History

São Gonçalo de Amarante
16 December, 2019 / , ,

The Church, the Convent and the São Gonçalo Bridge, are the “ex libris” of the city of Amarante, inseparable from the figure that gives them the name. The myriad of legends and beliefs that gravitate around this place blur the reality at a crossroads of such cloudiness that throws us into the impossibility of accurately discerning where they end and the other begins. “Gonçalo was a saint, and an admirable saint, in the early age of a boy; holy and admirable in the second of the youth; holy, and admirable in the third of men; holy, and admirable in the quarter of old; and finally holy, and admirable, on the fifth after death ”(excerpt from a sermon by Father António Vieira in Brazil.

São Gonçalo de Amarante was born around 1190, in the parish of S. Salvador de Tagilde, in the municipality of Vizela, in a noble family (the Pereiras). Under the protection of the archbishop of the Archdiocese of Braga, Gonçalo attended ecclesiastical disciplines at the Cathedral School of the Archiepiscopal See, becoming ordained priest and appointed parish priest of the parish of S. Paio (or S. Pelagius) of Riba-Vizela. He first went on pilgrimage to Rome from where he went to Jerusalem, where he took 14 years, leaving the parishioners in the care of a nephew priest. Returning to Portugal, he is chased away by the same that through a plot would have been named like parish priest. Resigned, he leaves S. Paio de Riba-Vizela, joins the conventual life of the Order of Preachers, recently founded by S. Domingos, building a small chapel dedicated to Our Lady of the Assumption, on the banks of the River Tâmega. where today stands the São Gonçalo Church and Convent in Amarante. The process of beatification was promulgated on September 16, 1561. Devotion to the most popular saint of the Portuguese saints, after Saint Anthony of Lisbon, spread throughout Portugal and Brazil. In 1540 John III of Portugal and D. Catarina of Austria decided to build a new Dominican temple and convent on the site, under the invocation of Gonçalo de Amarante. The works began in 1543, extending to the eighteenth century, with interventions in the twentieth century.

São Gonçalo, in the sec. XIII, begins the construction of a crossing between the two banks (it is during this period that an immensity of legends appears). The bridge collapsed in the 18th century due to flooding and was later recovered. The famous defence of the Amarante Bridge took place in 1809 and was one of the most remarkable moments of the second French invasions. The heroic defence of the bridge, as the episode became known, came after French troops occupied the Church of São Gonçalo and were prevented from crossing the Tamega. More than 200 years have passed, but cannonball and musket marks still linger on the building’s facade.

The Eagle and the Lion
21 November, 2019 / , ,

A few years ago, walking along Avenida da Boavista accompanied by my two older nephews…

― Kids, who knows what is that up there?!

— It’s the Eagle and the Lion in Rotunda da Boavista (Boavista Roundabout)!

I smiled while thinking of how right – and also how wrong – the answer was.

The Monument to the Heroes of the Peninsular War was designed by architect Marques da Silva and sculptor Alves de Sousa. Its construction, under the responsibility of the Cooperativa dos Pedreiros, began in 1909, but the monument was only to be inaugurated in 1952, after the premature death of Alves de Sousa, so its completion was the responsibility of sculptors Henrique Moreira and José Sousa Caldas.

The monument is intended to honour the heroes of the Peninsular War, fought in the context of the French invasions, which opposed Portugal – helped by their ally England – to the French armies of Napoleon Bonaparte, in the period from 1808 to 1814.

My nephews didn’t know this part, but as their tender age did not recommend “wars”, I ended up explaining to them that there was a bit of a bad Frenchman who wanted only cheese to be eaten in Portugal! So, we asked our English friends for help and sent the French “to hell” with their cheese! At the time, I couldn’t think of any better nonsense explanation, but they retained the correct basic idea. I hope…

Composed of a pedestal 45 metres high and surrounded by sculptural groups that represent artillery scenes, the monument features a woman – Vitória – in front of the people, holding the national flag in her left hand and a sword in her right hand. At the top, a high column topped by a lion (symbol of the flag of England) over an eagle (symbol of Napoleon’s empire), elements that gave it the popular name for which it is known.

