Wing of the Braga Episcopal Palace
On the west wing, this building was erected on the initiative of D. Agostinho de Jesus (1587-1609), as evidenced by his coat of arms, inscribed on the balcony facing Largo D. João Peculiar (from where this archbishop watched the processions) and in the center of the gallery supported by columns.
On the building's central coat of arms you can read the Latin inscription translated as: "D Agostinho de Jesus, Archbishop of Braga and Primate of Spain".
On the building's central coat of arms you can read the Latin inscription translated as: "D Agostinho de Jesus, Archbishop of Braga and Primate of Spain".
The East Wing of the Braga Episcopal Palace
This wing consists of two buildings: the one on the Rua do Souto side was built on the initiative of D. Rodrigo de Moura Teles, as evidenced by his coat of arms, and had the function of a Guard House.
The interior side is due to D. Manuel de Sousa (1544-1549) and had the function of housing the various registry offices and ecclesiastical archives.
It later housed the Court of Appeal and the Civil First Instance Court also operated there for many years.
Over the entrance door, beneath the Sousas coat of arms, there is a Latin inscription that translates as "To illustrate the city, and to have a permanent court, where justice is administered and not unstable as before, D. Manuel de Sousa, father and lord of the city and great priest of Justice, ordered the construction of this famous building".
The interior side is due to D. Manuel de Sousa (1544-1549) and had the function of housing the various registry offices and ecclesiastical archives.
It later housed the Court of Appeal and the Civil First Instance Court also operated there for many years.
Over the entrance door, beneath the Sousas coat of arms, there is a Latin inscription that translates as "To illustrate the city, and to have a permanent court, where justice is administered and not unstable as before, D. Manuel de Sousa, father and lord of the city and great priest of Justice, ordered the construction of this famous building".
The North Wing of the Braga Episcopal Palace
This wing was also built by D. Rodrigo de Moura Teles, and beneath this archbishop's coat of arms, there is the Latin inscription translated as: "O ancient house! How different is the Lord who possesses you", a phrase uttered by Frei Bartolomeu dos Mártires when he arrived there. He added modestly, remembering his predecessors: "How unworthy is he who comes to take your place today", a Latin phrase that owes to Cicero.
The Braga Episcopal Palace facing Praça do Município
The building facing the Municipal Square was built by D. José de Bragança at the beginning of the 18th century, with a project designed by architect André Soares in the Baroque style.
This building was consumed by fire on April 16, 1866, and was rebuilt under the guidance of architect Manuel Fernandes de Sá during the 1930s.
Currently, this building houses the facilities of the Public Library and the Braga District Archive.
This building was consumed by fire on April 16, 1866, and was rebuilt under the guidance of architect Manuel Fernandes de Sá during the 1930s.
Currently, this building houses the facilities of the Public Library and the Braga District Archive.
The construction of the Episcopal Palace or Old Braga Episcopal Palace
The Archbishop's Palace of Braga is one of the most emblematic monuments in the city and, at the same time, one of the monuments that is most closely linked to history, that is, from medieval times to the present day.
From the 14th century onwards, and during the following six centuries, the history of the monument is so rich that it makes any monographic study of the complex difficult.
This building has four major construction phases that are still clearly visible today: the main one is the presence of the Gothic style, the second is the Baroque style, the third is the Neo-Gothic style, and the fourth is the Manueline style.
From the 14th century onwards, and during the following six centuries, the history of the monument is so rich that it makes any monographic study of the complex difficult.
This building has four major construction phases that are still clearly visible today: the main one is the presence of the Gothic style, the second is the Baroque style, the third is the Neo-Gothic style, and the fourth is the Manueline style.
The gothic style
The main characteristics of this Gothic architecture included: the use of the pointed arch, cross vault and flying buttress, that is, these structural details allowed the weight of the ceiling to be better distributed to slender pillars, giving greater height and allowing spaces for large windows.
This architecture makes great use of stained glass windows, the rose window to bring light and color to the interior, and on the exterior the use of statuary particularly on the portals to illustrate biblical stories for the largely illiterate parishioners.
On the main facade we can see the Fonte dos Castelos (so named because it is decorated essentially with castles) and which is impressive for its size, to the east, a large gallery with a Mannerist appearance, with two registers, the ground floor being partially open in arcades that reinforce the quadrangular plan of the square.
