Capela Nossa Sra. da Conceição

Beautiful

I like to visit

Funeral from a friend :(

Worth visiting

This little chapel is beautiful

Although there are many traces referring to a construction prior to the chapel of Nossa Senhora da Conceição, it can only be said that it existed in the 16th century (GUIMARÃES, 1904, p. 10). However, an assault and consequent fire, which took place in 1684, forced the Brotherhood to carry out restoration works, which imposed on this chapel the configuration we know today. Authorization to start the reconstruction was granted in 1699 (GUIMARÃES, 1904, pp. 13-14), but the intervention lasted, at least, until the mid-18th century, since the tiles that cover the chancel , attributed to the workshop of Bartolomeu Antunes, must date back roughly to 1740. Located on a small high, it was necessary to build a flight of stairs to access the galilee, which precedes the main facade. This situation, together with the curved pediment that ends the elevation, gives the chapel a strong scenographic sense, which is accentuated through the contrast between the exterior sobriety and the internal decorative profusion. This one takes advantage of the brightness of the ceramic coating, combined with the gilded carving, present not only in the main altarpiece, but also in the pulpit and coffered ceiling. The nave is covered by a set of tiles from c. 1720, which depict episodes from the Old Testament, namely scenes from the Song of Songs. Its authorship has been attributed to the monogramist P.M.P. (SANTOS, 1979, p. 104; MECO, 1986, p. 228), the unknown tile painter, whose work is part of the so-called "Grand Masters Cycle", not so much for its quality, but mainly for its decorative character , which would greatly influence subsequent painters (MECO, 1986, p. 226). These tiles are related to others attributable to the same author, existing in the city of Guimarães, namely in the Church of Capuchinhas and the Church of São Dâmaso (SIMÕES, 1979, p. 105). The pulpit, of gilded carving, is on the side wall on the Epistle side. On the ceiling, white coffers represent twelve scenes from the Life of the Virgin. A triumphal arch with a perfect back, flanked by two altars dedicated to São Francisco and São Caetano, allows access to the chancel. This one has a paneled ceiling, with polychrome carvings, with a decorative language with a strong naturalistic bent in the representation, and movement, of the acanthus leaves. Its execution must date back to 1700, falling within the so-called national style (GONÇALVES, 1981, p. 345). In turn, the main altarpiece, although much modified, still presents Mannerist characteristics. This altarpiece should include the representation of the Tree of Jesse, which has since disappeared, and the figure of the patron saint of the chapel, which is still preserved (GONÇALVES, 1981, p. 342). The chancel's tile covering, attributed to the workshop cycle of Bartolomeu Antunes, must date from c. from 1740 (SIMÕES, 1979, p.104). They represent scenes from the Life of the Virgin - Presentation of the Virgin in the Temple, Annunciation, an eventual allegory to the well of living waters mentioned in the Song of Songs (GUIMARÃES, 1904, p. 15); and Visitation. A final reference to the organ, executed in 1774 by Francisco António Solha, at the expense of the Confraternity of Conceição (ALCÃNTARA, 1995, p. 11).

Religious architecture, baroque. Baroque porched chapel mainly patented in decorative elements: gilded carvings on the ceiling, altarpiece, historic tiles and so on. Contrast between exterior sobriety and interior decorative richness. Emphasis on the nave's ceiling with narrower and larger coffers, which gives it greater prominence, and the semicircular finishing of the main chapel's coffers.