 

Apolo Terrasse – The forgotten movie theater
7 November, 2019 / , , ,

Few remember this movie theater, built at the beginning of the 20th century and demolished in the late 1940s to give way to the current Rua de Ceuta. The Apolo Terrasse came at a time when the cinema was gaining popularity.

At first, the films started out by being projected in shacks or in arge stores in the city, but, as the public’s interest increased and the film production
diversified, specific spaces for film viewing were built. Most of these places of entertainment are now just memories. One of them was the Apolo Terrasse, which was built in 1912. It was located where Rua de Ceuta is today and its main access was through Rua José Falcão. It had two more
entrances: one on the ground floor of a house in Rua de Santa Teresa and another through the middle of backyards that descended to Rua da Picaria. Despite its discreet location and decorative simplicity, the building stood out for its large, imposing iron structure, which served as a vestibule.

The Apolo Terrasse was also built so that it could be used for other types of shows and sporting events.
On the other hand, the two floor construction, connected by two staircases and lateral balconies, brought great concern due to fire prevention.
The lighting, made by globe-shaped lamps, was another element of modernity in this space.

Source: O Tripeiro, 7ª Série, Ano XXXV, Número 1,
janeiro e fevereiro de 2016.

Church of São Francisco de Assis
7 October, 2019 / , ,

The construction of the Church of São Francisco de Assis (St. Francis of Assisi) began in the 14th century, during the reign of king Dom Fernando (Ferdinand I of Portugal), in the place where a modest temple belonging to the Franciscan Order already existed, which had been established in the city of Porto in 1223.

With a structure that obeys to the rules of the mendicant Gothic style, i.e., a church with three naves, a protruding transept and a tripartite headboard, with the main chapel on a deeper level, the Church of São Francisco de Assis is the main Gothic style temple in the city of Porto.

In the 16th century, João de Castilho designed the Chapel of São João Baptista (St. John the Baptist), but it was during the 17th century that this temple acquired the baroque splendour, a style that is preserved until today through its interior covered in gold.

The exuberance of gold made the Count of Raczyński refer to the Church of São Francisco de Assis as “The Golden Church”. It is believed that the three naves of the church are covered with about 300 kilograms of gold dust. This abundance of gold even caused the church to be closed to worship, because it was too ostentatious to the poverty that surrounded it.

In the altarpiece of the main chapel, you can find one of the main attractions of this temple: the Tree of Jesse, a polychrome wood sculpture, which is considered one of the best of its kind in the world.

Another of the great attractions of the Church of São Francisco de Assis is the Catacumbal Cemetery, where the graves of brothers of the Franciscan Order, as well as some of the city’s noble families, are located.

In addition to the graves, it is also possible to see an ossuary with thousands of human bones through a glass placed on the ground.

The Church of São Francisco de Assis has been classified as a National Monument since 1910 and as a UNESCO World Heritage Site since 1996.

Bust of Homage to Guilherme Gomes Fernandes
13 August, 2019 / , ,

By the author Bento Cândido da Silva, the bust of the Commander of the Firemen of Porto, Guilherme Gomes Fernandes, was inaugurated in 1915 in the square that has since adorned the name of this illustrious personage.

Guilherme Gomes Fernandes was born in Bahia on February 6, 1850. At the age of three he went to live in Porto and at thirteen he left for England with the intention of attending high school.

At the age of 19, Gomes Fernandes settled in the city of Porto. Years later, he helped found the Associação Humanitária dos Bombeiros Voluntários (1874-75) and the Corpo de Salvação Pública. He was appointed Commander of the Fire Department in 1877 and Inspector of Fire of Porto in 1885. He then transferred to Companhia de Incêndios, assuming the position of commander. He also developed business activity in the area of journalism, having created and directed the newspaper “O Bombeiro Voluntário”, published between 1877 and 1890.

Guilherme Gomes Fernandes was also notable, among other actions, in the fight against the tragic fire of the Baquet Theater in 1888.

