Of the Romanesque construction of the monastic complex of Cárquere, of which the spatial organization still prevails, nowadays, besides the tower, only the crevice in the funeral chapel of the Resendes remains.Cárquere binds with the feudal power of this family, overlapping history and the legend that credits the foundation of the Monastery to Egas Moniz, the schoolmaster and governor of King Afonso Henriques, the first king of Portugal, after the miraculous healing of the king's legs. Inside, the crevice in the pantheon of the Resendes presents geometric ornamentation and, outside, the motifs of the so-called beak-heads [animal head with a prominent beak]. The capitals feature representations of birds. The images of the Virgin of Cárquere and of the Virgin of Milk also remain from medieval times. The former has raised people's curiosity by its size and, especially, for having been found, according to legend, in the wilderness where, later on, the Monastery would be founded. The Church's structure is a blend of various styles: the ribbed vault and the chancel window are of Gothic nature, and the arrangement of main and north-side portals comprises the "Manueline style" (Portuguese late Gothic). The remaining mural paintings on the nave are from the same "Manueline" period and represent Saint Anthony and Saint Lucia and a set of fluttering angels.
The name "Lady of Auzils" was given in 1223, when the monks of Boulboune, in Ariège, bought the priory. The current chapel seems to have been built in 1635. Since then, it has been renovated and consolidated many times. The choir of the Church is built above the Saint-Salvaire cave.
From the 12th century Romanesque basilica, former priory of the Benedictine abbey of Nanteuil, are preserved the western facade, classified as a historic monument in 1903, and the southern portal with its engaged columns. Many shadows remain about its history: ravaged by a fire in 1415, the church underwent several reconstruction campaigns during the 15th, 16th and 17th centuries.
Built in the late 13th century, perhaps on a previous building of which the ashlar [stone] headed with the date of the Era 1226 (the year 1188) bears witness, the Church consecrated to the Apostle Saint James, the Greater, has a single nave and quadrangular chancel, which is narrower and lower. The façade is topped by a bell tower and the portal features a slightly broken exterior archivolt. The south side portal is of similar design. On the north side, the early corbels of the Church stand out, while featuring a decoration typical of the Romanesque of the Tâmega and Sousa. The interior, entirely redefined by Baroque interventions, features the traditional scenography of gilding, which joins the painting in the vaulted ceiling of the nave and the work in the chancel Here lies one of the most original findings of art historiography: a set of mural paintings featuring hagiographic scenes [the life of the saints] and from the life of Christ. These 15th-century paintings were most probably commissioned by one of the abbots of this Church, D. João Camelo de Sousa.
Isolated in the landscape, the Church of Gatão is a building whose construction timeline extends through the 13th and 14th centuries. At the chevet is where the most significant Romanesque elements are found. Besides the split gap in the back wall, a Lombard-style frieze is featured on both sides. This model of the cornice on little arches was particularly welcomed in the Romanesque of the Tâmega and Sousa. The narrow shafts of the nave, the south side portal and the triumphal arch are also from medieval times. Composed of two broken archivolts, but faceted and smooth, it is surrounded by a chequered frieze. Deeper interventions were undertaken in Modern Age, particularly outside the west front, with the addition of the church porch and the bell tower. Both in the nave, beside the triumphal arch, and in the chancel, there are significant frescoes from the 15th and 16th centuries, where depictions of Calvary, the Coronation of the Virgin, the martyrdom of Saint Sebastian, Saint Catherine of Alexandria and Saint Lucia stand out. In the cemetery next to the Church is the burial place of Teixeira de Pascoaes (1877-1952), one of the most important Portuguese poets and writers from the turn of the 19th to the 20th century.
Built on the remains of a mosque, the cathedral was built in the Herrerian Renaissance style with the geometrical sobber façade, it was disgned by Agustín Bernardino, a disciple of Juan de Herrera. Its interior is of great proportions as well with classic casings covering the walls. The Communion chapel is worth noting for being one of the most beautiful samples of the Spanish high Baroque.
The temple of Lufrei, located in a valley near the confluence of two small water creeks, was once the seat of a small female monastic institute of which no traces remain.The Church, secularized in 1455, integrates the category of late Romanesque, witness of the vernacularity and popularity that such style had among rural communities in northern Portugal.Without any carved decoration, the Church is lit by narrow crevices positioned at key points of the building. The quadrangular corbels and the arrangement of the portals attest for its late execution.The interior was radically changed in Modern Age. The altarpiece [main altar] of Mannerist nature stands out, where paintings, "painted old style" are found preserved, as described in 1726 by the memoirist Craesbeeck.Also the two altarpieces [altars] of the nave feature traits from this period. However, what most arouses our curiosity are mural paintings hidden under the bed of plaster that covers the entire Church, though some traces are already visible both in the chancel and in the nave.
Church of Romanesque nature, from whose period and style only the vaulted chancel remains. This presents a décor with an unusual quality for the region. In fact, a comparison can be drawn between the ornamentation of the capitals of the triumphal arch, composed of botanic and phytomorphic motifs, with the ones from the Church of the Monastery of Ferreira (Paços Ferreira).In the chapel, various influences are blended, some from the buildings constructed on the left bank of the River Minho, with influence from the construction site of the Cathedral of Tui, while others originated from the Romanesque found on the Braga-Rates axis, which had the biggest impact on the basins of Tâmega and Douro. The existing evidence points to the second quarter of the 13th century. Outside, it is still possible to observe the buttresses that support the now broken barrel vault. In its side façades, the cornices are supported by corbels, of geometric decoration, and among which we point out a cask, the rolls motif or a composition made with volutes.The nave of the Church is the result of a reconstruction carried out in the 1970s and may have even used part of the original Romanesque building.
The construction of this church began in 1277 and lasted until the 16th century. This building succeeds a first, older, pillaged and collapsed church. The revolution inflicted damage on the building, before its transformation of the cathedral into a temple of religion.
12th century church, one of the only ones in Salles-la-Source to have undergone almost no alterations or destruction.
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St. Martin's Church, Landshut