Chapel of São Pedro de Balsemão
Encyclopedia
The small Chapel of Sao Pedro de Balsemao, is situated in the civil parish of Sé, municipality of Lamego in the northern region of Portugal
). It was a Visigoth
ic sanctuary dating back to the 7th century, although it has Baroque
elements, in particular, in the South Gate and the western facade, which adjoins a later residential building.
In the location of the chapel, or relatively close by, was a Roman villa, which can be dated from some terminus augustalis inscriptions from the period of Claudius on parts of the building which were later used as alters.
The construction of the chapel occurred in an undetermined point in the high Middle Ages. Defenders of the Visigothic chronology of events, point to an inscription dated from 588. Other arguments, enunciated by Lampérez y Romea, point to the triumphal arch and basilica-like plan that was adapted to favour its Visiothic origins. The idea of a 6th-7th century church gained favour directly and was repeated by other authors, such as Schlunk, Fernando de Almeida and Hauschild, among others. But in recent years, the hypothesis that the church was a 9th or early 10th century construction has been advanced. First, by Joaquim de Vasconcelos, who used the church of São Pedro de Lourosa (dated 912), but later by Real, Ferreira de Almeida, Barroca and Teixeira, in addition to others.
By the 6th century, Balsemão was already an ecclesiastical parish.
In the 10th century, with the repopulation of the area, the church was renovated. The details of this are not fully understood, but there are indications that it amounted to general maintenance of the existing structure.
During the 13th century Inquirições
, the area was identified in records establishing the existance of the parochial sanctuary.
In 1562, the construction of the altar in the name of Santa Maria was completed, under the direction of the head of the Quinta da Régua, Bishop Afonso Pires. In the early Middle Ages
the church was the see of the Porto
Bishop
D. Alfonso Pieres, who was, upon his death buried in the apse
in a Gothic
tomb supported by sculptures depicting of Calvary
.
The church was profoundly transformed after the 14th century, when the Bishop of Porto, Afonso Pires, selected the chapel to bury his earthly remains, "redoing the church entirely". In addition to his sarcophagus, today located in the principal nave, there are few remnants of this changes, which (by 1643) Luís Pinto de Sousa Coutinho had integrated into his estate. The new landowner was also responsible for restoring and integrating the styles of his mansion with the chapel, expanding the staircase and affixing heraldic arms on the principal façade. He also reconstructed the building, converting the medieval chapel's exterior into a 1600s building.
By the 18th century, the chapel was used as a family vault of the land owners. It was restored in the mid-twentieth century.
On 14 September 1981, the property was transferred into the hands of the IPPAR Instituto Português do Património Arquitectónico, forerunner of the IGESPAR Instituto de Gestão do Património Arquitectónico e Arqueológico.
The chapel consists of a regular, longitudinal plan (sideways "T"), with articulated volumes covered in rounded tile. The principal entrance is the side entryway to the three nave
body, which is flanked by square corner pilasters, surmounted by a small bell-tower over the door. To the left, the smaller annex is actually the chapel's alter and retable
, slightly recessed from the entrance (the tail of the "T"), while to the right of this structure, is the Solar dos Pintos; a larger two-story building with massive portico, surmounted by two visible windows. Above the main entrance way to the chapel are three coat of arms, within square granite slabs, and two Romanesque inscriptions (on the right side of the doorway), while the whole ensemble is decorated with cornices. Access to the chapel is made by four-step staircase on either side of the building.
The surviving elements of the original structure include the general arrangement of the interior: three naves separated by three ultra-semicircular arches over Corinthian
capitals, and the apse formed of a single rectangular chapel. The many geometrical decorative elements are also original and more numerous than those of any other Iberian
monument of the period. The interior is divided into three sections supported by three arcs, supported by cylindrical columns, with polymorphic capitals. A triumphal arch divides the chapel from the main alter, while the roofs are supported by beam timbers. The high altar is decorated in a carved-wooden retable, gilded in gold, with an image of Saint Peter over the alter. The naves on either side of the main altar are decorated with carved-wooden chapels covered in gold.
In addition, a carved sarcophagus mounted on cavalry, with the statue of Bishop D. Afonso Pires occupies the central nave of the chapel.
Although the chapel is open to visitors, photo-taking is restricted by the IGESPAR.
Portugal
Portugal , officially the Portuguese Republic is a country situated in southwestern Europe on the Iberian Peninsula. Portugal is the westernmost country of Europe, and is bordered by the Atlantic Ocean to the West and South and by Spain to the North and East. The Atlantic archipelagos of the...
). It was a Visigoth
Visigoth
The Visigoths were one of two main branches of the Goths, the Ostrogoths being the other. These tribes were among the Germans who spread through the late Roman Empire during the Migration Period...
ic sanctuary dating back to the 7th century, although it has Baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
elements, in particular, in the South Gate and the western facade, which adjoins a later residential building.
History
The chapel encompasses a period of both Visigothic dominance (6th-7th century) and the expansion of the Kingdom of Asturias (9th-10th century) .In the location of the chapel, or relatively close by, was a Roman villa, which can be dated from some terminus augustalis inscriptions from the period of Claudius on parts of the building which were later used as alters.
The construction of the chapel occurred in an undetermined point in the high Middle Ages. Defenders of the Visigothic chronology of events, point to an inscription dated from 588. Other arguments, enunciated by Lampérez y Romea, point to the triumphal arch and basilica-like plan that was adapted to favour its Visiothic origins. The idea of a 6th-7th century church gained favour directly and was repeated by other authors, such as Schlunk, Fernando de Almeida and Hauschild, among others. But in recent years, the hypothesis that the church was a 9th or early 10th century construction has been advanced. First, by Joaquim de Vasconcelos, who used the church of São Pedro de Lourosa (dated 912), but later by Real, Ferreira de Almeida, Barroca and Teixeira, in addition to others.