His contribution to the progress of the firefighters in Porto and in the country earned him the title of “Master”, as well as prestigious national and international decorations.

Guilherme Gomes Fernandes died in Lisbon, Hospital of S. José, on October 31, 1902.

 

Pinwheels in the city of Porto
12 August, 2019 / ,

The origin of the pinwheels is not clearly indicated in history, but some historians believe that the first one was born in Persia during the year 915 BC. Others believe that in Iraq, Egypt or China there are indications of the use of even more remote windmills. However, it was not until the twelfth century that windmills were introduced to Europe.

This small device has facilitated many agricultural processes such as grinding grain, pumping water, drainage of land, among many others.

Whether used as mere decoration or to fulfill their designated function, the pinwheels are spread over the top of many buildings in the city of Porto!

Duque da Ribeira – Symbol and meaning, witness and protagonist of the life of Ribeira
9 August, 2019 / , ,

If you stroll through the Ribeira area, which you will have to do if you come to Porto, it is very likely that you will cross the statue in honor of Deocleciano Monteiro (exact location is at Rua Cimo
do Muro, 12, next to Ponte D . Luís).
If the name tells you absolutely nothing, don’t worry! The same will happen to most people from Porto! But almost everyone will be able to tell you who the “Duque da Ribeira” was, a name by which he has always been and become known. In fact, it is the tradition that it was the mother herself who, in view of the difficulty in pronouncing the name Deocleciano, treated him as “Duke”.
Born in Porto on March 24, 1902 and died on November 9, 1996, the Duke was born and always lived in Ribeira, until his death, being an inseparable and absolutely charismatic figure throughout the twentieth century.

At only 11 years old, he saved a person from drowning in the river. Since then, this heroic brand has never left him, despite his modesty and extreme humility.
The Duke grew up in the river, where all his life there was a boatman. He knew the Douro, its waters, its currents, its life, like no one else! This, coupled with his courage and physical agility and the fact that he is an excellent swimmer, has allowed him throughout his life to save many people from drowning in the sometimes treacherous waters of the river and in other cases from rescue the bodies of those who lost their lives there. Hundreds of people owe their lives – literally – to Duque da Ribeira!
He was also responsible for teaching many children from Ribeira to swim!
Docker, sailor and even actor !, the Duke’s popularity was immense, and it is no wonder that his autograph book contains the signatures of several presidents of the republic and even Queen Elizabeth II of England!

For all this, and finally, a warning: if you venture into the waters of the Douro, do so carefully! We no longer have our Duke guarding the river! He who, according to Mestre José Rodrigues’ bust that would forever perpetuate on the banks of the Douro his memory and the tribute of the city, was “symbol and meaning, witness and protagonist of Ribeira life”.

Sereias Stairs
29 June, 2019 / ,

Between Largo da Alfândega and Rua da Bandeirinha, there is a path that reveals the secrets of the old part of the city of Oporto.

The Sereias Stairs, in the popular neighborhood of Miragaia, took the name of the neighboring Sereias Palace. The palace of the mid-eighteenth century was a city residence to the family Cunha Osório Portocarrero and owes its name to the large sculptures that adorn its façade.

From the bustle of traffic on the Arrábida Bridge to the tranquility of the Douro river, the top of the staircase allows us to feel the city and its sounds.

S. João Novo Church
22 May, 2019 / , ,

Built on the escarpment down to the Douro, in a place called “Boa Vista”, stands one of the most significant religious buildings in the historic center of Porto. The Igreja de S. João Novo was built in the middle of the 16th century and displays great artistic and architectural similarities with the Church of S. Lourenço.

The building, with a Latin cross plan, was built just above the former hermitage of S. João Belmonte. The building also took advantage of the wall that anchored the construction of the church and its monastery. Outside, it is possible to observe parts of the wall and follow its path. Inside the church, there are several carved altars, from the Baroque period (17th century) and tiles from the same period.

In the main altar, enriched with altarpiece, dating from the period between 1757 and 1766, is a moving screen reserved for the theme of the Vision of St. Augustine. The work is attributed to João Glama Stroberle, painter of German origin, who was born in Lisbon in 1708. In the same high altar it is also possible to observe a mausoleum that captures the attention of anyone due to its magnificent decoration – the author of the work is unknown.

