Half walls, find the Dominican orders, male and female, in this beautiful city of Aveiro. The Cathedral of Aveiro, was old male convent and church on the other side where the magnificent Museo Regional de Aveiro which is also the Church and Convent of Jesus (***), is the female part.
Before entering the church of St. Dominic, remedy its entry in the replica of a cruise, because if you want to go through this as a dog spends harvested per vine and scroll down to the church hall, because that is where lies the true Cross of São Domingos, Stone Ançã protected from storms and chemical dissolution.
The Cruise of St. Dominic, in flamboyant Gothic is a good sculptural work of the fifteenth century remaining two elements, the base and the cross. The column that sustains them has nothing to do with the primitive. The base is divided into two parts. The lower limb presented moldings and carved symbols of the Evangelists. The top is decorated with bas-reliefs depicting scenes from the Passion of Christ – Cristo no Horto, Prison, Christ crowned with thorns, the Flagellation and Christ on the way to Calvary- Continuous recordings in.
Over, the cross with the image of the crucified a good job, is decorated with lacy and horizontal stems are topped by fleurs-de-lis.
The Cathedral of Aveiro
Must also come to visit the current Cathedral of Aveiro was, once, the church of the Convent of Santo Domingo. Founded in 1423, in consequence of the apparition of the Virgin Afonso Domingos, Old (here read this curious story), this religious institution immediately Dominicans received the approval of the Infante D. Pedro, then Duke of Aveiro and future ruler of the kingdom. Já in the nineteenth century, the convent disappeared almost entirely, after suffering several fires, of which, in 1843, larger proportions surviving only as witness to the church convent home. What exists is essentially the resulting architectural campaign of the sixteenth and seventeenth centuries, unified by the baroque decorative intervention eighteenth century, also responsible for opening the windows and the restructuring of the choir.
The layout of the temple, presents a Latin cross plant, with a single nave and side chapels that communicate with each other, being preceded by a porch. The transept and the chancel were the target of an intervention in the twentieth century who unified this space, leaving visible evidence of the original construction of the fifteenth century.
A fachada, Mannerist, must have been remodeled in the eighteenth century, since the portal, with date 1719, presents a baroque language. This composition stands out pseudosalomónica double colonnade that borders the portal, the coat of the Dominican Order, and yet the figures of Faith, Hope and Charity, on said gantry. A torre sineira, which preserves the bell was built em 1860.
By whom Camões was lost in love?
Inside beginning in the sixteenth century, we have the tomb of D. Catherine de Ataide deceased em 1551, out of the hands of Jean de Rouen workshop, or funeral chapel established in 1559 by John of Albuquerque, Lord of Angeja, and whose tomb is currently at the Museum of Aveiro.
The Catherine of Ataíde owner should really be a "hottie". In the opinion of most historians, she was the Natércia (anagram) da lyric Luís de Camões. The loves of the poet were discovered perhaps squeamishness two other ladies of the same name, a daughter D. Alvaro de Sousa, and another daughter of the second admiral D. Francisco Gama, granddaughter of Vasco da Gama. Camões was then the victim of many intrigues, both in Lisbon, as in Sintra, where they met the court, being his verses always listened with genuine interest by the ladies, who preferred to those of the other poets. The passion that the lady had inspired him, and as he could not entirely conceal, his beloved Natércia, as he called it in his verses, the tortures suffered by the intrigues that forged him, desprestigiarem and to remove him from the court, it forced him to banish up, going to live aimlessly for Alentejo, then finally Ceuta, to India, where poor already returned after the death of his beloved. Too must our beautiful poetry Catarina.
"Blessed art thou among women, and blessed is the FRUIT of your womb "
One of the side chapels has an altarpiece in limestone, century of 1559 manufacture of Coimbra, representing the Visitation, involving Zacarias, Cousin Isabel, Maria José, Jesus' parents. Maria, who had just been informed of unusual shape that would give birth to the Son of God, was also learned that the press finally got pregnant, after many years of requests and waiting, and went to his house, to tell YOU the news. To get there, was honored by Isabel. Mary left Nazareth to come to Judah, fifteen miles from Jerusalem, where Elizabeth lived. There he, cousin found herself taken by the Holy Spirit after the child trembled within himself, and uttered the famous words: “Blessed art thou among women, and blessed is the FRUIT of your womb”.
The ceilings of Renaissance paintings like that are still observed in the apsidal chapels, or some mannerist pictures, such as Our Lady of the Rosary. However, many of Baroque altarpieces are, campaign of the eighteenth century.
In the nave of the church there are two pulpits, of 1699 and 1745, Stone-Ançã, as well as panels of tile eighteenth.
Por fim, the altarpiece of carved polychrome Rococo comes from the church of Vera Cruz.
Although this space is part of the eighteenth century double stalls, with representative screens Dominicans saints in backs.
The Cathedral of Aveiro is an interesting monument, but tell yourself that Aveiro has three notable temples should visit. The church of Jesus, same side, the church and the chapel of Mercy of the Baroque.