Its beginnings must date back to the 1430s, when the archbishopric was ruled by D. Gonçalo Pereira, but its general configuration dates back to the 15th century, following the constructive campaign undertaken by D. Fernando da Guerra, archbishop between 1422 and 1436.
Under the command of Master Fernão Martins, the works lasted around two decades, with the main tower completed in 1439.
This Gothic body was significantly altered in the 20th century, but it maintains some of its essential characteristics: occupying a large part of the elevation facing the Santa Bárbara Garden, it is made up of several bodies, with different registers, but whose construction is made of granite (where there are some cushioned stones of classical tradition), and the aesthetic uniformity of the restoration works gives it a notable aesthetic homogeneity.
Today, its tower has three floors and the broken arch openings were arranged symmetrically on the elevations, in a conscious search for an idea of medievality that, most naturally, never existed.
This architecture makes great use of stained glass windows, the rose window to bring light and color to the interior, and on the exterior the use of statuary particularly on the portals to illustrate biblical stories for the largely illiterate parishioners.
On the main facade we can see the Fonte dos Castelos (so named because it is decorated essentially with castles) and which is impressive for its size, to the east, a large gallery with a Mannerist appearance, with two registers, the ground floor being partially open in arcades that reinforce the quadrangular plan of the square.
Its beginnings must date back to the 1430s, when the archbishopric was ruled by D. Gonçalo Pereira, but its general configuration dates back to the 15th century, following the constructive campaign undertaken by D. Fernando da Guerra, archbishop between 1422 and 1436.
Under the command of Master Fernão Martins, the works lasted around two decades, with the main tower completed in 1439.
This Gothic body was significantly altered in the 20th century, but it maintains some of its essential characteristics: occupying a large part of the elevation facing the Santa Bárbara Garden, it is made up of several bodies, with different registers, but whose construction is made of granite (where there are some cushioned stones of classical tradition), and the aesthetic uniformity of the restoration works gives it a notable aesthetic homogeneity.
Today, its tower has three floors and the broken arch openings were arranged symmetrically on the elevations, in a conscious search for an idea of medievality that, most naturally, never existed.
The baroque style
In Baroque architecture, the typical expression is the churches built in large numbers during the Counter-Reformation movement.
This type of architecture rejects the symmetry of the Renaissance, and highlights the dynamism and grandeur reinforced by the emotionality achieved through contorted and spiral elements producing different visual effects both on the facades and in the design of the interiors.
As for sacred architecture, it is made up of various elements that aim to give the effect of intense emotion and grandeur.
The high ceiling made with sculpture elements gives a dimension of infinity, the windows allow the penetration of light to highlight the main sculptures, the columns convey an impression of power and movement
The second major construction campaign for this space took place in the 16th century on the initiative of D. Diogo de Sousa, one of the most important archbishops in the history of Braga, and the works focused on the facades that faced Rua do Souto, the one that most directly faced the historic center.
This type of architecture rejects the symmetry of the Renaissance, and highlights the dynamism and grandeur reinforced by the emotionality achieved through contorted and spiral elements producing different visual effects both on the facades and in the design of the interiors.
As for sacred architecture, it is made up of various elements that aim to give the effect of intense emotion and grandeur.
The high ceiling made with sculpture elements gives a dimension of infinity, the windows allow the penetration of light to highlight the main sculptures, the columns convey an impression of power and movement
The second major construction campaign for this space took place in the 16th century on the initiative of D. Diogo de Sousa, one of the most important archbishops in the history of Braga, and the works focused on the facades that faced Rua do Souto, the one that most directly faced the historic center.
The neo-gothic style
The Neo-Gothic style or Gothic revivalism is a style of revivalist architecture that sought to revive medieval Gothic forms and with romantic traits that valued the creative forces of the individual and popular imagination, (it is opposed to the balanced art of the classics), and is based on the fleeting inspiration of the strong moments of subjective life: in faith, in dreams, in longing, in the feeling of nature and in the strength of national legends.
The two pieces of equipment clearly mark this campaign and clearly reveal the erudite, scenographic and prestigious content intended: in front of the main façade, the Fonte dos Castelos (so named because it is decorated essentially with castles) impresses with its size; To the East, a large gallery, with a Mannerist appearance, with two registers, the ground floor being partially open in arcades, reinforces the quadrangular plan of the square.
Of greater scope were the Baroque works, which developed throughout the first half of the 18th century.