The Alto Coro of the church consists of a single-row chair and on the side of the Gospel there is a pipe organ. Also noteworthy are the tiles alluding to the life of Santa Rita de Cássia, by Bartolomeu Antunes, located on the side altar of Santa Rita, the image of Santo Ovídeo and the image of Our Lady of Guia, by Manuel Miranda, located  collateral to the altar. Also of great interest is the altar of Senhor dos Passos, located on the right side; the image of the invocation of Jesus Christ is of great dimensions and presents features, deeply, realistic. It is probably the image that stands in this lateral altar that was brought out for the traditional Senhor dos Passos procession.

In front of the church we can find the Palácio S. João Novo, built at the end of the XVIII century, in Baroque style and that many attribute to Nicolau Nasoni.

Although it is closed more than a decade ago, the Palace served as a hospital during the Siège of Porto, in the Liberal Wars, and later as a Museum of Ethnography.

In addition to the similarities with the church of the former Jesuit College of S. Lourenço, the Church of S. João Novo also reveals the influence of the Igreja dos Grilos, due to the composition of the facade and the interior design.

The building is suitable for people with physical limitations and although it is closed on Sundays, it is possible to visit the Church of S. João Novo from Monday to Saturday, free of charge.

This year, the Church of S. João Novo is one of the spaces in the city of Porto that integrates the programming of In Spiritum – the festival proposes the discovery of the historical heritage through music.

In our city of Porto
29 March, 2019 / , , ,

In our city of Porto, a town of great ancestry, the discovery of its origins and the understanding of its urban fabric is, of course, an extensive and endless program. The twentieth century would give us one of the most representative and consistent chronicler and investigator of the history of the city.

On March 4, 1894 Artur de Magalhães Basto was born at number 556 of the so-called Duquesa de Bragança Street, in a distinctly well-designed house built by his father António José de Magalhães Basto, circa 1875, then architect and professor of the Academy Portuense of Fine Arts José Geraldo da Silva Sardinha.

His training in Law at the University of Lisbon would serve him well in the future, as from a very young age his  interest in research and paleography became apparent , namely through his teaching career integrating him in  the first Modern Language Faculty of the city, where he lectured  between 1922 and 1931. Being part of the City Hall of Porto up to his death, on June 3, 1960, heading as from 1934, the Services of Palaeography and Manuscripts of the library;  and as from 1938 became Director of the Office of History of the City and became head of cultural services,  until 1960. He was also Director of the Porto District Archive from 1939, as well as head of the great Office of the Holy House of Mercy of Porto, since 1933.

But it is as a chronicler of the city that Magalhães Basto would stand out: from his writing would flow the most diverse themes of history and art always linked to the city of which we will give just a few examples: the indispensable “Falam Velhos Manuscritos”, 1445 weekly articles in the Oporto newspaper The 1º de Janeiro “between 1930 and 1960; and his fundamental articles in the magazine of History of the city “The Tripeiro”, of which he would be director between 1945 and 1960. Some of his 160 published works are transcriptions of conferences, one of his specialties, for us worthy of special reference , because of the urgency and style with which he was able to reach out to us all, without discrimination, in a very simple and direct way, his historical narrative and his studies about Our City of Porto. In fact, these lectures would be a way of counteracting the silence, the solitude of “Poeira dos Arquivos”, his natural routine, as he would so well refer to in a February 1960 text: “How boring a life must be, or even a year, a day, or even a single hour, all alone in an arquive, to read, to decipher old paper, crumpled, yellowed by time, gnawed by rats, holed by moth, and stale air.

Our beloved and distinguished researcher died at his last residence, in Oporto, at nr. 500  Gondarém street,  a dignified note left by Professor Luís Duarte in the  exhibition catalogue dedicated by the master in 2005 in the Palace Gallery : “We realize that in the history country, there was a before and after of the magisterium and the work of Artur de Magalhães Basto”.