By the 6th century, Balsemão was already an ecclesiastical parish.
In the 10th century, with the repopulation of the area, the church was renovated. The details of this are not fully understood, but there are indications that it amounted to general maintenance of the existing structure.
During the 13th century Inquirições
Inquirições
Inquirições are the Royal Portuguese commissions. They are put forward by the crown in accomplishing edicts.Afonso II instituted inquirições to investigate the nature of holdings and to recover whatever had been illegally taken from the crown...
, the area was identified in records establishing the existance of the parochial sanctuary.
In 1562, the construction of the altar in the name of Santa Maria was completed, under the direction of the head of the Quinta da Régua, Bishop Afonso Pires. In the early Middle Ages
Middle Ages
The Middle Ages is a periodization of European history from the 5th century to the 15th century. The Middle Ages follows the fall of the Western Roman Empire in 476 and precedes the Early Modern Era. It is the middle period of a three-period division of Western history: Classic, Medieval and Modern...
the church was the see of the Porto
Porto
Porto , also known as Oporto in English, is the second largest city in Portugal and one of the major urban areas in the Iberian Peninsula. Its administrative limits include a population of 237,559 inhabitants distributed within 15 civil parishes...
Bishop
Bishop
A bishop is an ordained or consecrated member of the Christian clergy who is generally entrusted with a position of authority and oversight. Within the Catholic Church, Eastern Orthodox, Oriental Orthodox Churches, in the Assyrian Church of the East, in the Independent Catholic Churches, and in the...
D. Alfonso Pieres, who was, upon his death buried in the apse
Apse
In architecture, the apse is a semicircular recess covered with a hemispherical vault or semi-dome...
in a Gothic
Gothic art
Gothic art was a Medieval art movement that developed in France out of Romanesque art in the mid-12th century, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, but took over art more completely north of the Alps, never quite effacing more classical...
tomb supported by sculptures depicting of Calvary
Calvary
Calvary or Golgotha was the site, outside of ancient Jerusalem’s early first century walls, at which the crucifixion of Jesus is said to have occurred. Calvary and Golgotha are the English names for the site used in Western Christianity...
.
The church was profoundly transformed after the 14th century, when the Bishop of Porto, Afonso Pires, selected the chapel to bury his earthly remains, "redoing the church entirely". In addition to his sarcophagus, today located in the principal nave, there are few remnants of this changes, which (by 1643) Luís Pinto de Sousa Coutinho had integrated into his estate. The new landowner was also responsible for restoring and integrating the styles of his mansion with the chapel, expanding the staircase and affixing heraldic arms on the principal façade. He also reconstructed the building, converting the medieval chapel's exterior into a 1600s building.
By the 18th century, the chapel was used as a family vault of the land owners. It was restored in the mid-twentieth century.
On 14 September 1981, the property was transferred into the hands of the IPPAR Instituto Português do Património Arquitectónico, forerunner of the IGESPAR Instituto de Gestão do Património Arquitectónico e Arqueológico.
Architecture
The chapel is located on Rua Cardoso Avelino and the Largo do Desterro, which is accessed from the Rua da Calçada, some 3.2 kilometres along the Rua da Calçada-Lamego municipal road that winds along the river (before the village bridge). It is rural area, on a semi-embankment, partially buttressed by the old convent, and the Solar dos Pintos building. It is separated by a courtyard and rural road.The chapel consists of a regular, longitudinal plan (sideways "T"), with articulated volumes covered in rounded tile. The principal entrance is the side entryway to the three nave
Nave
In Romanesque and Gothic Christian abbey, cathedral basilica and church architecture, the nave is the central approach to the high altar, the main body of the church. "Nave" was probably suggested by the keel shape of its vaulting...
body, which is flanked by square corner pilasters, surmounted by a small bell-tower over the door. To the left, the smaller annex is actually the chapel's alter and retable
Retable
A retable is a framed altarpiece, raised slightly above the back of the altar or communion table, on which are placed the cross, ceremonial candlesticks and other ornaments....
, slightly recessed from the entrance (the tail of the "T"), while to the right of this structure, is the Solar dos Pintos; a larger two-story building with massive portico, surmounted by two visible windows. Above the main entrance way to the chapel are three coat of arms, within square granite slabs, and two Romanesque inscriptions (on the right side of the doorway), while the whole ensemble is decorated with cornices. Access to the chapel is made by four-step staircase on either side of the building.
The surviving elements of the original structure include the general arrangement of the interior: three naves separated by three ultra-semicircular arches over Corinthian
Corinthian order
The Corinthian order is one of the three principal classical orders of ancient Greek and Roman architecture. The other two are the Doric and Ionic. When classical architecture was revived during the Renaissance, two more orders were added to the canon, the Tuscan order and the Composite order...
capitals, and the apse formed of a single rectangular chapel. The many geometrical decorative elements are also original and more numerous than those of any other Iberian
Iberian Peninsula
The Iberian Peninsula , sometimes called Iberia, is located in the extreme southwest of Europe and includes the modern-day sovereign states of Spain, Portugal and Andorra, as well as the British Overseas Territory of Gibraltar...
monument of the period. The interior is divided into three sections supported by three arcs, supported by cylindrical columns, with polymorphic capitals. A triumphal arch divides the chapel from the main alter, while the roofs are supported by beam timbers. The high altar is decorated in a carved-wooden retable, gilded in gold, with an image of Saint Peter over the alter. The naves on either side of the main altar are decorated with carved-wooden chapels covered in gold.
In addition, a carved sarcophagus mounted on cavalry, with the statue of Bishop D. Afonso Pires occupies the central nave of the chapel.
Although the chapel is open to visitors, photo-taking is restricted by the IGESPAR.