The two pieces of equipment clearly mark this campaign and clearly reveal the erudite, scenographic and prestigious content intended: in front of the main façade, the Fonte dos Castelos (so named because it is decorated essentially with castles) impresses with its size; To the East, a large gallery, with a Mannerist appearance, with two registers, the ground floor being partially open in arcades, reinforces the quadrangular plan of the square.
Of greater scope were the Baroque works, which developed throughout the first half of the 18th century.
The Manueline style
The Manueline style, sometimes also called late Portuguese Gothic, is a decorative, sculptural and movable art style that developed during the reign of D. Manuel I and continued until and after his death, although it had existed since the reign of D. João II.
It is a Portuguese variation of late Gothic, as well as Luso-Moorish art or Mudéjar art, marked by a systematization of its own large iconographic motifs, symbolizing royal power, and later incorporated ornamentations from the Italian Renaissance and developed at a favorable time for the Portuguese economy and left marks throughout the national territory.
D. Rodrigo de Moura Teles expanded the complex and his successor, D. José de Bragança, was responsible for giving the works a much more impressive appearance, but in 1866 this type of architecture was completely consumed by a fire.
What we observe today is the result of a complete reconstruction carried out in the 20s and 30s of the 20th century, a campaign that gave the monument a tripartite facade with a scenographic impact, with a slightly recessed central body and two registers flanked by two quadrangular bodies with elevations defined on three floors.
It is a Portuguese variation of late Gothic, as well as Luso-Moorish art or Mudéjar art, marked by a systematization of its own large iconographic motifs, symbolizing royal power, and later incorporated ornamentations from the Italian Renaissance and developed at a favorable time for the Portuguese economy and left marks throughout the national territory.
D. Rodrigo de Moura Teles expanded the complex and his successor, D. José de Bragança, was responsible for giving the works a much more impressive appearance, but in 1866 this type of architecture was completely consumed by a fire.
What we observe today is the result of a complete reconstruction carried out in the 20s and 30s of the 20th century, a campaign that gave the monument a tripartite facade with a scenographic impact, with a slightly recessed central body and two registers flanked by two quadrangular bodies with elevations defined on three floors.
The Renovations of the Episcopal Palace or Former Paço Episcopal Braga
But the current appearance of this immense building complex is the product of restoration works carried out in the 30s and 40s of the 20th century.
This building imbued with a supposedly neo-Gothic spirit, the restorers gave the Gothic wing a medieval ambiance using bare walls, ostensibly revealing the construction apparatus.
In the last century, many services were established here: from the Infantry Barracks to the court, from the Museum to the Municipal Fire Station, from the municipal store to the headquarters of the Minhoto Institute of Regional Studies, the complex is now converted into the Rectory and Library of the University of Minho, a function that has given one of the most notable buildings in Braga to the community.
This building imbued with a supposedly neo-Gothic spirit, the restorers gave the Gothic wing a medieval ambiance using bare walls, ostensibly revealing the construction apparatus.
In the last century, many services were established here: from the Infantry Barracks to the court, from the Museum to the Municipal Fire Station, from the municipal store to the headquarters of the Minhoto Institute of Regional Studies, the complex is now converted into the Rectory and Library of the University of Minho, a function that has given one of the most notable buildings in Braga to the community.
The facade is the Episcopal Palace or Antigo Paço Episcopal Braga
This building has an irregular, asymmetrical plan, made up of three bodies, also irregular, built at different times, which became interconnected.
The medieval body is arranged around a rectangular landscaped courtyard, facing the Santa Bárbara garden, to which the 16th century body is attached to the south, arranged in a U shape, around the slightly quadrangular courtyard, called Largo do Paço.
Next to the junction of these, to the west, a baroque body, facing Largo do Município and this body forms with the medieval, next to the rear facades, an irregular courtyard, which serves as a parking lot, and with the 16th century, next to the side facades, a landscaped interior courtyard, with a central fountain, closed by residential buildings.
The articulated volumes are horizontally dominant, with differentiated coverings in two-, three- and four-pitched roofs in the 16th century and baroque bodies and in terraces in the medieval body.
The main access made by the 16th century Corps of two and three registers, due to the slight slope of the land, with facades in granite stonework, with the exception of the entrance to Largo D. João Peculiar, which is plastered and painted white.
The facades are topped by a cornice under a projecting eaves and torn by straight lintel openings and facades facing Largo do Paço, with wings torn by barred windows topped by a straight cornice, in the first register and bay windows with iron guards in the last.
The central wing with the main portal, on the axis, flanked by pilasters, crowned by pinnacles, topped by a straight cornice, topped by a bay window, framed by a composition of volutes and crowned by the coat of arms of Archbishop D. Rodrigo Moura Teles.
On the left side, another portal, similar to the main one, but without the bay window composition. E. Wing, with two walls separated by a colossal Roman pilaster.
On the left, a portal flanked by pilasters and topped by a pediment with a coat of arms in the tympanum, between windows also flanked by pilasters, and on the right, two portals, also between windows identical to those on the other panel, one framed by pilasters crowned by an inscription and a pediment cut out with a stone of arms, and the other framed and cut out.
This wing has a south facade, facing Rua do Souto, with an identical reading, but with facing windows between registers and a mezzanine window.
The West Wing with a gallery supported by a colonnade, and upper facing windows and bay windows with the coat of arms of Archbishop D. Agostinho de Jesus in the center.
This wing appears on the South facade, facing Largo D. João Peculiar, next to the corner, in the last register, a closed balcony, in a gable crowned by pinnacles, supported by large corbels and torn by bay windows on the face. TO THE.
The Baroque Body with plastered and white-painted facades, with pilastered corners, Corinthian, openings with demarcation of stonework moldings, prominent plinth and cornice finish under projecting eaves.
The stately facade facing Largo do Município, with three registers, separated by a frieze, with three wall panels with the central one set back.
In the first register, mullioned windows, in a depressed arch, in the second, quadrangular and bay windows, in the central panel, and in the last bay windows with iron guards, frames decorated with scrolls, shells and plant motifs.
The central panel, preceded by a small garden patio, delimited by a stonework balustrade, open in the center with a portal framed by pilasters where corbels decorated with acanthus and angels support a balcony with a stonework balustrade guard, delimited by flower pots and a window richly decorated with plant motifs, and in the corners of the side panels made up of coat of arms.
The facades facing the parking lot courtyard with a recessed arch with a column in the center embedded in the wall box between windows in the central wing, and a cut-out arch, covered, in the W.. A. E. side wing, the Medieval Body forms the central and N. side wing of the courtyard facing the Santa Bárbara garden.
It features facades in granite stonework, with some cushioned stones bearing an acronym, torn by broken and round arched openings, slits, mullioned windows and a crenellated finish with cannon gargoyles.
In the south side wing, the rear façade of the 16th century body is split alongside the medieval body by a recessed arch providing access to the interior.
The interior courtyard with facades plastered and painted white and regularly torn by straight lintel openings, with the exception of the existing body on the E. facade, in stonework and torn by round arched openings and mullioned window.
The medieval body is arranged around a rectangular landscaped courtyard, facing the Santa Bárbara garden, to which the 16th century body is attached to the south, arranged in a U shape, around the slightly quadrangular courtyard, called Largo do Paço.
Next to the junction of these, to the west, a baroque body, facing Largo do Município and this body forms with the medieval, next to the rear facades, an irregular courtyard, which serves as a parking lot, and with the 16th century, next to the side facades, a landscaped interior courtyard, with a central fountain, closed by residential buildings.
The articulated volumes are horizontally dominant, with differentiated coverings in two-, three- and four-pitched roofs in the 16th century and baroque bodies and in terraces in the medieval body.
The main access made by the 16th century Corps of two and three registers, due to the slight slope of the land, with facades in granite stonework, with the exception of the entrance to Largo D. João Peculiar, which is plastered and painted white.
The facades are topped by a cornice under a projecting eaves and torn by straight lintel openings and facades facing Largo do Paço, with wings torn by barred windows topped by a straight cornice, in the first register and bay windows with iron guards in the last.
The central wing with the main portal, on the axis, flanked by pilasters, crowned by pinnacles, topped by a straight cornice, topped by a bay window, framed by a composition of volutes and crowned by the coat of arms of Archbishop D. Rodrigo Moura Teles.
On the left side, another portal, similar to the main one, but without the bay window composition. E. Wing, with two walls separated by a colossal Roman pilaster.
On the left, a portal flanked by pilasters and topped by a pediment with a coat of arms in the tympanum, between windows also flanked by pilasters, and on the right, two portals, also between windows identical to those on the other panel, one framed by pilasters crowned by an inscription and a pediment cut out with a stone of arms, and the other framed and cut out.
This wing has a south facade, facing Rua do Souto, with an identical reading, but with facing windows between registers and a mezzanine window.
The West Wing with a gallery supported by a colonnade, and upper facing windows and bay windows with the coat of arms of Archbishop D. Agostinho de Jesus in the center.
This wing appears on the South facade, facing Largo D. João Peculiar, next to the corner, in the last register, a closed balcony, in a gable crowned by pinnacles, supported by large corbels and torn by bay windows on the face. TO THE.
The Baroque Body with plastered and white-painted facades, with pilastered corners, Corinthian, openings with demarcation of stonework moldings, prominent plinth and cornice finish under projecting eaves.
The stately facade facing Largo do Município, with three registers, separated by a frieze, with three wall panels with the central one set back.
In the first register, mullioned windows, in a depressed arch, in the second, quadrangular and bay windows, in the central panel, and in the last bay windows with iron guards, frames decorated with scrolls, shells and plant motifs.
The central panel, preceded by a small garden patio, delimited by a stonework balustrade, open in the center with a portal framed by pilasters where corbels decorated with acanthus and angels support a balcony with a stonework balustrade guard, delimited by flower pots and a window richly decorated with plant motifs, and in the corners of the side panels made up of coat of arms.
The facades facing the parking lot courtyard with a recessed arch with a column in the center embedded in the wall box between windows in the central wing, and a cut-out arch, covered, in the W.. A. E. side wing, the Medieval Body forms the central and N. side wing of the courtyard facing the Santa Bárbara garden.
It features facades in granite stonework, with some cushioned stones bearing an acronym, torn by broken and round arched openings, slits, mullioned windows and a crenellated finish with cannon gargoyles.
In the south side wing, the rear façade of the 16th century body is split alongside the medieval body by a recessed arch providing access to the interior.
The interior courtyard with facades plastered and painted white and regularly torn by straight lintel openings, with the exception of the existing body on the E. facade, in stonework and torn by round arched openings and mullioned window.
The Interior, the Episcopal Palace or Old Braga Episcopal Palace
The interior of the building is made up of several rooms, some interconnecting, others with access through circulation corridors, and with access between floors through staircases decorated with ashlar tiles.
The 16th-century body is accessed via a large vestibule, covered by a wooden coffered ceiling, stone slab flooring and walls decorated with patterned and figurative tile panels.
This vestibule communicates with another with a staircase with iron guards and stonework volutes, covered by a wooden ceiling, with the Archbishops' coat of arms painted, decorated with ashlar blue monochrome tiles, figurative with gallant scenes.
On the front wall, a round arched niche with fins, decorated with a statue, is topped by a cartouche with an inscription.
At the top of the staircase, on the second floor, there is a portal leading to the main hall framed by pilasters crowned by pinnacles and topped by a pediment of volutes interrupted by coat of arms.
The main hall has a wooden plaster ceiling, decorated with coffers painted with plant motifs and parquet flooring.
The Baroque body, with large double-height rooms, with walls covered by bookshelves and galleries on the upper floor.
The reading rooms have wooden ceilings, with coffers decorated with volutes and plant motifs.
The medieval body, with a reading room, called "medieval hall" with a roof made of wooden beams, painted with phytomorphic motifs based on stone corbels, imitating a alfalfa ceiling.
On one of the front walls there is an image of the Virgin under a canopy and in this section there are more rooms with identical decoration and coverings.
The 16th-century body is accessed via a large vestibule, covered by a wooden coffered ceiling, stone slab flooring and walls decorated with patterned and figurative tile panels.
This vestibule communicates with another with a staircase with iron guards and stonework volutes, covered by a wooden ceiling, with the Archbishops' coat of arms painted, decorated with ashlar blue monochrome tiles, figurative with gallant scenes.
On the front wall, a round arched niche with fins, decorated with a statue, is topped by a cartouche with an inscription.
At the top of the staircase, on the second floor, there is a portal leading to the main hall framed by pilasters crowned by pinnacles and topped by a pediment of volutes interrupted by coat of arms.
The main hall has a wooden plaster ceiling, decorated with coffers painted with plant motifs and parquet flooring.
The Baroque body, with large double-height rooms, with walls covered by bookshelves and galleries on the upper floor.
The reading rooms have wooden ceilings, with coffers decorated with volutes and plant motifs.
The medieval body, with a reading room, called "medieval hall" with a roof made of wooden beams, painted with phytomorphic motifs based on stone corbels, imitating a alfalfa ceiling.
On one of the front walls there is an image of the Virgin under a canopy and in this section there are more rooms with identical decoration and coverings.
